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Classic Pop

Classic Pop April 2020

Classic Pop magazine is the ultimate celebration of great pop and chart music with star interviews, features, news and reviews. From pop to electronic and new wave, dance and indie – it's all here…

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United Kingdom
Anthem Publishing
6 Issues

in this issue

9 min
the meaning of soul

“IF I’D HAVE SAID TO MY MUM AS A KID, ‘I’M GOING TO TAKE YOU TO BUCKINGHAM PALACE TO RECEIVE A MEDAL AND AN AWARD‘, SHE WOULD’VE THOUGHT I WAS COMPLETELY BONKERS!” ROACHFORD Andrew Roachford’s mum has reason to buy a new hat. The day after CP is due to speak to him, the London soulster is off to Buckingham Palace to pick up an MBE for contributions to music. Has he chosen his suit? “It’s like one day before, I’m not crazy enough to leave it that late!” For a split second he sounds mildly offended, but nothing could dampen his buoyant outlook. “It’s very surreal!” he laughs. “My mum is over the moon and back again. When I first heard about it, I was completely in shock. I didn’t think I’d…

2 min
billy ocean

SONY MUSIC It feels churlish denouncing Billy Ocean’s 11th album. All Over The World, a lightweight reggae variation on Let it Be, insists we “do it for the children”, for “peace and unity”, and its energetic title song advocates global unity, or, in his words, “a love revolution”. It’s phrases like these, though, that are indicative of the record’s Achilles heel: One World has a bad case of the trites. That he indeed crossed borders makes one feel more discourteous. Daylight’s and Mystery’s rhythms and brass remind us of his Trinidadian roots – though the latter’s metal guitar solo is a surprise – and his voice remains a unifying force. Admittedly, he begins tentatively on opener We Gotta Find Out, and age has rendered him gruffer – if not as much as,…

1 min

CAPITOL Comparing Ed O’Brien’s solo debut to his day job is unfair, but the Radiohead guitarist’s done little to dissuade this. Earth fails to reveal new aspects to his talent, instead sometimes feeling like an undercooked record by the mothership band. Shangri-La’s falsettos lack Thom Yorke’s vocal charms, its melody undeveloped, as is Banksters’, while Brasil’s coda simply meanders. Sail On, though, recalls Slowdive’s ambient Souvlaki and Olympik’s borrows lines from World Of Twist’s The Storm to underline its baggy nature.…

1 min
robert forster

CHERRY RED Following the acclaim of the recent first two volumes of The Go-Betweens’ trilogy of boxsets, singer Robert Forster reissues his first two solo albums, handily arriving on the 30th anniversary of his debut Danger In The Past. That album had more of a sense of unrest and danger than Forster’s old band, but we’re talking small degrees. Really, what Danger In The Past offered was nine more songs as richly delivered and beautifully chiselled as the ones he’d always written separately from Grant McLennan’s half of a Go-Betweens album. The same applies to Calling From A Country Phone, which arrived three years later. This time, Forster’s lyrical doubts were even stronger than before, but were set to country laments, bracing rock‘n’roll, surferrock and, on 121, a deranged up-tempo monster…

2 min
midge ure

21 FEBRUARY MIDGE TAKES A TRIP BACK 40 YEARS TO RECALL HIS 1980 BREAKTHROUGHS WITH ULTRAVOX’S VIENNA AND VISAGE Without a doubt, 1980 was a vintage year for Midge Ure. An adaptable pop veteran, he’d briefly tasted stardom with Glaswegian ‘boyband’ Slik in the mid-70s followed by stints in Sex Pistols spin-off the Rich Kids and Phil Lynott’s hard rockers Thin Lizzy. But he hit an all-time high in 1980 thanks to two influential albums, transforming the 20-something Scot into a New Romantic icon. Having formed a strong bond with Rich Kids’ Rusty Egan, their shared fascination with emerging synthesiser tech and clubbing led to the formation of Visage, a studio-based project with Ultravox’s Billy Currie, the inimitable Steve Strange, and others. Meanwhile, with Ultravox down both a guitarist and vocalist, Midge was…

4 min
pop up

Fans create tribute archive for trailblazer Andrew Weatherall Fans have paid tribute to the late Andrew Weatherall by creating a comprehensive archive of his work. The DJ/producer behind era-defining music for the likes of Primal Scream, Happy Mondays, Saint Etienne and My Bloody Valentine died on 17 February, aged 56, from a pulmonary embolism. Now an archive dubbed The Weatherdrive (tinyurl.com/theweatherdrive), has been made available featuring more than 900 hours of his DJ sets, remixes and press cuttings, all collated by fans. Although celebrated as a pioneer of acid house and genre-defying dance projects like Two Lone Swordsmen, Weatherall is perhaps best known for producing much of Primal Scream’s Screamadelica album. Frontman Bobby Gillespie paid his own tribute to his friend in The Guardian: “I’m going to miss his wit, the glint that…