KEN ROSE

12 Magical notes

Here we go – Ken has the floor:

"I love music! A magical vibration that truly cannot be quantified. Twelve notes, unlimited combinations, timbres and ways to interpret them – all starting with a 'speck' of inspiration born from thin air. The creative process is amazing and I am blessed to be able to make music for a living. My relationship with those specks of inspiration, through recognition, conception, development, documentation and then, finally, presentation of the results as completed works to listeners from all walks of life is a gift and an ever-new learning experience. No words or song can describe the feeling!

Neil Young

"OK. I think, if push comes to shove, Neil Young, and Crazy Horse, is my 'desert island artist'. Mr. Young is a craftsman of timeless songs, all performed honestly with bared heart and soul worn proudly on his shirtsleeve.

NY's originality and simplicity, without sacrificing detail, have never failed to move me since I was 10 years old. He is the one artist I have never been out of phase with on record or performance and, most importantly, as a human being expressing 'himself' through his art.

THE DUDE OF DUDES. Recording live and spontaneously, changing his mind on a dime, extreme as hell, always following the specks of inspiration in their purest form.

Never leaving the moment. Genius! From soft dynamic folk to bone-crunching punk...all perfectly written.

I endlessly rotate through the catalogue and my favourite song at the moment is Cortez The Killer from the Zuma record. 7:30 of organised rambling and improvisation, perfect songwriting and heartfelt performance, and he creates the moment and story as if you are there.

The band is dynamic and the story and song are never overshadowed but fully supported. I get chills every time I hear the lines: 

Hate was just a legend
War was never known
People worked together and they lifted many stones
They carried them to the flatlands but they died along the way
And they built up with their bare hands what we still canʼt do today
And I know she's living there and she loves me to this day...

NY is my guy!"

David Bowie

"Next, and in no preferential order, comes David Bowie. Master of sight, sound and vision. True artist. I never tire of the Bowie catalog and I always come back to Life On Mars. What an original and innovative composer. Bowie effortlessly weaves so many styles into this amazing track without being pretentious.

It is understatedly bombastic. Bowie's melting pot of glam, rock and classical is so dynamic and captivating. He covers a hell of a lot of ground within the 'pop' format! Bowie's attention to detail and use of the sound palette and the recording studio as an instrument is a huge inspiration for me.

For some reason, artists that record live always touch me because it seems like the moments captured on tape are perfectly preserved and you can really relive a moment when you listen to the music. Both on record and on stage, Bowie is an unrivalled pioneer."

Jimi Hendrix

"Hendrix is like a heart with fingers. More than 10 fingers for sure. Taking the specks and following their trail, Hendrix is the master of feel and vibe, not to mention great songwriting. Like Bowie, Hendrix can use the studio as an instrument and also like Bowie and Young, Hendrix has a band with an identifiable sound that supports his vision without losing their own individual personas – another important aspect of a great band.

The Wind Cries Mary is one of my favourite Hendrix songs. Great lyrics and picturesque performances:

A broom is drearily sweeping up
the broken pieces of yesterday's life
Somewhere a queen is weeping
Somewhere a king has no wife

This track, with the instruments all panned in their own places, uses natural room echo and plate reverb to enhance the performances of the band. The dry-to-wet depth in this song is wonderful. What a flow. Perfect movement. Very cool, profound and emotional work."

The Rolling Stones

"Probably THE Rock band for me. Great writing. Inspired perfection with all the flaws and nuances of opinionated and passionate artists within a group. Keith is another DUDE! There are so many Stones gems but I think I always come back to Wild Horses. One of the best love songs of all time. Acoustic-based, but so heavy in instrumentation, vibe and lyric. So sexy and sloppy. A wonderful mixture of craftsmanship and spontaneity. Amazing sound....check out the drums! And it's a true story of love and near loss:

Graceless lady
You know who I am
You know I can't let you
Slide through my hands
Wild horses couldnʼt drag me away....

Eels

So, it's clear that I am mostly a disciple of pre-80s music, but one of my favourite post-80s artists and writers is E from Eels. E has a way of combining artistry and modern technology and all of his/their records are groundbreaking. The first Eels record, Beautiful Freak's title track is very cool. I like the way E's honest performances and soul-searching songs use live elements alongside technology.

E uses the computer as an instrument and his work has tremendously inspired my approach to my work. He gets the most out of simplicity, while orchestrations provide depth and colour. His range of artistry covers all the bases from acoustic singer-songwriter to avant-garde. Beautiful Freak is a classy track."

Kate Daisy Grant

"As a record company owner, writer/producer and artist, I have spent the last few years developing and collaborating with new talent utilising the 'old school' philosophies pioneered by Ahmet Ertigun, Berry Gordy and Jack Holzman. One of my longest collaborators is Kate Daisy Grant, with whom I am currently finishing her second record.

On her first self-titled record, I learned a lot about recording and breaking the rules. In a nutshell, Kate's first record is a collage of four different attempts and sessions of making the same record. I am a fast-working and 'go with the flow' type of creative spirit and this record was an eye-opener for me. At the time of recording, we went through so many emotional and stylistic changes and we wanted to keep them all. We used no click tracks to keep time, we performed live with strings and we also used machines and computers.

None of the four versions of any song were at the same tempo and we managed to put all the magic elements of each performance together and the sound was derived from both orchestration and many magical mistakes that worked! My current favourite song from that record is Truth, a dark-ish yet hopeful ballad. It was originally recorded with acoustic guitar, strings and vocals and ended up as a collage of everything from ship bells to fuzzy noises. Kate was so open to the creative flow and process and was always a joy to work with.

My favourite part of this song is the guitar that wasnʼt included in the recording but whose 'bleed through' shadow guides the whole track as it was spilled over into the string quartet that was recorded in the same room.

It almost sounds and flows like a hi-hat cymbal throughout the track. There was no hiding it, so it was either leave it in there or lose that string performance!! It was a lesson in not being anal and letting the work dictate what IT wanted. We used lots of tape echo and plate reverbs to join all the rough edges into a seamless track. Kateʼs trust in the creative process and in me made this record a pleasure to create.