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Interview with John Howard Click here for reviews of John Howard albums Click here for the first interview with John Click here for more news and a second interview with John John Howard continues to produce excellent music that deserves to find a much wider audience. In January 2011 he kindly took some more time off for a further interview with this site where he discussed his forthcoming release along with thoughts on his fan base and the use of technology to bring music to a wider audience.
Q. A new album is due out in
the New Year. Can you tell us something about it and the songs
that will be included.
A. The album is called 'Exhibiting
Tendencies' and is due out online (from iTunes, Napster,
emusic, Amazon MP3, we7, 7Digital etc) on February 13th
and on CD in May 2011. I wanted this LP to have a 'live band
in the studio' feel rather than being simply a pianist/singer
album. So I have incorporated a lot more acoustic instruments
and percussion than I have done previously. Everything is
played by me but it was all recorded in real time, no
samplings, no 'spinnings in'. I used 'proper'
instruments, bongos, marracas, tambourines, guitar, harmonica,
piano, and all the vocals were also overdubbed in real time as
well. This meant that each track took a long time to do, and
in total the album has taken me over a year to record. The
songs are written from an observer's or an objective point of
view, rather than the personal insights and experiences which
Navigate Home was made up of. So the situations in each song
are told from memories or observations of things that happened
to people I know or memories of events I saw or experienced
years ago. Each song describes 'a tendency' of behaviour
or character, hence the title. They are all like little
scenarios of their own, and we are watching from 'across the
road' as situations unfold.
Q. Does your new material
continue to be influenced by your life experience and/or
current environment?
A. I guess it has to be influenced
to a degree by who I am and where I am now, or in the case of
this album by my own memories. My songs all begin as I sit at
the piano doodling with a riff or a tune, and the words
come from my brain, so things I recall or feel are bound to
seep through.
Q. You recently said that you
were happier now than at any other part of your life. Is this
still the case?
A. Oh yes, definitely. I feel
Whole now, if that makes sense. Being creatively fulfilled
again has given me a part of my life and myself back which I
had missed, without realising it, for a long time.
Q. You have really embraced new
technology. How important is it to you and where do you see it
taking you in the future?
A. I only use new technology where
I think it will improve what I do. I would never want to use
loads of samples or digital techniques like the dreaded vocal
autotuner you hear on so many pop records now. I still like
things to sound real and human. So if I'm putting down a
rhythm on a track, it would never be with a drum machine or a
tambourine sample set to a click track. I would play it in
real time, and overdub it in real time, so any slight tempo
alterations which occur stay, and that all goes to make a
recording sound grounded and true. Not perfect, but I love
imperfections. 'Happy Accidents' are things of beauty!
Q. Is the CD on its way out as
more and more people turn to downloading?
A. Not an easy question to answer.
People said vinyl would completely die out when the CD came in
but there are still music buyers who prefer LPs and
enjoy the process of putting the stylus on the record, preferring
the actual sound of vinyl as well. Certainly most young
music buyers are more into downloading and streaming than
buying physical CDs but there is still an older generation
that likes to sit with a CD booklet, reading the lyrics as
they listen to an album. I think watch this space on that one,
Peter. Let's review that in 20 years' time!
Q. You seem to be totally at
home speaking to your fans through e-mail, Facebook, YouTube
etc. How important are these mediums to you?
A. They have completely
revolutionised how an artist can communicate with
his or her fans. The internet has given us a much
greater control over our music and how it's sold. When 'Kid In
A Big World' was first released in 1975 I had to rely on what
my record company told me in terms of how it was selling and
where, and usually got very little info at all, and I only saw
a music magazine review if it was pointed out to me. Now, you
just Google any of my releases and there are pages of
information about each one, where you can buy it, who has
reviewed it, what people think of it. My online label www.awal.com
provide all their artists with a day-to-day rundown of every
download each track has had, where, how many and from which
album. If only I'd had that kind of input and output when I
was phoning staff at CBS for updates and sales
figures in the '70s! I am now getting some of my tracks up on
YouTube, currently 'Be Not So Fearful 'and 'The Dilemma Of The
Homosapien' are on there with more to follow next year, and
while I resisted Facebook for a long time, thinking it
was akin to the tedious Twitter (which I am not interested in
at all) I have found it a great tool for getting my music
across to a global audience, and have made a lot of new
fans on there who have become online friends as well. I
enjoy chatting to people on Facebook and like the
interactivitiy of it, how you can put in your two penn'th on
sites like Blog On the Tracks, for example. Sharing music with
other musicians on My Space and Facebook as well is a joy. But
like any of these things, one has to be selective and not
obsessive. It should never rule your life and become a
replacement for one-to-one human contact.
Q. What do you think of
manufactured music shows such as X Factor?
A. Don't get me started! Oh, go on
then! X Factor has one goal, and that is to make one man very
rich and very famous for doing very little except exploiting
young kids who dream of fame, instant fame, not fame they've
worked years for, dangling before their wide-eyed wondrous
faces the promise of riches and seeing themselves on every
tabloid cover. For a short time, anyway. It's wrong that
a major TV station gives so much airtime simply to promote and
make a lot of money for one record label for the reward of
higher ratings. How can that be right? I believe this year's
winner has been around for quite a long time, and so he
probably deserved to win (I didn't see it, I avoid the show
like the plague). But so was Steve Brookstein (remember him??)
and what's happened to him? It's very strange that last year's
winner only releases their second single almost 12 months
since their first heavily promoted release along with an album which
sneaks out with very little media activity just a couple of
weeks before the new series of X Factor begins. This of
course results in their single and album being buried
under all the pre-new-series media hype, and so ridding the
label of any need to resign the artist for any more releases.
As a friend of mine said, for every Leona Lewis there are four
Leon Jacksons. I despise X Factor and everything it stands
for. There's a song on my new album called 'Tales &
Fabrications' which covers this very subject. So thanks for
the unintended plug, Peter!
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