UK’S HOTTEST RISING
GLOBAL TAKE OVER
THE MOZART OF MADRAS
THE JAZZ STAR
Welcome to the first
edition of Hey Mag!
Aimed at music
lovers and music
makers, of all genres,
we will be tapping
into the latest music
and pop culture
trends from around
the world, including
news, reviews and
artists and emerging
For our first issue, we speak to RAYE, who is
conquering the pop world, with hit after hit
infused with a blend of Afrobeat and soul sounds,
she is making her mark this year. Hey Mag finds
out how RAYE has become an accomplished
songwriter and singer and how she is using her
Ghanaian roots to create change in today’s music
Hey Mag turns to beat-matching, mixing and
scratching masters Hollaphonic to find out what
the British DJ duo have planned for 2018, and we
catch up with Dan Greenpeace to find out how he
became a renowned radio presenter.
Following the success of LMYW in Dubai, we
kicked off the first series of LMYW LDN earlier this
year, and it’s been a whirlwind. LMYW LDN has
offered the ideal hub for all music fans and music
creatives to come together for a great night.
Check out page 14 to see Liam Bailey, Black Josh,
Laura Roy, and more.
Aiez Mirza Ahmed
@heymusicofficial @heymusictweets @heymusicofficial @heymusicofficial www.heymusic.com
Hey Mag is published by Hey Music. All rights reserved. Reproduction in whole or in part without written permission is prohibited. The publisher regrets that they cannot accept
liability for error or omissions contained in this publication, however caused. The opinions and views within this publication are not necessarily those of the publishers or editors.
All credits are accurate at the time of writing but may be subject to change.
2 HEY MAG - AUGUST 2018
UK’s hottest rising singer-songwriter
Goes on tour
Vinyl & radio master
Dynamic British DJ duo
Mozart of Madras
Jay-Z tops rich list
DAD ROCK 75
Ultimate Dad rock playlist
RAYE - born Rachel Keen - in a way, embodies a presence of mystery. On
the surface we see her edgy style, voluminous rose gold curls and a bubbly
personality that matches her warm, yet mischievous smile. But who is RAYE?
Raised in Croydon, South London, RAYE’s natural beauty and musical passions stem
from her mother’s Ghanaian-Swiss heritage and her English father. Born into a
musical family, she naturally followed suit: “I had been writing songs from the age
of 7 or 8 years old, and they were so bad,” she says laughing. “But it was always in
me and my dad was a massive part of that. I used to watch him play keys and write
music, so you know, it came naturally.”
RAYE is an artist who strived to establish her songwriting art first, and by the age
of 14 she enrolled at the infamous BRIT school, majoring in music and minoring
in dance. It’s no secret that two years later the star dropped out after she felt ‘too
confined’ to one sound. She now describes her sound as a mix of pop music with
“I mean, I’m Ghanaian,” she says. “Growing up, my grandma was at home with us and
there was a strong Afrobeat culture, she’d play all the riddims, and my music has a
lot of that influence.”
RAYE is only 20 years old, but she’s been an unstoppable force since her BRIT school
days. Shortly after she left, she had her big break when Olly Alexander from the band
Years & Years heard her R&B jam, ‘Hotbox’ on HypeMachine. “He [Olly] was talking
about it in interviews, which was so weird and really crazy for me, and it kinda helped
me get my record deal with Polydor.”
“Years & Years invited me to support them on tour, it was really epic.” She then
recalls her first touring experience: “If you had seen me before, compared to the way
I like to do shows now, you know I was really nervous. I was chained to the mic the
whole time, I was a bit worried. But you know, practice makes perfect.”
Obsessed with songwriting, RAYE grew up listening to Nelly Furtado, Jill Scott and
Natasha Bedingfield, who are all prolific female songwriters. That inspiration has led
RAYE to rack up a list of writing collaborations for some of music’s top dogs, including
Stormzy, Nas, Little Mix and John Legend. “Most of this industry is just kinda luck,
right?”, says RAYE, as she humbly talks about how she co-wrote Charli XCX’s ‘After
”We ended up in the studio at the same time and ended up getting in a session, we
just really clicked and wrote three or four songs in one day. I wanted to put out one
of the songs we did and asked her to direct the video, and she was like ‘yes’, and off
the back of that, she asked me to write for one of her projects.
“She’s great, so hardworking,” she adds with admiration.
RAYE doesn’t shy away from exploring other genres, whilst she describes her sound
as Afrobeat pop, it hasn’t stopped her from venturing into the grime scene. “Stormzy’s
my bredrin, I love him,’ she says, smiling.
4 HEY MAG - AUGUST 2018
HEY MAG - AUGUST 2018
6 HEY MAG - AUGUST 2018
IT WAS VERY DAUNTING TO
CREATE MUSIC IN A CERTAIN
WAY AND WRITE A CERTAIN
TYPE OF MUSIC AND THAT
PEOPLE WOULD LIKE A BIT
MORE IF IT WAS WHITER OR
A BIT MORE POPPIER
“Stormzy is just one of those lovely guys who is never afraid to compliment or reach out and make
someone feel good. He followed me on Twitter and was like ‘Yo RAYE, you’re doing something sick, I
love it’”. The pair have since released ‘Ambition’ and she also made a cameo appearance in his video
‘Big For Your Boots’.
RAYE’s writing creativity saw her team up with producer Jax Jones, and unknowingly to them, their
house anthem, ‘You Don’t Know Me’, was an instant hit.
“None of us saw that coming, it was really insane. It was the way we wrote the song, it was natural,” she
recalls. “We ended up in a session together, because we have the same A&R label, we had one day, and
you know we were drinking and having a party and it was mostly freestyles and vibes.
“He [Jax Jones] took it away and put the Booka Shade’s bassline on it, and I was like ‘sick’, but I just had
no idea it was gonna do like it did, so it was very cool.”
And cool it was, the song dominated the charts, hitting the number 3 spot and it was nominated for
‘Best British Single’ at the BRIT Awards in 2018.
RAYE’s talents are also seen through her own music, bringing her own sound to the music scene she
aims to ultimately diversify the charts. “I kinda got down about it for a while, back home is very whitefied
but things are ready to change,” she says frankly. “It was very daunting to create music in a certain
way and write a certain type of music and that people would like a bit more if it was whiter or a bit more
“I realised that that’s not me and not what I want to do, so I have been working really hard to do both,
and I’m excited to see what people think.”
The budding songstress released her first EP ‘Welcome To The Winter’ in 2014 on SoundCloud, followed
by ‘Second’ and this year’s ‘Side Tape’. Her newest six-track EP features a versatile blend of artists,
including Kojo Funds, RAY BLK, Nana Rogues and Mr Eazi, who have all contributed to her rare sound.
RAYE’s EP is a mixture of sultry love songs, catchy dance tunes and girl power themed rhythms. Let’s
take ‘Decline’ for example, the singer takes Ja Rule and Ashanti’s ‘Always On Time’ hook and reverses
the meaning to empower women, she also teams up with labelmates R&B singer Mabel and MC Stefflon
Don for ‘Cigarette’.
RAYE also dropped the video for ‘Confidence’, the track itself features Maleek Berry and Nana Rogues
and offers subtle Afrobeat sounds yet Latin beats. The video sees RAYE alone dancing seductively in
casual clothing teamed with Nike Cortez – a style which she is most confident in. “I like to mix and
match, I’ve always been quite boyish, I’ve probably worn one skirt in my life,” she says jokingly.
RAYE is also calling out for girl solidarity: “What’s up with all the girl hate girl shit...?”, she sings in her
new track ‘Friends’. Produced by Mark Ralph and Kyle Shearer, and alongside Fred Gibson, the energetic
summer tune calls for females to support each other and to drop the negativity.
The artist has now cemented her name in the industry, both songwriter and singer, RAYE has certainly
made her mark, but she still has some words of wisdom for her younger self.
“I’d tell her to calm down and trust that everything will be okay. It’s so easy to overthink and be worried,
and when you’re putting something out publicly, you just wanna get it right. I need to relax and keep
doing my thing, the doors will open when they are meant to.”
The doors are certainly staying open for RAYE. Right now, the star is touring across the UK, as well
as playing numerous summer festivals, and with rumoured studio sessions with Drake, Hey Mag is
watching out for RAYE!
HEY MAG - AUGUST 2018
A LONG WALK -
YOU’VE DONE -
SAY IT RIGHT -
FOUR WOMEN -
her favourite Top 5
songs exclusively on
Hey Music’s YouTube channel.
Full interview coming soon.
8 HEY MAG - AUGUST 2018
TALKS HYBRID JAZZ
PHOTO CREDIT: PETER EDWARDS
10 HEY MAG - AUGUST 2018
UK JAZZ MUSICIAN PETER EDWARDS ON HIS LOVE FOR
THE GREATS AND HOW TO MASTER THE ART OF JAZZ.
WORDS : AASHA BODHANI
Peter Edwards has, by anyone’s standards, a multifaceted craft. From the
tender age of six he began to learn the art of becoming a pianist. Shortly
after he added composer and musical director to his portfolio. Despite the
early start, Edwards was in his late 20s when he made the decision to turn
his musical hobby into a professional career, and it was a risk that has since served
It would be fair to say that music ran in Edwards’ blood; his parents provided him
and his siblings with endless opportunities to find their own creative flair. But it was
his brother who gave him the inspiration to develop his own style by introducing
him to legendary musicians, including trumpeter Miles Davis, jazz pianist Johnny
Parker and composer Herbie Hancock.
“One of my heroes was Herbie Hancock, he was classically trained and an incredible
improviser. I think overall that is what got me into jazz, seeing someone who was a
world-class improviser,” he recalls.
Once he found the sound he aspired to, his mission was to find other artists and
absorb live music, citing that he fell in love with the idea of being able to
create in the moment.
“I thought it was magical the way musicians would generate music, you know, off
the cuff. The curiosity of how they did that is what won me over.” He describes his
style as a hybrid of jazz, mixed with soul, Carribean grooves, Latin tones and gospel.
“These are the sounds that are rhythmically impulsive and
interesting,” he says.
He adds: “I grew up in the 90’s and at a time when acid jazz in the UK was big, but it
also had a mixture of that older stuff from the 60s to newer sounds where jazz was
seen in the likes of Jamiroquai, Incognito and Jason Lyon.”
Edwards isn’t limited to composing, he speaks fondly of working with his band
and working on various commissioned projects. “I like the flexibility of either
performing, directing or writing, they are all different,” he explains.
HEY MAG - AUGUST 2018
Last year, Edwards was commissioned to form a 15-minute composition that celebrates
the year of 1917, which was a defining year for jazz. Named ‘Journey with the Giants of
Jazz’, it sees the births of some of the most well-recognised jazz musicians, including
composer ‘Tadd’ Dameron, singer Ella Fitzgerald, trumpeter Dizzy Gillespie, pianist
Thelonious Monk, drummer Buddy Rich and percussionist Mongo Santamaria.
Taking inspiration from the classics, Edwards pieced the six greats together and
incorporated 100 years of jazz into 15 minutes, to form an episodic creation of their
different styles of music and characters.
“When I was given the commission, the first thought was ‘how can I do all of that in 15
minutes’. Sometimes it takes a couple of days to get my head around the project and
come up with ideas. I create the context first, and the science and form will come from
those jazz artists.”
“From there I would sketch ideas on the piano and record it, but I wouldn’t question what
I do too much, I just continue to record. Later I will go back and refine it by finding a way
of putting different strands together and structuring the beginning and end,” Edwards
One of my heroes was Herbie Hancock, he was classically
trained and an incredible improviser. I think overall, that is
what got me into Jazz...
- Peter Edwards
He goes on to say that a project of that size typically takes two months from the
beginning to rehearsals, and even then, he may scrap the idea and completely start
April marked Jazz Appreciation Month, but is there enough jazz influence in today’s
commercial music? Edwards talks of combining his jazz sound with other genres, but he
explains jazz solos are usually heard during the Christmas period when the likes of Nat
King Cole and Ella Fitzgerald become more commercially present.
Whilst jazz influence in today’s music may not be so obvious, Edwards does mention that
there are hints of jazz, whether it be Bebop, blues, funk or Latin, coming through.
With years of experience in the music industry, Edwards offers his take on how to
master the art of jazz.
He recalls his first time at Ronnie Scott’s Jazz Club in London, where he sat in on a jam
session and listened and would search the Internet to find the song and form his own
“I would say at the beginning of a career in jazz, aim to work with different types of jazz
musicians, or even any type of musician. Try to find opportunities, go to jam sessions,
gigs, and be seen. It’s all about networking.”
Edwards points out that new musicians need to master the basics. “You must be easy to
work with and [be] on time. When I first started, I didn’t feel like I had the confidence, but
I knew I was reliable and that’s how I began to build a network of people. It’s important to
have that foundation early on.”
One thing is for sure, Edwards shows no sign of slowing down. Following the last show of
‘Journey with the Giants of Jazz’ at London’s Queen Elizabeth Hall, he will now tour with
Mica Paris and Zara McFarlane and continue to take on more commissioned projects.
12 HEY MAG - AUGUST 2018
ROUND MIDNIGHT -
THE MAZE -
LUSH LIFE -
BEWITCHED, BOTHERED AND BEWILDERED -
HEY MAG - AUGUST 2018
WORDS: SOPHIA NYANANYO
The first LMYW LDN (Love Music Your Way - London) series kicked off in May this year
and it’s been a whirlwind, from famous faces to energetic audiences, and even open
mic sessions, LMYW LDN has offered the ideal hub for all music lovers and music
LMYW LDN is a platform for artists ready to launch their careers and a testing ground
for them to showcase their talents in a room full of like-minded creatives. Taking place
in the cosy basement of The Book Club in Shoreditch, London, DJ Darka got the place
heated, with banger after banger and host Shezar had the crowd laughing, dancing,
and singing to the top of their lungs.
Named as Complex’s ‘One to Watch’, Jamilah Barry hit the stage with her delicate yet
powerful vocals, followed by Black Josh, who rapped his latest tracks. LMYW LDN’s
second event saw Pier James fuse grime with hip-hop on stage, along with singer /
For the finale, plenty of familiar faces were in attendance, and a few friendly music
industry faces too, including BBC Radio 1’s Benji B and one of our favourite vocalists,
singer / songwriter Maverick Sabre - who was celebrating his birthday.
Manchester’s HMD pronounced ‘Hamdi’ opened the show with his laid-back soulful
falsetto vocals, followed by Laura Roy. She performed her latest single ‘Temporary’
which had the crowd singing along, it’s fair to say they both gained new fans. Host
Shezar introduced special guest Liam Bailey and in true Liam style, he interacted with
the crowd and had everyone bopping and singing along to his reggae rhythm for
‘When Will They Learn’.
LMYW LDN will be back in September, new and improved! Watch this space...
GRACE CHATTO & YASMIN GREEN (CLEAN BANDIT)
PIERS JAMES & TIA SACKEY
MAVERICK SABRE &
TO THE FIRST
HOSTED BY DAN GREENPEACE
DAN GREENPEACE IS A RADIO PRESENTER, PRODUCER, OBSESSED CRATE-
DIGGER AND MANAGES DUBAI-BASED BRITISH DJ DUO, HOLLAPHONIC.
THE DYNAMIC DUO, OLLY WOOD AND GREG STAINER, ARE SIGNED TO SONY
MUSIC AND RECENTLY LAUNCHED THEIR LATEST SINGLE ‘NEW ONES’.
HEY MAG SITS WITH DAN GREENPEACE AND HOLLAPHONIC TO FIND OUT HOW
IT ALL BEGAN.
Q: WHEN DID YOUR MUSICAL JOURNEY START?
DG: My earliest music memories come from my parent’s vinyl collection. My father was
into The Beatles, ABBA and Wings and my mother leant towards early R&B and Jazz like
Jimmy Smith and Booker T, so that formed my musical DNA. I used play with vinyl a lot and
make little mash-ups using our record player and cassette deck. That was probably around
1982/1983 when hip-hop as a genre started to emerge. The rest is history as they say.
Q: WHAT WAS YOUR SOUNDTRACK IN YOUR TEENS?
PHOTO CREDIT: DAN GREENPEACE
DG: The first act I discovered and really embraced was Adam & The Ants around 1981 and
I was 10 years old by that point. I was pretty fanatical about them and feigned illness one
day to skip school then persuaded my grandfather who was looking after me that day
to take me to Woolworths to buy the new Adam & The Ants single. The next step was a
full-on immersion into every aspect of hip-hop culture. I inherited both a pop and ‘urban’
sensibility from my parents’ so when Chaka Khan released ‘I Feel For You’ featuring rapper
Melle Mel (of Grandmaster Flash and the Furious Five) it really blew my mind. That’s when
the switch flicked, and I was hooked. I feel lucky that I was the right age to have formed
musical tastes by the time hip-hop emerged because I lived every day of its progression,
single by single and album by album. Every week was a new exciting sound throughout
my teenage years.
HEY MAG - AUGUST 2018
Q: WHEN DID YOU FIRST FALL FOR THE TURNTABLES?
DG: My father had a decent turntable, but it wasn’t actually until I was 21 that I could afford a pair of Technics 1200s.
Before then, I had a makeshift setup of my father’s turntable, another cheap addition and a really basic mixer, but it
forced me to learn the basics and make do with what I had. In 1983 the movie Wildstyle came out and there was a part in
the movie where DJ Grandmaster Flash performed ‘Adventures on The Wheels Of Steel’ live in his kitchen. It was utterly
mind blowing to me and probably thousands of others.
Q: LET’S TALK ABOUT YOUR MASSIVE VINYL COLLECTION...
DG: How long have we got? Ok, let me give you a topline. I have a lot of hip-hop, that’s been the backbone of my career.
I was a professional broadcaster on London’s XFM for several years, so I amassed a lot of music during that time. I have
many of the original rap records I bought as early as 1983 so some of my vinyl is 35 years old but as hip-hop and music
technology embraced sampling record from the ‘60s and ‘70s, I discovered a lot of that music too, so I have a large
collection of old Jazz, Funk and Soul. As I was also a working DJ for many years I also have all the R&B, pop and rap hits
from the ‘90s. I have pretty much every record needed to rock a party if I had to. Recently I’ve been visiting India and
Lebanon a lot for business as I promote shows there, so I’ve been immersing myself into old Indian music whether Jazz or
Bollywood albums. I’ve discovered some amazing music and part of that journey has been going to old authentic record
dealers in Delhi or Bombay and getting to know them. I’ve loved going on that journey so my vinyl collection is going in all
sorts of new directions lately. Essentially my collection is a musical journey of discovery that I hope never ends.
Q: HOW DID YOU FIND BEAT-MATCHING, MIXING AND SCRATCHING?
DG: I’ll be honest, I’m a great beat matcher and mixer as I have a natural sense of rhythm but I’m not the best scratcher.
That’s an element of the culture that requires real dedication like learning to play an instrument. If you liken it to playing a
piano, I’d say I’m a very confident Grade 5 DJ. Not technically perfect but I could and have played in front of 10,000 people
and pulled it off. For me it’s about music selection, reading the crowd and taking them on a journey but also giving them
a bit of what they want too. Recently I’ve been doing more vinyl sets, playing to a hundred people rather than thousands
and I’ve been enjoying that much more.
Q: WHAT WAS A PROUD MOMENT FOR YOU?
DG: Around 1988 I started getting involved in pirate radio in my hometown of Leeds. I loved the medium of radio
PHOTO CREDIT: DAN GREENPEACE
18 HEY MAG - AUGUST 2018
and sharing new music with people. Fast forward to the year 2000, my friend Zane Lowe was already a presenter
on MTV and XFM and his passion for hip-hop lead to us getting a dedicated hip-hop show with our mutual friend Theo.
That moment was pivotal for me when a passion became a profession. I didn’t think about it at the time as we were in
the moment but looking back it was a proud moment. A more recent proud moment was when I organised Ed Sheeran’s
first Middle East and Indian tour. Again, I’d been booking and promoting artists for several years but that felt like a pivotal
moment where all my hard work was suddenly validated. Those are just two that spring to mind but as I look back I’m
happy with my contributions. As long as I’m contributing, I’m happy.
Q: TALK ME THROUGH ABOUT BECOMING/BEING A RADIO PRESENTER?
DG: Becoming a professional radio presenter was pivotal and opened many doors, which lead me to now being a concert
promoter. It also helped me become an artist manager, record label owner, journalist, publisher and so many other
things. Some pre-dated radio but the move to professional radio validated everything. I interviewed and met some of
my music heroes and I got to break new artists. I was literally the first UK radio presenter to interview Eminem and I
played some records first that became global hits. It helped me understand the music industry on so many levels. I
was presenter in a largely pre-digital era, which meant live radio was so thrilling. We had a genuine connection with our
Q: YOU’RE ALSO AN ARTIST MANAGER - WHAT IS THAT LIKE?
DG: Becoming a manager was a bi-product of radio. I was already running a record label in parallel to the radio show but
inviting new artists on my show made me realise there was a gap in the market for great UK rap and hip-hop. I met new
cutting edge artists and could not only offer them radio airplay and exposure but also marketing and distribution for their
music. In turn that lead into actually managing them.
Q: WHAT DOES THE FUTURE HOLD FOR YOU?
PHOTO CREDIT: DAN GREENPEACE
DG: As long as I continue being passionate about music I’ll hopefully be lucky enough where I can continue to generate
enough income to give my family a nice life. If the future continues on that trajectory, I’ll be happy. I want to get back into
music production so that’s a personal goal. I’m also working on building a podcast network, which is the natural, modern
equivalent of what I was doing with radio back in 2000. I’ll always buy vinyl and discover new and old music. I also really
enjoy managing the artists I’m currently working with and watching their careers develop.
HEY MAG - AUGUST 2018
BUGGIN’ OUT -
A TRIBE CALLED QUEST
OBSESSION 77 -
NICE AND SMOOTH -
GREG NICE & SMOOTH B
WE CAN DO THIS -
Check out the
Hey Music YouTube
channel to hear Dan
talk about his
ultimate Top 5 tunes
BIG BEAT -
20 HEY MAG - AUGUST 2018
Q: HOW DID HOLLAPHONIC COME ABOUT?
H: Two musical guys introduced in a nightclub in Dubai; one producing and one songwriting,
both missing each other’s skills... fast forward to today and we’ve got a No.1 album under
our belt and share the creative process having taught each other and found a groove.
Q: WHAT WAS THE INSPIRATION BEHIND YOUR LATEST EP - SPACESHIP?
PHOTO CREDIT: HOLLAPHONIC
H: Adventures to London and meeting new artists, we created Spaceship as a metaphorical
love story about a pure relationship knowing no bounds, not confined to the world we live
in, but a story told about the endless search for ‘The One’ ... we have this one, some funk
and live R&B vibes, and enjoyed every minute. They use it to teach English in Thailand and
we’ve been in their top 10 since December 2017... it’s definitely the track that has changed
Q: HAVE YOU PLAYED AT ANY FESTIVALS THIS YEAR?
H: This year has been about new music, so we’ve taken a short break from performing
to gather a completely new sound for Hollaphonic; much more soul, more lyrical content
and a real sunshine vibe. The latest representation Hollaphonic can be found in our single
‘New Ones’ which is out now!!
Q: WHAT ARE YOUR THOUGHTS ON THE EMERGING TURNTABLE TALENT?
H: Dance music is shifting into a new phase of artistry, DJs are as much selectors again as
they are technically capable. James Hype is doing some special stuff across the board so
that’s exciting to see - to us it’s about creating your own sound from edits of existing music
to writing and producing your own, from that perspective we’re on an exciting path as live
electro is starting to push through again. I’m interested to see where it goes next and we’re
trying to be ahead of the curve.
22 HEY MAG - AUGUST 2018
Q: YOU RECENTLY TEAMED UP WITH LA PERLE FOR A MUSIC VIDEO - WHAT WAS THAT LIKE?
H: It was awesome, having the chance to have such amazing performers interpret your sound into physical
movement, dance and acrobatics was breathtaking. The end product was spectacular, as is the show itself,
and we’ll continue to work with them on new ideas. The video is now on all Emirates airline flights, so catch
it on ICE when you next travel!
Q: HOW DID THE COLLABORATION BETWEEN HOLLAPHONIC’S AND FILMMAKER MOHAMMED SAEED HARIB COME ABOUT?
H: Mohammed and his studio Lammtara are responsible for some truly groundbreaking work, we have
searched for such a partner to take our sound and visualise our brief. He absolutely nailed it and the
wicked cover for Spaceship was the product. This has now been seen by over 4 million listeners worldwide
so we’re really happy about that, the collaboration was so successful for everyone involved. Mohammed
is such a dude, as are his team.
Q: WHAT HAS BEEN A PROUD MOMENT FOR YOU BOTH?
GS: When I catch my daughter singing the words to our songs or watching our videos on YouTube, family
OW: We love the fact Thailand has adopted us with such a welcome and the fact our lyrics are teaching
people English is a real honour.
Q: WHAT DOES THE FUTURE HOLD FOR HOLLAPHONIC?
H: New music, we’ve got some great stuff coming out in 2018; new sounds with Thai artists, Japanese
artists and some more music with both BXRBER and Aaron Camper. We couldn’t be more excited; it’s
about focus and honing in our performance into a live show to take across the planet... so we can’t wait
to be everywhere VERY soon! The passion for what we do is contagious and our energy is relentless... Hey
Music industry! We’re ready!
PHOTO CREDIT: HOLLAPHONIC
PHOTO CREDIT: HOLLAPHONIC
HEY MAG - AUGUST 2018
PROFILE: THE MOZART OF MADRAS –
WORDS: DARREN HAYNES
When it comes to dinner party discussions
about music in Indian films, there are a couple
of initials and a surname that you must quote to
demonstrate some semblance of knowledge -
To call him a ‘prolific composer’ is an
understatement. A.R. Rahman has composed
the soundtracks for over 100 films, resulting
in sales of over 200 million albums worldwide.
Remarkably, he’s also the only Asian in the list of
the world’s top 25 bestselling recording artists.
Time magazine dubbed him “the Mozart of
Madras” and placed him in its list of the world’s
100 most influential people in 2009. His Tamil
fans simply call him “Isai Puyal” (English: the
He has won numerous awards, both in India and
further afield. At the 81st Academy Awards, he
won two Oscars for Best Original Score and for
Best Original Song, making him (at that time),
only the third Indian to win an Academy Award.
Rahman must have a very wide mantelpiece
in his home (or homes plural) to display his
dizzying array of awards. Sitting alongside those
two Oscars for 2008’s Slumdog Millionaire are: a
Golden Globe, a BAFTA, two Grammy Awards,
six National Film Awards, fifteen Filmfare
Awards and seventeen Filmfare Awards South.
In 2010, the Government of India awarded him
the Padma Bhushan, the third highest civilian
Let’s just say that he’s a massive star in his native
India. What’s bigger than massive? Humongous?
He’s that word. Or bigger.
Allah-Rakha Rahman was born in Chennai to a
Hindu-Tamil family. In actual fact, A.R. wasn’t
born Allah-Rakha Rahman at all. His birth
name is Dileep Kumar but he converted to
Islam in 1989 and assumed his present name.
His father, R.K. Shekhar, was also a film-score
composer, arranger and conductor for Tamil
and Malayalam films and was supportive of
Rahman’s musicianship until his death when
Rahman was just nine years old.
Rahman took inspiration from western music as
well as more traditional Indian music. He recalls
listening to Jim Reeves and the Carpenters
alongside the work of Indian film composers
such as Madan Mohan, Naushad Ali and Roshan
(who wrote in Hindi) and Tamil composers
including K.V. Mahadevan and Vishwanatiian
As a music director, his big breakthrough came
PHOTO CREDIT: WIKIPEDIA
when he scored the 1992 Tamil movie, Roja. It
was an instant hit, with Rahman’s soundtrack
taking the country by storm and starting him
on his personal journey to multiple awards and
Over the years, India has produced many
legendary film composers (or ‘music directors”
as they’re called in the Indian film industry).
For example, alongside Rahman’s, you could
namedrop Naushad, R.D. Burman, Shankar-
Jaikishen or Ilaiyaraaja. The main difference
between them, is that Rahman has gained much
wider international acclaim, has transitioned
back and forth between Bollywood and
Hollywood, conquering the Western world and
bringing Indian music to the Western masses.
But hang on a second. Calling him “The King of
Bollywood Music” shows ignorance and sells
him a little short. The generic term, ‘Bollywood’
refers to Hindi language films. But Rahman
is a veteran composer of scores for not only
Bollywood but also Hollywood in English … and
Tamil … and Telugu … and Malayalam … and
British composer and previous collaborator,
Sir Andrew Lloyd Webber has been quoted
as saying “A.R. Rahman is nothing short of
a melodic genius. I admire his unique sense
of harmony, his staggering rhythms and his
melodies that take an unexpected twist that no
Western composer would dream of.”
It’s impossible to argue with that tribute.
A.R. Rahman can do no wrong. It seems that
everything the composer-songwriter-singerproducer-multi-instrumentalist
Indeed, he is credited with single-handedly
revolutionising Indian film music and has
24 HEY MAG - AUGUST 2018
himself become one of the Indian film industry’s
biggest money spinners, virtually owning the
industry for more than two decades. That’s
not an overstatement. His staggering musical
brilliance can make or break a film in India
and Indian producers swear by him. “In Indian
cinema, the music is such an important part of
it, that music can save a mediocre film. With
Rahman, it happens frequently” says film critic
Jai Arjun Singh.
Constant praise, fan adoration and commercial
success must bring a heavy responsibility in
terms of maintaining a high quality, prolific
output. In an online interview with Vijay Amritaj,
Rahman explains his philosophy: “If you have a
very strong mind and will, you can do anything.
For me, I was always learning so I was moving
from one thing to another thing. Now I have
the respect how do I keep it up? How do I learn
more to keep the love which people are giving
me? I’m grateful to God, to family, to my fans,
to music and musical skills.”
And does he ever think of turning his duo of
Oscars into a trio? “I made my mind realise that
two is enough for a lifetime and anything else
comes as a bonus,” he says. “Your mind is not
thinking about awards, it’s thinking about art.”
TOP 10 RECOMMENDED VIEWING & LISTENING
1. Roja (1992)
2. Rangeela (1995)
3. Dil Se (1998)
4. Lagaan (2001)
5. Rang De Basanti (2006)
6. Slumdog Millionaire (2008)
7. Couples Retreat (2009)
8. 127 Hours (2010)
9. Rockstar (2011)
10. Viceroy’s House (2017)
THEIR LIFE IN SONG
NICK STEPHENSON MEETS FOUR SONGWRITING
LEGENDS TO DISCOVER THE STORY BEHIND THEIR
BARRY MASON was a leading songwriter of
the 1960s, writing many songs in
partnership with Les Reed. He
earned numerous awards
throughout his career
including five Ivor Novello
Awards. His songwriting
credits include “Love
Grows (Where My
Rosemary Goes)”, “The
Last Waltz” and “Delilah”
which was made famous
by Tom Jones.
BM on songwriting ... “I’m
interested when people
use imagery in their songs.
My stuff is so simple. I seem
to write like a story. I feel that
every word’s got to be in normal
conversation. I did an interview
once for one of the broadsheets. It was
very flattering to get it. It was in my heyday
with stuff in the charts and feeling no pain, you
know. And the guy said ‘Barry, you’re amazing,
you just know how to put your finger on the
pulse of the everyman, of the common man’.
Little did he know, I was writing to the absolute
limit of my intellectual capacity. My style is very
BM on the song, “Delilah”: “The inspiration ...
my first pop hit as a child was Frankie Laine
singing Jezebel ... a naughty girl song. I tried
Salome in my mind, you know, trying to think
of naughty girls but Salome was a difficult word
and not edgy enough. Then Delilah came in my
mind. I was trying to do a story from history,
you know, Samson and Delilah. It was going to
be about him losing his hair and everything but
I didn’t get that far. I ended up with a whole new
GRAHAM GOULDMAN is best known for his
work with 10cc, penning classic hits such as
“Dreadlock Holiday”. In 2014, he was inducted
into the Songwriters Hall of Fame at the 45th
annual induction ceremony.
GG on songwriting … “I’ve written songs on my
own and I collaborate a lot. I’ve been very lucky,
I’ve had great songwriting partners, particularly
Eric Stewart from 10cc and the late, great
GG on the song “No Milk Today”: “This is a song I
wrote in the ‘60s. My late father used to help me
with lyrics and often came up
with song titles as well.
I’ve told this story eight
billion times but I’m
going to tell it eight
billion and one now.
He went round to
one of his friends’
but his friend wasn’t
in. He turned on the
doorstep and he saw
an empty milk bottle
with a little note in it.
He came back to me and
said “Graham, you should
write a song called ‘no milk today’. I said that
is a TERRIBLE idea. He said it’s not going to be
a song about the fact that people don’t need
any milk that day, it’s what the empty bottle
symbolises; it’s the fact that love has left the
house. Anyway, I did write it.”
GG on the song “Dreadlock Holiday”: “The phrase
... the song title was given to me by somebody I
was talking to. I was on holiday in Jamaica and
we were talking about sports and I talked about
Manchester United, obviously. I said “what
about cricket? Do you like it?” And he said, “No,
I don’t like it”. I said “Oh” ... surprised. He said,
“No, I love it” and that was it. I got back from
holiday and we were writing at my house - Eric
and I. Eric had been on holiday in Barbados, I’d
been to Jamaica and we started talking about
our holidays and we started playing this thing
and that was it, off we went. Quite simple and a
really quick song to write as well.”
MIKE BATT is a singer-songwriter, musician,
record producer, director, conductor and
former Deputy Chairman of the BPI. He is
best known for creating The Wombles pop act,
writing the chart-topping “Bright Eyes” and
discovering Katie Melua. His awards include five
Ivor Novello Awards.
MB on the song “Bright Eyes”: “In 1976, I was
commissioned to write a piece of music which was
to change my credibility rating out of ten from
one to whatever it became, at least temporarily
anyway. The song was commissioned by the
[original] producer of ‘Watership Down’. John
Hubley, the great director, said to me ‘write me
a song about death’. He didn’t really want songs
at all, he wanted a dark film. I thought, wow, that
really is serious, that’s going
to be a heavy song and I
really worried about
it for a while. Then,
I was sitting at the
piano and I thought
actually it’s one of
the most important
things in our life.
26 HEY MAG - AUGUST 2018
It’s not the death, it’s the afterlife or whatever
you might believe in. I wrote three songs, two
of which were chucked out. “Bright Eyes” was
chucked out three times and luckily got put back
in three times. Two weeks after the session with
Art Garfunkel, the director John Hubley died on
the operating table during open heart surgery
so when he commissioned me to write the song,
death must’ve been in the forefront of his mind.”
RAY DAVIES - often referred to as ‘the godfather
of Britpop’ - was the lead singer, rhythm
guitarist and main songwriter for The Kinks. He
was knighted in the 2017 New Year Honours for
services to the arts.
RD on songwriting: “A great song structure is
very much like a great short story. Have a great
opening, compelling verse, take them into a
story, have a ‘because bit’ which I call the bridge,
take them into another verse and a chorus and
you’re out of there. I love
writing to deadlines. It
brings me to life. I think
deadline imposes a set
of thought. You can
think to yourself,
what shall I write
about? Everybody says
Ray go on a holiday,
write an opus but the
real opus is written
when you’ve got ten
minutes to deliver it.”
NEVER TOO LATE TO START
Not all of us can claim Mozart’s “child prodigy” status (writing ten symphonies
before his teens - the show off!) but as our infographic shows, some of the best
pieces in a composer’s career don’t always occur early on. Whatever your
age or level of fame, it’s never too late to start composing, so put pen to
paper, right away. Research by Nick Stephenson
IN HIP HOP
FORBES RELEASES ITS ‘FORBES FIVE: HIP-HOP’S WEALTHIEST ARTISTS 2018’ LIST, AN THERE’S A NEW CASH KING.
WORDS: AASHA BODHANI
Jay-Z has finally dethroned Diddy as hip-hop’s number one cash king as he enters 2018 with a
$900 million fortune.
The Brooklyn-born mogul, who has remained in the top five since 2011, upped his riches by $90 million over the past year.
Though Jay-Z released his ‘4:44’ album in June last year, along with his substantial stakes in Roc Nation and TIDAL, it’s his
investments in ‘Armand de Brignac’ Champagne and ‘D’Ussé’ cognac that gave him the needed boost.
In March this year, Forbes released its ‘Forbes Five: Hip-Hop’s Wealthiest Artists 2018’ list, which saw heavyweights Sean
‘Diddy’ Combs and Dr. Dre in second and third place, respectively. Followed by Drake in fourth position and Eminem
cementing fifth place due to Birdman’s supposed liquidity problems.
Since Forbes began accounting the riches in the hip-hop world, Diddy has secured the top spot, but this year his estimated
worth was $825 million. Like Jay-Z, he also has investments in the booze business where he saw a steady growth in his
luxury ‘DeLeón Tequila’ brand, however Diddy’s interests in premium vodka brand ‘Cîroc’ took a slight hit.
Despite dropping to second place, Diddy took to Instagram to share a picture of himself alongside Jay-Z with a message
empowering black excellence globally.
West coast giant Dr. Dre is a non-mover in the Forbes list, but has a net worth of $770 million thanks to Apple’s $3 billion
purchase of ‘Beats by Dre’ in May 2014. Additionally, Dre’s fortune over the next year is expected to grow substantially
once his Apple stock is fully vested and depending on the tech titan’s share price the amount could be over $100 million.
If this is the case, Dre could surpass both Jay-Z and Diddy.
The last two places see a massive drop, down to $100 million to be precise as Drake and Eminem tie in fourth and fifth
The Toronto-born rapper has acquired more than $250 million since 2010, and after taxes and spending, Drake hit the
$100 million net worth mark. The young rapper has an extensive real estate portfolio, with properties in Canada and
California, as well as an equity stake in Virgina Black whiskey.
Though Eminem isn’t perhaps regarded as a business mogul, he is the best-selling rapper of all time and from any genre,
during the 2000s. Furthermore, his 2017 ‘Revival’ album release incurred strong music sales.
The consumer shift in alcohol preference has certainly given Jay-Z an edge, and if the market continues to lean towards
cognac, whiskey and tequila, the newest cash king could become the first billionaire hip-hop star.
Forbes complies the ‘Forbes Five’ list by analysing assets and financial documents, plus speaking with analysts, attorneys,
managers, industry players and the moguls themselves.
30 HEY MAG - AUGUST 2018
PHOTO CREDIT: PIETER- JANNICK DIJKSTRA
PHOTO CREDIT: THE COME UP SHOW
PHOTO CREDIT: JASON PERSSE
PHOTO CREDIT: DOD NEWS
HEY MAG - AUGUST 2018
The Store Studios, 180 Strand, WC2R 1EA
Catwalks, shopping, talks
& more — Save 20%
Festival Entry and Silver Tickets
Excluding Saturday. Valid until 19 September.
It’s been 42 years since Thin Lizzy released
‘Boys Are Back in Town’ and as songs go,
this is dad music at its finest. Dad music
or the better-known term ‘Dad Rock’ has
a distinctive sound, but defining it isn’t
easy. Whilst there is no straightforward
explanation, it is typically tied to classic rock hits
from the ‘60s and ‘70s, with dad vibes coming
through Steely Dan, Queen and AC/DC.
Dad Rock is one of those ‘once you hear it, you’ll
know it’ genres; the bass guitar takes centre
stage, along with the heavy drum beat and a
strong hook. The lyrics, in most instances, are
filled with masculine-themed, edgy lyrics instead
of soft, romanticised vocals. Dad Rock isn’t just
hardcore rock ‘n’ roll, but all are certainly wellconstructed
songs. Dad Rock shares a familiar
‘feeling’ or ‘groove’. Maybe it’s more than a
This new ‘genre’ is enjoyed by all age groups but
Dad Rock (for us) conjures up images of white
middle-aged men, wearing Levi’s 501 Originals,
rocking hairstyles inspired by Led Zeppelin or
Whitesnake. Nothing wrong with that! Think
Jeremy Clarkson in his Top Gear heyday.
In honour of dad rockers everywhere, Hey Mag
has put together a list of the Top 75 ultimate
‘A Horse With No Name’ - America
‘Ace Of Spades’ - Motorhead
‘Africa’ - Toto
‘All Right Now’ - Free
‘All The Young Dudes’ - Mott The Hoople
‘American Pie’ - Don McLean
‘Another One Bites The Dust’ - Queen
‘Baba O’Riley’ - The Who
‘Black Magic Woman’ - Santana
‘Born In The USA’ - Bruce Springsteen
‘Born To Run’ - Bruce Springsteen
‘Boys Are Back In Town’ - Thin Lizzy
‘Broken Wings’ - Mr. Mister
‘Brown Eyed Girl’ - Van Morrison
‘Cat’s In The Cradle’ - Ugly Kid Joe
‘Chelsea Dagger’ - The Fratellis
‘Crazy Crazy Night’ - Kiss
‘Crazy On You’ - Heart
‘Delta Lady’ - Joe Cocker
‘Don’t You (Forget About Me)’ - Simple Minds
‘Don’t Stop Believin’ - Journey
‘Down Under’ - Men At Work
‘Eye Of The Tiger’ - Survivor
‘Fight For Your Right’ - Beastie Boys
‘Foxy Lady’ - Jimi Hendrix
‘Free Bird’ - Lynyrd Skynyrd
‘Go Your Own Way’ - Fleetwood Mac
‘In The Air Tonight’ - Phil Collins
‘Johnny B. Goode’ - Chuck Berry
‘Kashmir’ - Led Zeppelin
‘LA Woman’ - The Doors
‘Layla’ - Derek and the Dominos
‘Live And Let Die’ - Paul McCartney & Wings
‘Lola’ - The Kinks
‘London Calling’ - The Clash
‘Love Is The Drug’ - Roxy Music
‘Lust For Life’ - Iggy Pop
‘Maggie May’ - Rod Stewart
‘Money For Nothing’ - Dire Straits
‘More Than A Feeling’ - Boston
‘Mr Blue Sky’ - Electric Light Orchestra
‘Oh Well’ - Fleetwood Mac
‘Paranoid’ - Black Sabbath
‘Pinball Wizard’ - The Who
‘Pride (In The Name Of Love)’ - U2
‘Rebel Rebel’ - David Bowie
‘Reelin’ In The Years’ - Steely Dan
‘Rock And Roll’ - Led Zeppelin
‘Rockin’ All Over the World’ - Status Quo
‘Rockin’ In The Free World’ - Neil Young
‘School’s Out’ - Alice Cooper
‘Seven Nation Army’ - The White Stripes
‘Shine On You Crazy Diamond’ - Pink Floyd
‘Should I Stay Or Should I Go’ - The Clash
‘Since You’ve Been Gone’ - Rainbow
‘Smoke On The Water’ - Deep Purple
‘Stay With Me’ - The Faces
‘Stuck In The Middle With You’ - Stealers Wheel
‘Sultans Of Swing’ - Dire Straits
‘Summer of 69’ - Bryan Adams
‘Sweet Child O’ Mine’ - Guns & Roses
‘Sympathy For The Devil’ - The Rolling Stones
‘Take It Easy’ - The Eagles
‘Teenage Kicks’ - The Undertones
‘The Joker’ - Steve Miller Band
‘Two Princes’ - Spin Doctors
‘Under Pressure’ - David Bowie & Queen
‘Up The Junction’ - Squeeze
‘Walk On The Wild Side’ - Lou Reed
‘Walk This Way’ - Aerosmith/Run DMC
‘We Will Rock You’ - Queen
‘Werewolves Of London’ - Warren Zevon
‘Where The Streets Have No Name’ - U2
‘Wild Thing’ - The Troggs
‘You Shook Me All Night Long’ - AC/DC
34 HEY MAG - AUGUST 2018