A UG U ST 2 0 1 8

ISSU E 0 1

UK’S HOTTEST RISING

SINGER-SONGWRITER

HOLLAPHONIC’S
GLOBAL TAKE OVER

A.R RAHMAN
THE MOZART OF MADRAS

PETER EDWARDS
THE JAZZ STAR

LMYW HITS
LONDON

LAUNCH
ISSUE
EDITOR’S NOTE
Welcome to the first PUBLISHER
edition of Hey Mag! Hey Music
Aimed at music
lovers and music
EDITOR
makers, of all genres,
we will be tapping Aasha Bodhani
into the latest music aasha@heymusic.com
and pop culture
trends from around MARKETING DIRECTOR
the world, including
Darren Haynes
news, reviews and
darren@heymusic.com
interviews with
artists and emerging
talent. CONTRIBUTORS
Aiez Mirza Ahmed
For our first issue, we speak to RAYE, who is aiez@heymusic.com
conquering the pop world, with hit after hit
infused with a blend of Afrobeat and soul sounds,
Daniella Millership
she is making her mark this year. Hey Mag finds
out how RAYE has become an accomplished daniella@heymusic.com
songwriter and singer and how she is using her
Ghanaian roots to create change in today’s music Sophia Nyananyo
scene. sophia@heymusic.com

Hey Mag turns to beat-matching, mixing and

Seham Kably
scratching masters Hollaphonic to find out what
the British DJ duo have planned for 2018, and we seham@heymusic.com
catch up with Dan Greenpeace to find out how he
became a renowned radio presenter. Nick Stephenson

Following the success of LMYW in Dubai, we

PHOTOGRAPHERS
kicked off the first series of LMYW LDN earlier this
Nathan Evans
year, and it’s been a whirlwind. LMYW LDN has
offered the ideal hub for all music fans and music nathan@heymusic.com
creatives to come together for a great night.
Check out page 14 to see Liam Bailey, Black Josh, Darren Haynes
Laura Roy, and more. Justin Higuchi
Adam Scull
AASHA BODHANI
Rose Hartman
Pieter-Jannick Dijkstra
Jason Persse
Ultomatt

LOCATION
London

@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 H E Y M AG - A U G U S T 2 0 18
 14
CONTENTS

4 RAYE
UK’s hottest rising singer-songwriter

10 PETER EDWARDS
Talks Jazz

10
14 LMYW
Goes on tour
4
17 DAN GREENPEACE
Vinyl & radio master

24

22 HOLLAPHONIC
Dynamic British DJ duo

24 A.R. RAHMAN
Mozart of Madras

30
30 CASH KINGS
Jay-Z tops rich list

10
22
34 DAD ROCK 75
Ultimate Dad rock playlist

22
22
16
 R
AYE - 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
Afrobeat influences.

“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
The Afterparty’.

”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 H E Y M AG - A U G U S T 2 0 18
 YE
RA

H E Y M AG - A U G U S T 2 0 18 5
 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

6 H E Y M AG - A U G U S T 2 0 18
“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 white-
fied 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
poppier.

“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!

H E Y M AG - A U G U S T 2 0 18 7
 1
RAYE A LONG WALK -
JILL SCOTT

2
LOOK WHAT
YOU’VE DONE -
DRAKE

3
SAY IT RIGHT -
NELLY FURTADO

FOUR WOMEN -
4
NINA SIMONE

RAYE reveals

5
her favourite Top 5
songs exclusively on
Hey Music’s YouTube channel.
Full interview coming soon.

SOULMATE -
w w w . yo utube . c om / he y m usi c of f i c i a l NATASHA BEDINGFIELD

8 H E Y M AG - A U G U S T 2 0 18
 PETER EDWARDS
TALKS HYBRID JAZZ

PHOTO CREDIT: PETER EDWARDS

10 H E Y M AG - A U G U S T 2 0 18
UK JAZZ MUSICIAN PETER EDWARDS ON HIS LOVE FOR
THE GREATS AND HOW TO MASTER THE ART OF JAZZ.
WORDS : AASHA BODHANI

P
eter 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
him well.

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.

H E Y M AG - A U G U S T 2 0 18 11
 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
says.

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
again.

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
sound.

“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 H E Y M AG - A U G U S T 2 0 18
 1
PETER GREENSLEEVES -

EDWARDS
JOHN COLTRANE

2
ROUND MIDNIGHT -
MILES DAVIS

3THE MAZE -
HERBIE HANCOCK

4
LUSH LIFE -
CHICK COREA

5
BEWITCHED, BOTHERED AND BEWILDERED -
ELLA FITZGERALD

H E Y M AG - A U G U S T 2 0 18 13
 BLACK JOSH
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
creatives.

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 /
songwriter Riiver.

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...

JAMILAH BARRY

THE HOST THE BAND LAURA ROY

 GRACE CHATTO & YASMIN GREEN (CLEAN BANDIT)
& FRIENDS LIAM BAILEY

PIERS JAMES & TIA SACKEY

MAVERICK SABRE &

TACHIA NEWALL

PIERS JAMES RIIVER

HMD SHEZAR DJ DARKA

LISTEN NOW
TO THE FIRST
SET OF
PODCASTS
HOSTED BY DAN GREENPEACE

A VAI LAB LE V I A
Q&A
WITH

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.

PHOTO CREDIT: DAN GREENPEACE

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?

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.

H E Y M AG - A U G U S T 2 0 18 17
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 H E Y M AG - A U G U S T 2 0 18
 PHOTO CREDIT: DAN GREENPEACE

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
listeners.

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?

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.

H E Y M AG - A U G U S T 2 0 18 19
 1
DAN BUGGIN’ OUT -

GREENPEACE
A TRIBE CALLED QUEST

2
OBSESSION 77 -
OBSESSION 77

3
NICE AND SMOOTH -
GREG NICE & SMOOTH B

4
WE CAN DO THIS -
RED ALERT

Check out the

Hey Music YouTube

5
channel to hear Dan
talk about his
ultimate Top 5 tunes

BIG BEAT -
w w w . yo u tube . c om / he y m usi c of f i c i a l NICK INGMAN

20 H E Y M AG - A U G U S T 2 0 18
 HOLLAPHONIC
WITH

Q&A
PHOTO CREDIT: HOLLAPHONIC

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?

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
everything.

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 H E Y M AG - A U G U S T 2 0 18
 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
is everything.

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

H E Y M AG - A U G U S T 2 0 18 23
PROFILE: THE MOZART OF MADRAS –
A.R. RAHMAN
WORDS: DARREN HAYNES

Whe n it co me s t o d i nne r p a r t y d i s c us si o ns
ab o u t mu sic i n I nd i a n f i l m s , t he r e a r e a co upl e
of in itials an d a s ur na m e t ha t y o u m us t q u o te to
d emo n str ate so m e s e m b l a nc e o f k no wl edge -
A.R. R ah man .

To cal l h i m a ‘ p r o l i f i c c o m p o s e r ’ i s an
u n d er statemen t. A . R. Ra hm a n ha s c o m po se d
th e so u n d tr ack s f o r o v e r 1 0 0 f i l m s , r e s ul ti ng
in s al es o f o v er 2 0 0 m i l l i o n a l b um s wo r l dwi de .
R emar k ab l y , h e ’ s a l s o t he o nl y A s i a n i n t he l i st o f
th e w o r l d ’ s to p 2 5 b e s t s e l l i ng r e c o r d i ng a rti sts.

Time magazi n e d ub b e d hi m “ t he M o z a rt o f
Mad r as” an d p lac e d hi m i n i t s l i s t o f t he wo rl d’ s
1 0 0 mo st i n f lu e nt i a l p e o p l e i n 2 0 0 9 . H i s T ami l
fa n s si mp l y cal l hi m “ I s a i P uy a l ” ( E ng l i s h: the PHOTO CREDIT: WIKIPEDIA
Mu si cal Sto r m).
whe n he sc o re d the 1992 T ami l mo vi e , R oja. It
H e has w o n n u m e r o us a wa r d s , b o t h i n I ndi a and
was an i nstant hi t, wi th Rahman’ s so undtrack
fur t h e r af iel d . A t t he 8 1 s t A c a d e m y A wa r ds, he
taki ng the c o untry by sto rm and starti ng h im
won tw o O scar s f o r B e s t O r i g i na l S c o r e a n d f o r
o n hi s pe rso nal j o urne y to mul ti pl e awards an d
Best O r igin al So ng , m a k i ng hi m ( a t t ha t ti me ) ,
gl o bal f ame .
on ly th e th i r d I n d i a n t o wi n a n A c a d e m y Award.
Ove r the ye ars, Indi a has pro duc e d man y
R ah man mu st h a v e a v e r y wi d e m a nt el pi e c e
l e ge ndary f i l m c o mpo se rs ( o r ‘ musi c di rectors”
in his h o me ( o r ho m e s p l ur a l ) t o d i s p l a y hi s
as the y’ re c al l e d i n the Indi an f i l m i ndu stry ).
d iz zyin g ar r ay o f a wa r d s . S i t t i ng a l o ng s i d e tho se
Fo r e xampl e , al o ngsi de Rahman’ s, yo u cou ld
two O scar s fo r 2 00 8 ’ s S l um d o g Mi l l i o na i r e are : a
name dro p Naushad, R.D . B urman, S han kar-
Golde n G lo b e , a B A F T A , t wo G r a m m y A wards,
Jai ki she n o r Il ai yaraaj a. T he mai n di f feren ce
six N atio n al F i l m A wa r d s , f i f t e e n F i l mf are
be twe e n the m, i s that Rahman has gai ne d mu ch
Awa r d s an d sev e nt e e n F i l m f a r e A wa r d s So uth.
wi de r i nte rnati o nal ac c l ai m, has trans ition ed
In 20 1 0 , th e G o v e r nm e nt o f I nd i a a wa r d e d hi m
bac k and f o rth be twe e n B o l l ywo o d an d
th e Pad ma B h u s ha n, t he t hi r d hi g he s t c i vi l i an
Ho l l ywo o d, c o nque ri ng the We ste rn wo rld an d
awar d .
bri ngi ng Indi an musi c to the We ste rn ma sses.
Let’ s j u st say th at he ’ s a m a s s i v e s t a r i n hi s nati ve
B ut hang o n a se c o nd. C al l i ng hi m “ T he K in g of
In d i a. Wh at’ s b ig g e r t ha n m a s s i v e ? H um o ngo us?
B o l l ywo o d Musi c ” sho ws i gno ranc e an d sells
H e’s th at w o r d . Or b i g g e r .
hi m a l i ttl e sho rt. T he ge ne ri c te rm, ‘ B o l ly w ood’
re f e rs to Hi ndi l anguage f i l ms. B ut Rah man
Alla h - R ak h a R ahm a n wa s b o r n i n C he nnai to a
i s a ve te ran c o mpo se r o f sc o re s f o r not on ly
H ind u - Tamil fam i l y . I n a c t ua l f a c t , A . R. w asn’ t
B o l l ywo o d but al so Ho l l ywo o d i n Engl i sh … an d
b or n Allah - R ak ha Ra hm a n a t a l l . H i s bi rth
T ami l … and T e l ugu … and Mal ayal am … an d
n ame i s D ilee p Kum a r b ut he c o nv e r t e d to
e ve n Mandari n.
Isla m in 1 9 8 9 an d a s s um e d hi s p r e s e nt name .
H is f ath e r , R .K . S he k ha r , wa s a l s o a f i l m -sc o re
B ri ti sh c o mpo se r and pre vi o us c o l l aborator,
comp o ser , ar r an g e r a nd c o nd uc t o r f o r T ami l
S i r Andre w L l o yd We bbe r has be e n qu oted
an d M alay alam f i l m s a nd wa s s up p o r t i ve o f
as sayi ng “ A.R. Rahman i s no thi ng short of
R ah man ’ s mu si c i a ns hi p unt i l hi s d e a t h whe n
a me l o di c ge ni us. I admi re hi s uni que sen se
R ah man w as ju st ni ne y e a r s o l d .
o f harmo ny, hi s stagge ri ng rhythms an d h is
me l o di e s that take an une xpe c te d twi st t h at n o
R ah man to o k in s p i r a t i o n f r o m we s t e r n m u si c as
We ste rn c o mpo se r wo ul d dre am o f .”
well as mo r e tr adi t i o na l I nd i a n m us i c . H e re c al l s
listen in g to Jim Re e v e s a nd t he C a r p e nte rs
It’ s i mpo ssi bl e to argue wi th that tribu te.
alongsi d e th e w o r k o f I nd i a n f i l m c o m po se rs
A.R. Rahman c an do no wro ng. It se e m s th at
su ch as M ad an M o ha n, N a us ha d A l i a nd Ro shan
e ve rythi ng the c o mpo se r-so ngwri te r-sin ger-
(who w r o te in H i nd i ) a nd T a m i l c o m po se rs
pro duc e r-mul ti -i nstrume ntal i st to uc he s tu rn s
inc lu d i n g K .V. M a ha d e v a n a nd V i s hwa nati i an
to go l d.
R amamu r th y.
Inde e d, he i s c re di te d wi th si ngl e -han dedly
As a mu sic d ir ec t o r , hi s b i g b r e a k t hr o ug h c ame
re vo l uti o ni si ng Indi an f i l m musi c an d h as

24 H E Y M AG - A U G U S T 2 0 18
h im sel f b e co me o ne o f t he I nd i a n f i l m i nd ustry’ s
b igge st mo n e y s p i nne r s , v i r t ua l l y o wni ng the
industr y fo r mo r e t ha n t wo d e c a d e s . T hat’ s
n ot an o v e r stat e m e nt . H i s s t a g g e r i ng m usi c al
b r ill ian ce can m a k e o r b r e a k a f i l m i n Indi a
an d I n d i an p r o duc e r s s we a r b y hi m . “ I n Indi an
cine ma, th e mu s i c i s s uc h a n i m p o r t a nt part o f
it, t h at mu si c ca n s a v e a m e d i o c r e f i l m . Wi th
R ah man , it h ap p e ns f r e q ue nt l y ” s a y s f i l m c ri ti c
Jai Ar j u n Sin gh .
Constan t p r ai se , f a n a d o r a t i o n a nd c o m me rc i al
su ccess mu st b r i ng a he a v y r e s p o ns i b i li ty i n
ter ms o f mai n t a i ni ng a hi g h q ua l i t y , pro l i f i c
ou tp u t. I n an o n l i ne i nt e r v i e w wi t h V i j a y A mri taj ,
TOP 10 RECOMMENDED VIEWING & LISTENING
1. R o j a ( 1992)
2. R a ng e e l a ( 1995)
3. D i l S e ( 1998)
4. L a g a a n ( 2001)
5. R a ng D e B a sa nt i ( 2006 )
Rahman e xpl ai ns hi s phi l o so phy: “ If yo u h ave a
ve ry stro ng mi nd and wi l l , yo u c an do any th in g.
Fo r me , I was al ways l e arni ng so I was movin g
f ro m o ne thi ng to ano the r thi ng. No w I h ave
the re spe c t ho w do I ke e p i t up? Ho w do I learn
mo re to ke e p the l o ve whi c h pe o pl e are givin g
me ? I’ m grate f ul to Go d, to f ami l y, to my fan s,
to musi c and musi c al ski l l s.”
And do e s he e ve r thi nk o f turni ng hi s du o of
Osc ars i nto a tri o ? “ I made my mi nd re al ise th at
two i s e no ugh f o r a l i f e ti me and anythin g else
c o me s as a bo nus, ” he says. “ Yo ur mi nd is n ot
thi nki ng abo ut awards, i t’ s thi nki ng abo u t art.”
6. Slumdog Milliona ire ( 2008)
7. Couples Retrea t ( 2009)
8. 127 H ours ( 2010)
9. Roc k sta r ( 2011)
10. Vic eroy ’ s H ouse ( 2017)
THEIR LIFE IN SONG
NICK STEPHENSON MEETS FOUR SONGWRITING
LEGENDS TO DISCOVER THE STORY BEHIND THEIR
SONGS.
BARRY MASON wa s a l e a d i ng s o ng wr i te r o f
th e 1 9 6 0 s , wr i t i ng m a ny s o ngs i n
p a r t ne r s hi p wi t h L e s Re ed. He
e a r ne d num e r o us a wa r d s
t hr o ug ho ut hi s c are e r
i nc l ud i ng f i v e I v o r No ve l l o
A wa r d s . H i s s o ng w ri ti ng
credits i nc l ud e “ L o ve
G r o ws ( W he r e My
Ro s e m a r y G o e s ) ” , “ T he
L a s t W a l t z ” a nd “ De l i l ah”
whi c h wa s m a d e f a mo us
b y T o m J o ne s .
B M o n s o ng wr i t i ng ... “ I’ m
i nt e r e s t e d whe n pe o pl e
us e i m a g e r y i n t he i r s o ngs.
M y s t uf f i s s o s i m p l e . I se e m
t o wr i t e l i k e a s t o r y . I f e e l that
e v e r y wo r d ’ s g o t t o b e i n n o rmal
co n v e r s a t i o n. I d i d a n i nt e rvi e w
o n ce fo r o ne o f t he b r o a d s he e t s . It was
very f latter i n g t o g e t i t . I t wa s i n m y he yday
with stu f f i n th e c ha r t s a nd f e e l i ng no p a i n, yo u
kn o w . An d th e g uy s a i d ‘ B a r r y , y o u’ r e a maz i ng,
you j u st k n o w h o w t o p ut y o ur f i ng e r o n the
p u l se o f th e ev e r y m a n, o f t he c o m m o n man’ .
Litt l e d i d h e k n o w, I wa s wr i t i ng t o t he a bso l ute
limit o f my in te ll e c t ua l c a p a c i t y . M y s t y l e i s ve ry
sim p l e.”
BM o n th e so n g , “ D e l i l a h” : “ T he i ns p i r a t i o n ...
my fir st p o p h i t a s a c hi l d wa s F r a nk i e L ai ne
sing i n g Je zeb e l . . . a na ug ht y g i r l s o ng . I tri e d
Sa lo me i n my m i nd , y o u k no w, t r y i ng t o thi nk
of n au gh ty gi r ls b ut S a l o m e wa s a d i f f i c ul t wo rd
an d n o t e d gy e no ug h. T he n D e l i l a h c a m e i n my
mind . I w as tr y i ng t o d o a s t o r y f r o m hi sto ry,
you k n o w , Sams o n a nd D e l i l a h. I t wa s g oi ng to
b e ab o u t h im l o s i ng hi s ha i r a nd e v e r y t hi ng but
I did n ’ t ge t th at f a r . I e nd e d up wi t h a who l e ne w
stor y .”
GRAHAM GOULDMAN i s b e s t k no wn f o r hi s
wor k w i th 1 0 cc , p e nni ng c l a s s i c hi t s s uc h as
“Dr ead l o ck H o lid a y ” . I n 2 0 1 4 , he wa s i nduc te d
into th e So n gw ri t e r s H a l l o f F a m e a t t he 45th
an n u al i n d u ctio n c e r e m o ny .
GG o n so n gw r iti ng … “ I ’ v e wr i t t e n s o ng s o n my
own an d I co l lab o r a t e a l o t . I ’ v e b e e n v e r y l uc ky,
I’ve h ad gr eat so ng wr i t i ng p a r t ne r s , p a r t i cul arl y
Er ic Stew ar t fr o m 1 0 c c a nd t he l a t e , gre at
Andr ew Go ld .’
GG o n th e so n g “ N o Mi l k T o d a y ” : “ T hi s i s a so ng I
wr o te in th e ‘ 6 0 s . M y l a t e f a t he r us e d t o he l p me
26 H E Y M AG - A U G U S T 2 0 18
wi th l yri c s and o f te n c ame up
wi th so ng ti tl e s as we l l .
I’ ve to l d thi s sto ry e i ght
bi l l i o n ti me s but I’ m
go i ng to te l l i t e i ght
bi l l i o n and o ne no w.
He we nt ro und to
o ne o f hi s f ri e nds’
but hi s f ri e nd wasn’ t
i n. He turne d o n the
do o rste p and he saw
an e mpty mi l k bo ttl e
wi th a l i ttl e no te i n i t.
He c ame bac k to me and
sai d “ Graham, yo u sho ul d
wri te a so ng c al l e d ‘ no mi l k to day’ . I said th at
i s a T ERRIB L E i de a. He sai d i t’ s no t go i n g to be
a so ng abo ut the f ac t that pe o pl e do n ’t n eed
any mi l k that day, i t’ s what the e mpty bottle
symbo l i se s; i t’ s the f ac t that l o ve has left th e
ho use . Anyway, I di d wri te i t.”
GG o n the so ng “ D re adl o c k Ho l i day” : “ T he ph rase
... the so ng ti tl e was gi ve n to me by so m ebody I
was tal ki ng to . I was o n ho l i day i n Jama ica an d
we we re tal ki ng abo ut spo rts and I tal ke d abou t
Manc he ste r Uni te d, o bvi o usl y. I sai d “w h at
abo ut c ri c ke t? D o yo u l i ke i t? ” And he sa id, “N o,
I do n’ t l i ke i t” . I sai d “ Oh” ... surpri se d. He said,
“ No , I l o ve i t” and that was i t. I go t back from
ho l i day and we we re wri ti ng at my ho use - Eric
and I. Eri c had be e n o n ho l i day i n B arba dos, I’d
be e n to Jamai c a and we starte d tal ki ng abou t
o ur ho l i days and we starte d pl ayi ng this th in g
and that was i t, o f f we we nt. Qui te si mple an d a
re al l y qui c k so ng to wri te as we l l .”
MIKE BATT i s a si nge r-so ngwri te r, musician ,
re c o rd pro duc e r, di re c to r, c o nduc tor an d
f o rme r D e puty C hai rman o f the B PI. He is
be st kno wn f o r c re ati ng T he Wo mbl e s pop act,
wri ti ng the c hart-to ppi ng “ B ri ght Eyes” an d
di sc o ve ri ng Kati e Me l ua. Hi s awards i nc l ude five
Ivo r No ve l l o Awards.
MB o n the so ng “ B ri ght Eye s” : “ In 1976, I w as
c o mmi ssi o ne d to wri te a pi e c e o f musi c wh ich w as
to c hange my c re di bi l i ty rati ng o ut o f ten from
o ne to whate ve r i t be c ame , at l e ast te mporarily
anyway. T he so ng was c o mmi ssi o ne d by the
[original] producer of ‘Wa te r s hip D o wn’. J ohn
Hubl e y, the gre at di re c to r, sai d to me ‘ write me
a so ng abo ut de ath’ . He di dn’ t re al l y want son gs
at al l , he wante d a dark f i l m. I tho ught, wow , th at
re al l y i s se ri o us, that’ s go i ng
to be a he avy so ng and I
re al l y wo rri e d abo ut
i t f o r a whi l e . T he n,
I was si tti ng at the
pi ano and I tho ught
ac tual l y i t’ s o ne o f
the mo st i mpo rtant
thi ngs i n o ur l i f e .
What happe ns
af te rwards?
It’s n o t th e d e ath, i t ’ s t he a f t e r l i f e o r whate ve r o pe ni ng, c o mpe l l i ng ve rse , take the m in to a
you mi gh t b el iev e i n. I wr o t e t hr e e s o ng s, two sto ry, have a ‘ be c ause bi t’ whi c h I c al l the bridge,
of w h ich w e r e c huc k e d o ut . “ B r i g ht E y e s” was take the m i nto ano the r ve rse and a c ho ru s an d
ch u ck ed o u t th r e e t i m e s a nd l uc k i l y g o t p ut bac k yo u’ re o ut o f the re . I l o ve
in th r ee ti me s. Two we e k s a f t e r t he s e s s i on wi th wri ti ng to de adl i ne s. It
Ar t G ar fu n k el , the d i r e c t o r J o hn H ub l e y d i e d o n bri ngs me to l i f e . I thi nk
th e o p er ati n g ta b l e d ur i ng o p e n he a r t s u rge ry de adl i ne i mpo se s a se t
so wh en h e co mm i s s i o ne d m e t o wr i t e t he so ng, o f tho ught. Yo u c an
d eath mu st’ v e b e e n i n t he f o r e f r o nt o f hi s m i nd.” thi nk to yo urse l f ,
what shal l I wri te
RAY DAVIES - o f te n r e f e r r e d t o a s ‘ t he g o d f athe r about? Everybody says
of B r i tp o p ’ - w a s t he l e a d s i ng e r , r hythm Ray go o n a ho l i day,
guitar i st an d ma i n s o ng wr i t e r f o r T he Ki nks. He wri te an o pus but the
was k n igh te d in t he 2 0 1 7 N e w Y e a r H o no u rs f o r re al o pus i s wri tte n
ser v ices to th e a r t s . whe n yo u’ ve go t te n
mi nute s to de l i ve r i t.”
R D o n so n gw r iti ng : “ A g r e a t s o ng s t r uc t ure i s
ver y mu ch l ik e a g r e a t s ho r t s t o r y . H a v e a gre at

CLASSICAL FOCUS
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
CASH KINGS
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
position.

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 H E Y M AG - A U G U S T 2 0 18
 PHOTO CREDIT: PIETER- JANNICK DIJKSTRA

PHOTO CREDIT: THE COME UP SHOW PHOTO CREDIT: JASON PERSSE

PHOTO CREDIT: DOD NEWS

H E Y M AG - A U G U S T 2 0 18 31
 20–23
September
2018

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& more — Save 20%
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I
ULTIMATE
t’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 well-
constructed songs. Dad Rock shares a familiar
‘feeling’ or ‘groove’. Maybe it’s more than a
feeling?
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
dad tunes.
‘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
34 H E Y M AG - A U G U S T 2 0 18
‘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
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