𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿 - this week: Grandad’s Song (feat. Scott Shaw) - Emily Gray
- Charles Connolly
- 2 days ago
- 9 min read
Welcome all to 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿, a series of weekly reviews by Charles Connolly - an artist in his own right. Here, Charles delves into the greatest brand new singles brought to you by the best unsigned artists on our electrifying and eclectic set of 𝙉𝙚𝙬 𝘼𝙧𝙩𝙞𝙨𝙩 𝙎𝙥𝙤𝙩𝙡𝙞𝙜𝙝𝙩 playlists.
𝙂𝙧𝙖𝙣𝙙𝙖𝙙’𝙨 𝙎𝙤𝙣𝙜 (𝙛𝙚𝙖𝙩. 𝙎𝙘𝙤𝙩𝙩 𝙎𝙝𝙖𝙬) - 𝙀𝙢𝙞𝙡𝙮 𝙂𝙧𝙖𝙮
Charles keeps it in the family…
In a world of constant change, this time of year is one of standing still. I mean, we are probably frantically moving around like lunatics more so than any other time of year, but the time itself is pretty much unchanging. It is a time of tradition, and a time of family. A time of doing what we do, and in a way that we know how to do it. “It’s what we’ve always done”, springs to mind. Which is a far cry from every other side of life these days. Everything seems unknown now. The future looks more unknown than ever before. And so, December brings a vital grounding; a bond with our past. It truly is a festive month. Easter is a nice meal and a brief few hours of relaxation and chocolate stuffing, but Christmas is far more than just one day. December is a dark month full of light. Or full of LIGHTS, I should say. They twinkle in that fond way. The way they always used to twinkle. Even those blinding cold white LED lights of a few years ago have been replaced with a warmer hue; something that evokes the festive times we remember. Basically, as the modern world keeps getting more modern, there is kickback. We don’t all want it. And as those “good old days” seep from Technicolor into sepia, we crave it more. We want that feeling of “It’s what we’ve always done”.
On Sunday evening, I went to a carol concert (of sorts). This was more out of support (or so I had thought). Every year I do this, because my aunt (not my aunt) sings in that very choir. It is an occasion that brings together the whole family (most of them, anyway), along with another couple of hundred well-behaved strangers. Let’s just say it’s a very middle-class affair - in a good way. There are no tickets, and entry is free. How often is this the case these days…? You just simply arrive and smile as you enter. Every year the concert is good. It is enjoyable. It is jolly. But we mainly go to this thing out of support. However, this time the show was stupendous! The choir was on absolute top form, and it was accompanied by a most brilliant brass band. Wondrous! I had tingles from the very first tune - probably because these were mostly modern arrangements of classics, so the harmonies were that much more interesting. Don’t worry, they weren’t Steve Reich kind of modern. Why do I bore you with all this? Well, because you’re all musicians! Or most of you, anyway. This kinda stuff should interest you. Anyway, after the vital bladder-draining directly after the show, we would usually have a glass of wine “or so” - yes, there was a bar in the church (modern times or WHAT!) - but instead, we all went back to my cousin’s for a drink. Because really, THIS is what it’s all about. No no, not the booze. The FAMILY!
Whenever I am around this bunch of unusuals (my family), I know I am in safe hands. I listen, observe, care and warm to it all. It is all so present. And yet it is all formed from the past. A past that has seen oldies depart and youngies flourish (that’s one word, anyway). What was the middle generation is now the older generation. I was once the younger generation, but am now right in the middle. Neither an oldie nor a youngie. Which suits me fine. But I have vivid memories of when things were different. The same but different. I used to be a small oaf smiling politely while not understanding the older people’s jokes. Now, I’m a small oaf cracking jokes that no one understands. My, how the turntables. I still smile politely. And do you know how I know I’m in the middle…? I caught myself saying “MY, how you’ve grown” to one of the lanky buggers stooping so as not to bash their head on the ceiling. He’s probably about 11. “My, how you’ve grown” is a decidedly old-person thing to say. Whoops! My point, though, is family. I only meet this mob once or twice a year. Every year we always threaten to make it more frequent, and every year we fail in doing so. It’s tradition! But in being just those one or two times, it somehow makes it all the more special. There’s stuff to talk about. It is an occasion rather than a casual gathering. But part of me wishes to break this tradition and make it more frequent. Maybe next year… He says.
Unfortunately, all my grandparents, great aunts and great uncles are long gone. But I remember them with such fondness. I also remember being angry when they departed. As if they had chosen to leave…! Look, I was young and foolish. Now I’m middle-aged and foolish. The thing is, the last of that generation went around 15 or 20 years ago. I didn’t know them well enough. The older I get, the more I want to sink back into that screenless past and enjoy their presence. Not in any formal capacity. Not like an interview or a “What did you wish to speak to me about?” kinda thang. But just to chat. To know their manner, their personality, and what makes them tick. I want to bask in the comfort of their slow consideration. Their warm smile that pauses the clock. I never really had any of that. Or rather, I was too idiotically young to appreciate it. I feel that being idiotically middle-aged lends something else. I am less selfish. I care more for others than I do for myself. While many might wish to gain knowledge, I wish to gain feeling. Feelings which can only be conveyed by an older, wiser person. I live for feeling. That’s why I love art. That’s why I am an artist. Knowledge is good, but nothing compares to the heart.
Thankfully, one lady was not too late to do what I couldn’t. This lady chose not to release a Christmas song, but to instead release a song that embodies everything about Christmas. The subject is humble, simple, and beautiful. Please welcome a renowned member of the New Artist Spotlight family, Emily Gray, with her brand new release, ‘Grandad’s Song’. I think we all know Emily well enough to know that she is so totally honest, upbeat, and genuine. She is a hippo at heart. Sorry: a hippy. She believes in peace, love and joy. And honestly, is there a better way to be? I think not. But it’s not an easy way to be. Not these days, certainly. There is too much bitterness and resentment. Too many wars. Too much battling about inconsequential nonsense. Too much politics. Too much sadness. And too much competition. Lord knows, I am TRYING to be more like Emily, but - like I said - it ain’t easy. I think the way she does it is by observing all the bad and trying her damnedest to switch it all around. Rather than being consumed by lowness, she brings herself up and out of the whole saga that is life. I suppose in a way, it is BECAUSE of all the surrounding badness that she is such a good person. It pushes her to be a better person. There’s all the more reason. Most of the American hippies of the 60s would probably not have been hippies had it not been for Vietnam. THIS is our Vietnam. I’m not a fan of violent protesters (whose opinion is the only opinion), but I AM a fan of peace loving joy-spreaders. That’s Emily Gray.
She’s not writing about awfulness in a sarcastic manner - that’s my job. She’s not writing about love in a plastic way. She’s not writing about sex in a latex way. She’s writing about what she knows best. Family. HER family. Or more specifically, her grandfather. But I know what you’re thinking: “here’s another oldie who’s bitten the dust, and here we are with another song of loss, where its meaning can only really be felt and understood by its writer and a smattering of others. I know, I know - they just had to put it out there”… Well yes… Except you’re wrong. This is a song for her grandfather to hear. He is still among us! She didn’t wait until the inevitable, to say “I love you”. We usually wait. These old legends can’t hear it when they’re gone. There MIGHT be an afterlife, but are you willing to take that risk…? Emily wasn’t. So… Why make something so sad as ‘Grandad’s Song’…? Well here’s the thing: it’s not sad. Not in the slightest. Only the opening music might be considered sad. I would personally call it melancholic. It’s pensive. The only thing that might lead it towards sadness is perhaps her awareness that this beauty is not forever. It is only forever in our memories. Life goes on, until it doesn’t. Emily has created a perfect memory that will live with her forever, inducing more memories for other passing listeners. Shall I tell you about the simplistic narrative relayed by our very own folk queen? It’s nothing out of the ordinary. In fact, ordinary is exactly at the heart of this beautiful tune.
It covers just one day. Emily and her grandfather, together, alone. They chat. They listen to one another. They drink tea together. They drink beer together. But that’s only the beginning… Oh wait, no, that’s all. And that’s all that’s needed. That’s the point. The simplicity. The family. The closeness. The nothing of it is the everything of it. It’s warm. It’s cosy. It’s Emily being Emily at her most peaceful. And folk music lends itself so perfectly to this sentiment. Drums are not needed. Bass is not needed. Synths are not needed. Because everything that’s needed is already here. Less is not more, but simply a sufficiency. So, how then does Emily manage to not make this song boring as hell…? In many ways, I would have said. Firstly, by softly plucking her guitar in meditative rounds. Secondly by cooling off her voice from beginning to end. Maybe “cooling off” isn’t the best way to describe her voice, because it’s very warm indeed. And speaking of sound, I think this is my favourite mix of any Emily Gray song, thanks to Tim Davies (of Map of Autumn fame) as sound engineer. But more about that voice. She doesn’t start soft, sad and fragile, then lead into her famously defiant “rousing the troops” voice. Instead, she starts satisfied, and ends satisfied. There are still trills, there is still vibrato, there is still passion, but it is all very respectful and understated. Probably because her grandfather is watching. Or listening with closed eyes and a smile, sitting back in his comfy chair; a singular tear runs down his cheek. Not from sadness, but from pride. Ach, now I’m all teary-eyed. Look, it’s that time of year. Emotional. Jesus, why on Earth am I affected like this??
Sorry, I had to take a moment to gaze out of my window at the distant view, while listening. It’s getting dark now, but I feel the beauty. I just saw a red kite! Lovely, aren’t they. I think I get why I am SO affected. Aside from the song’s sentiment, it’s the other major element that makes this song so magical and emotive. That major element being something I haven’t yet mentioned. A fellow called Scott Shaw. Many of you know him already. Some will know him as one half of the hosts of our weekly 'Liner Notes' show, as part of the NAS Top 20 show. Others will know him for his own cinematic classical music. And the rest of you will know him as our resident “NAS violinist for hire”! Want a pianist? Get James Hawken. Want an engineer or producer? Get me (how’s that for a grand ad?). Want a violinist? Get Scott Shaw. Emily got Scott. And by Jove, he didn’t let her down. I have heard his playing on numerous records over the past couple of years, and it’s always been really good. But this one simply HAS to be my favourite. It is technically perfect, but has such heart! Its fast vibrato is reminiscent of Edith Piaf’s. But less ridiculous. It’s like a parlour fiddle. But not a diddly-diddly kind of fiddly fiddle. The violin and indeed the entire song is lacking reverb. Which adds to the intimate nature of the song. Instead of sounding like it was recorded in St. Paul’s Cathedral, it sounds like it’s recorded in a room. Almost suggesting that those very four walls once kept Emily and her grandfather safe and warm during that intimate chinwag. The violin is notoriously hard to play well. It is just too easy to make a mistake. Mainly in tuning. Meaning that the slightest error or wavering can make it sound just awful. Scott manages to keep things perfectly in check. It is, after all, his Fender Strad.
’Grandad’s Song’ is a perfect and strangely addictive song - which could explain why it went STRAIGHT to number one in the NAS charts this week!
So! A bar in a church, eh…? I pray to God it’s still open.
Have a very Merry Christmas and a Happy New Year! I’ll be back in my Corner on January 6th!
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