This is an article I've been sitting on for quite a while. I hit upon the idea of doing something like this while reading a similar article by Another Angry Voice, the blog that first got me interested in politics. (He's also been a major non-musical influence on me and I thoroughly recommend you read some of his work at http://anotherangryvoice.blogspot.co.uk.)
It doesn't include absolutely everyone I've ever listened to or read, and I'd be delighted to come across other artists and writers I don't know as much about just yet.
I've written the list more or less in chronological order of when I first listened to or read their work. I've also felt it necessary to present a couple of songwriting teams together, as they are essentially inseparable.
Paul Simon
Arguably the greatest musician of his or any other generation, and certainly the most versatile, Paul Simon's Graceland is where my musical journey really began. I can remember like it was yesterday, getting hooked on the grooves and the sounds, that were and are so totally unique. It still reminds me today how important it is that a track is accessible, in order for deeper meanings and consciousness to shine through.
While Graceland stands as Paul's moment of greatness and cemented his legacy, what's not so well appreciated is that he'd been an explorer of world music ever since he went solo, and his other albums are also well worth checking out. What makes Paul so special is that each album has its own place, and none of them seem superfluous (in contrast to some artists who you feel can be summed up in just a few of their songs). In my opinion, every aspiring singer-songwriter must listen to some Paul Simon at some point in their education.
Calum and Rory MacDonald
As I discovered, Runrig aren't to everyone's taste, but they've exerted a fascination over me for most of my life. The connection to culture and landscapes, the Gaelic language (which I sadly didn't learn at school because I spent most of my school years outside Scotland), the atmospheres they're capable of creating – to a greater or lesser degree the band's main songwriting team have shaped my voice and my style in all these aspects. In my opinion, Rory also produced some of Runrig's most amazing vocal moments on record (check out “Flower of the West” or “Big Sky” if you don't believe me).
Dougie MacLean
This Scottish songsmith was my first introduction to folk music, and there can't be many better than him out there. But he's actually a lot more than just another folk purist – he explores a lot further than you might have given him credit for, although his lyrics and his song structures always keep him connected to his roots. “Gneiss Wind” and “Fragments from 'A Mug's Game'” also gave me the idea to try my hand at some instrumental writing.
Stuart Adamson
If you haven't ever come across Big Country, with Stuart Adamson as their front man, then make it your business to do so. Big heart, big guitars, big voice – what more could you want? Songwriting genius, perhaps? He had that covered too. There are numerous Adamson lyrics that I find myself thinking “that's me, that describes me” or “I wish I could have written that if he hadn't already got there”. But he was also so much more than a passionate guy who wore his heart on his sleeve – he could also carry a damn good groove, and that inevitably rubbed off on me. If I write a song that uses a 12/8 shuffle rhythm (and I write quite a lot of them), it's probably been influenced by Big Country.
Sadly, he never overcame his demons and he eventually took his own life in December 2001. His later writing in particular (which was and is criminally underrated) speaks on a deep emotional level to me, as someone who's been depressed, socially awkward and at times completely friendless, and shows me I can still use all that shit to create great things. I owe it to Stuart; he's helped me to stay alive even though he reached the point where he could no longer do so himself. RIP Stuart – the greatest singer I never got the chance to see.
Charlie & Craig Reid (aka The Proclaimers)
I'll start this one off with a disclaimer: I do believe "I'm Gonna Be (500 Miles)" is grossly overplayed and I don't have much time for it. Particularly since all but the diehards seem to be totally unaware of all the real gems that can be found amongst their work, from the gorgeous ballads like “Shadows Fall” and “The Light” to the lesser-known rockers like “Born Innocent”, “Life with You” and “The Wages of Sin”. The Proclaimers are never going to be known for sophistication, but they're no less valuable for their bluntness and directness.
Amy MacDonald
Another singer-songwriter whose greatest strength lies in her human qualities and her connection with her listeners. Amy's experiences that she writes about have a lot in common with mine, and we also happen to have quite a few shared influences. What was fascinating was observing how much she matured from her debut album (This is the Life) to the follow-up, A Curious Thing. I covered one of her songs from the latter record (as usual, it wasn't the most famous one!) in a talent contest in my last school year; it's still one of my favourite performances I ever did.
What's also interesting is that Amy is the youngest musician on this list by a significant margin. Unfortunately, there are just not as many artists coming through from her generation that are performing in the genres that I like, or exhibiting the kinds of qualities I like in music. Rock and roll can, on an industry level at least, feel like a closed shop that no one believes can be fresh and new today. What I wouldn't give to join Amy in proving that rock and roll is alive and kicking…
Psalms
This one isn't so much one writer as a collection of writings (many are associated with King David but they reflect centuries of individual and corporate inspiration). What you might find surprising is how shockingly honest these writers actually were. These guys were not preachers, and I realised pretty quickly that I'm not either. But there's definitely plenty of food for thought contained in amongst this book. Of course many of them were pieces of music originally (check out how many of them have the sub-heading “For the director of music”).
Vince Gill
I've been pretty scathing about certain country artists in my time, but Vince Gill is without doubt a special talent. He's a neo-traditionalist and a non-conformist, he's authentic yet also versatile, he's got the voice of an angel and he's a cracking guitarist too. If we lived in a world where superior quality always won out, Vince would easily have crossed over onto rock radio with a few tracks. When you're good, you're good, no matter the genre.
Bruce Springsteen
The more I listen to Springsteen, the more I'm inspired to capture something of his sound – not to mention his lyric writing – in my own style. It's pretty difficult to overstate his influence in popular music. If anyone wondered why I wanted to own a Fender Telecaster, he would be most of the answer, because I was drawn to the sound of the instrument and the way he plays it and I began to realise it was a sound that I really wanted to have in my own work. And it wasn't just Bruce's own guitar style that captured my interest: the E Street Band add such an amazing backing to the songs, and it's no surprise they've been such a big part of Bruce's success. Listening to Bruce's albums has taught me so much about instrumentation, texture and arrangements – not to mention the arranging assignment I did at university in which I reworked a folk song into a Springsteen + E Street Band-style rocker. And I haven't even begun to consider the stories that his songs tell – whether autobiographical or not (and a lot of them aren't), they're capable of being compelling and understandable. Another guy who simply has to be in every student musician's playlist.
Billy Joel
I started out as a pianist, have carried on playing the piano since my interests turned towards popular music, and my performance tutor at university periodically encouraged me to continue with the piano-vocal performances – so it's no surprise that I get compared to Billy Joel every so often. I can't think of many other artists whose inner identity clashed so much with the identity they were given by their audience and/or critics – Joel was labelled a “balladeer” and a “soft rocker” due to songs like “Just the Way You Are” and “She's Always a Woman”, but he often felt that such labels insulted him, and with material like the album Glass Houses he attacked this popular image of himself. (My personal favourites come from Storm Front and River of Dreams, the last pop albums he made.) It's interesting how this mirrors some of my own experiences – I've also encountered audiences who picked their favourite songs of mine when I actually preferred some of my other tracks. Perhaps not coincidentally my favourite Billy Joel songs also aren't the “balladeer” numbers… Billy, you have my sympathy!
Dolores Keane
Dolores Keane is known for her performing rather than her writing, but she's certainly damn fine at that, from what I've heard thus far (which, I'm ashamed to admit, only extends to one album and a few tracks from folk anthologies). Her cover of “Caledonia” is one of the best there is, and like its author, Dougie MacLean, Dolores demonstrates just what is possible even with tried and tested subject matter and chord progressions. One I need to investigate more.
Garth Brooks
I've not listened to enough of Garth Brooks' material either, but I was sufficiently moved by what I have heard to try my own version of “That Summer” at several open mics and performances for a time. Any artist who melds genres together as effectively as this guy does is bound to catch my attention, even if there is the danger that some experiments won't work as well. I always prefer writers who dare to be different to those who consistently play it too safe.
It doesn't include absolutely everyone I've ever listened to or read, and I'd be delighted to come across other artists and writers I don't know as much about just yet.
I've written the list more or less in chronological order of when I first listened to or read their work. I've also felt it necessary to present a couple of songwriting teams together, as they are essentially inseparable.
Paul Simon
Arguably the greatest musician of his or any other generation, and certainly the most versatile, Paul Simon's Graceland is where my musical journey really began. I can remember like it was yesterday, getting hooked on the grooves and the sounds, that were and are so totally unique. It still reminds me today how important it is that a track is accessible, in order for deeper meanings and consciousness to shine through.
While Graceland stands as Paul's moment of greatness and cemented his legacy, what's not so well appreciated is that he'd been an explorer of world music ever since he went solo, and his other albums are also well worth checking out. What makes Paul so special is that each album has its own place, and none of them seem superfluous (in contrast to some artists who you feel can be summed up in just a few of their songs). In my opinion, every aspiring singer-songwriter must listen to some Paul Simon at some point in their education.
Calum and Rory MacDonald
As I discovered, Runrig aren't to everyone's taste, but they've exerted a fascination over me for most of my life. The connection to culture and landscapes, the Gaelic language (which I sadly didn't learn at school because I spent most of my school years outside Scotland), the atmospheres they're capable of creating – to a greater or lesser degree the band's main songwriting team have shaped my voice and my style in all these aspects. In my opinion, Rory also produced some of Runrig's most amazing vocal moments on record (check out “Flower of the West” or “Big Sky” if you don't believe me).
Dougie MacLean
This Scottish songsmith was my first introduction to folk music, and there can't be many better than him out there. But he's actually a lot more than just another folk purist – he explores a lot further than you might have given him credit for, although his lyrics and his song structures always keep him connected to his roots. “Gneiss Wind” and “Fragments from 'A Mug's Game'” also gave me the idea to try my hand at some instrumental writing.
Stuart Adamson
If you haven't ever come across Big Country, with Stuart Adamson as their front man, then make it your business to do so. Big heart, big guitars, big voice – what more could you want? Songwriting genius, perhaps? He had that covered too. There are numerous Adamson lyrics that I find myself thinking “that's me, that describes me” or “I wish I could have written that if he hadn't already got there”. But he was also so much more than a passionate guy who wore his heart on his sleeve – he could also carry a damn good groove, and that inevitably rubbed off on me. If I write a song that uses a 12/8 shuffle rhythm (and I write quite a lot of them), it's probably been influenced by Big Country.
Sadly, he never overcame his demons and he eventually took his own life in December 2001. His later writing in particular (which was and is criminally underrated) speaks on a deep emotional level to me, as someone who's been depressed, socially awkward and at times completely friendless, and shows me I can still use all that shit to create great things. I owe it to Stuart; he's helped me to stay alive even though he reached the point where he could no longer do so himself. RIP Stuart – the greatest singer I never got the chance to see.
Charlie & Craig Reid (aka The Proclaimers)
I'll start this one off with a disclaimer: I do believe "I'm Gonna Be (500 Miles)" is grossly overplayed and I don't have much time for it. Particularly since all but the diehards seem to be totally unaware of all the real gems that can be found amongst their work, from the gorgeous ballads like “Shadows Fall” and “The Light” to the lesser-known rockers like “Born Innocent”, “Life with You” and “The Wages of Sin”. The Proclaimers are never going to be known for sophistication, but they're no less valuable for their bluntness and directness.
Amy MacDonald
Another singer-songwriter whose greatest strength lies in her human qualities and her connection with her listeners. Amy's experiences that she writes about have a lot in common with mine, and we also happen to have quite a few shared influences. What was fascinating was observing how much she matured from her debut album (This is the Life) to the follow-up, A Curious Thing. I covered one of her songs from the latter record (as usual, it wasn't the most famous one!) in a talent contest in my last school year; it's still one of my favourite performances I ever did.
What's also interesting is that Amy is the youngest musician on this list by a significant margin. Unfortunately, there are just not as many artists coming through from her generation that are performing in the genres that I like, or exhibiting the kinds of qualities I like in music. Rock and roll can, on an industry level at least, feel like a closed shop that no one believes can be fresh and new today. What I wouldn't give to join Amy in proving that rock and roll is alive and kicking…
Psalms
This one isn't so much one writer as a collection of writings (many are associated with King David but they reflect centuries of individual and corporate inspiration). What you might find surprising is how shockingly honest these writers actually were. These guys were not preachers, and I realised pretty quickly that I'm not either. But there's definitely plenty of food for thought contained in amongst this book. Of course many of them were pieces of music originally (check out how many of them have the sub-heading “For the director of music”).
Vince Gill
I've been pretty scathing about certain country artists in my time, but Vince Gill is without doubt a special talent. He's a neo-traditionalist and a non-conformist, he's authentic yet also versatile, he's got the voice of an angel and he's a cracking guitarist too. If we lived in a world where superior quality always won out, Vince would easily have crossed over onto rock radio with a few tracks. When you're good, you're good, no matter the genre.
Bruce Springsteen
The more I listen to Springsteen, the more I'm inspired to capture something of his sound – not to mention his lyric writing – in my own style. It's pretty difficult to overstate his influence in popular music. If anyone wondered why I wanted to own a Fender Telecaster, he would be most of the answer, because I was drawn to the sound of the instrument and the way he plays it and I began to realise it was a sound that I really wanted to have in my own work. And it wasn't just Bruce's own guitar style that captured my interest: the E Street Band add such an amazing backing to the songs, and it's no surprise they've been such a big part of Bruce's success. Listening to Bruce's albums has taught me so much about instrumentation, texture and arrangements – not to mention the arranging assignment I did at university in which I reworked a folk song into a Springsteen + E Street Band-style rocker. And I haven't even begun to consider the stories that his songs tell – whether autobiographical or not (and a lot of them aren't), they're capable of being compelling and understandable. Another guy who simply has to be in every student musician's playlist.
Billy Joel
I started out as a pianist, have carried on playing the piano since my interests turned towards popular music, and my performance tutor at university periodically encouraged me to continue with the piano-vocal performances – so it's no surprise that I get compared to Billy Joel every so often. I can't think of many other artists whose inner identity clashed so much with the identity they were given by their audience and/or critics – Joel was labelled a “balladeer” and a “soft rocker” due to songs like “Just the Way You Are” and “She's Always a Woman”, but he often felt that such labels insulted him, and with material like the album Glass Houses he attacked this popular image of himself. (My personal favourites come from Storm Front and River of Dreams, the last pop albums he made.) It's interesting how this mirrors some of my own experiences – I've also encountered audiences who picked their favourite songs of mine when I actually preferred some of my other tracks. Perhaps not coincidentally my favourite Billy Joel songs also aren't the “balladeer” numbers… Billy, you have my sympathy!
Dolores Keane
Dolores Keane is known for her performing rather than her writing, but she's certainly damn fine at that, from what I've heard thus far (which, I'm ashamed to admit, only extends to one album and a few tracks from folk anthologies). Her cover of “Caledonia” is one of the best there is, and like its author, Dougie MacLean, Dolores demonstrates just what is possible even with tried and tested subject matter and chord progressions. One I need to investigate more.
Garth Brooks
I've not listened to enough of Garth Brooks' material either, but I was sufficiently moved by what I have heard to try my own version of “That Summer” at several open mics and performances for a time. Any artist who melds genres together as effectively as this guy does is bound to catch my attention, even if there is the danger that some experiments won't work as well. I always prefer writers who dare to be different to those who consistently play it too safe.