I’M THE ONE
Interview by Imran Khan
A life in the arts started at such an early age for you. Your earlier work belies a sense of sheer determination and self-confidence. Can you go into some detail about the drive you had to become involved in music?
It’s been an improvised life, my involvement with music was entirely the result of circumstantial coincidence.
You have worked with a number of notable musicians and artists from Paul Bley to Salvador Dali. Is there one artist that really left an indelible impression on you in all your years as a musician?
Albert Ayler and John Cage because they liberated music in the way that Jackson Pollack did painting.
A number of your albums (particularly the ones released during the late 70’s/early 80’s) carry strong influences of hip-hop, which was a burgeoning scene at the time. What are some of your thoughts on this particular influence in your music?
By 1973, I was living in the UK, and when hip-hop began to kick into the consciousness of the culture in ’85, I’d already recorded and released albums with raps as early as 1968, and work in ’78 and ’79, featured lengthy rap tracks that were later sampled by hip-hoppers, though I’ve never sampled.
You would heavily dip into the hip-hop/rap waters throughout the 80’s on a number of albums, following albums like X-Dreams, The Perfect Release and Sky-skating. What are your ideas on the hip-hop music being made today?
Seems either to be a product manufactured by a core of producers collaborating with a strong female personality, or a young, sexy object fronting an impressive production; or the indie, urban world of ominous male driven ego. But I haven’t heard anything to eclipse or even equal the immediate impact of imagination and content I first heard on Public Enemy’s Fight the Power, Eminem’s Lose Yourself, or even Biggie Smalls Hypnotize. (Continue reading original article here…)
Annette Peacock: Irony In The Soul
“She warned me off it and I always resented her for doing that,” she says, “but I’ve had nothing but pain and grief from it, you know, so she was absolutely right.”
Now hold on – nothing but pain and grief? All right, so her walls aren’t plastered with gold discs, and she must be getting tired by now of seeing less talented, less innovative artists shooting past her in the fast lane to commercial success. But Annette Peacock doesn’t look like a sad, disillusioned soul to me. On stage at her recent London gigs she seems newly confident, a focus of mesmerised attention flanked by electronic hardware and a trio of fabulous musicians; in person, through an unexpected shyness, she still radiates integrity and a sort of quiet determination.