Thicke as thieves? Photo: David Buchan/Getty Images
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Tracey Thorn: Your songs are like your children – you have to wave them off into the world

Copyright law encourages artists to feel they're in control of what they've made. But in reality, a song is a different thing once it leaves its creator.

There’s been much talk these past couple of weeks about ownership of songs, sparked by the disputed ruling that has left Pharrell Williams liable to the tune of $7.3m over similarities between his “Blurred Lines” and Marvin Gaye’s “Got to Give It Up”. Many interesting and well-informed pieces have been written about this already and I’m not going to add to the conversation, except to say that I was as surprised as anyone else by the outcome. But it set me off thinking about the difference between the legal concept of ownership and a more nebulous, emotional feeling about whether or not songs belong to us.

Copyright law ensures that we writers earn money from our songs, and establishes our rights over the material we have composed. So don’t get me wrong – I benefit from it and am grateful for it. And yet, in some strange way, the idea of owning a song doesn’t always feel true.

Once you have written it and recorded it, and especially if it has then gone on to be a hit, a song slips out of your grasp. Played all day long on the radio – half-heard by people who are doing other things, or taken to heart by some who find that it tells the story of their life and speaks all the words they cannot say – a hit song “belongs” not to the writer, but to the listener. You wave your songs off into the world like children, hoping for the best for all of them. A hit is the child who becomes a star, soaring out of your orbit and control, swaggering about with a new identity all of its own. Sending cheques home.

This is how I feel about the Everything But the Girl song “Missing”, and it might explain why in some ways I’m less protective of it than its fans. It took the music a long time to reach its final, successful incarnation, a meandering journey in which it assumed various forms along the way, leaving me uncertain which version is the real one. And the lyrics were written at home in a scruffy notebook and tell a fictional story that never felt quite real to me, but did to so many who heard it.

I think it was Jerry Dammers who once said that you don’t ever really finish songs, you just abandon them to the public. “Missing” was found on the doorstep by millions of people who adopted and cared for it. One of those was a singer called Newtion Matthews, who sang the song on BBC1’s The Voice, weekend before last.

He spoke of how much it had meant to him, describing “a time when I was down and out and I had lost my way . . . a tough time – I was a young guy and I didn’t have anywhere to live”. And then he funked it up, in a brassy Mark Ronson-type style, taking the song somewhere new and different. Losing the melancholy, he replaced it with a kind of urgency and defiance, perhaps summoning up the feelings that had got him out of that dark place. To me, it all seemed entirely justifiable, and so I was puzzled by people who rushed to tell me on Twitter that he’d murdered it, or been disrespectful. But maybe that’s because – to come back to the point I made at the beginning – those fans feel like they own the song more than I do.

Anyway, poor Newtion got voted off and sent home, proving to me again (this is the third time I’ve seen the song in a contest – it popped up on the Italian X Factor, and before then in a previous series of The Voice) that “Missing” is not an obvious choice. It’s a hard song to sing. Not, I hasten to add, because of the vocal range (there is none to speak of) but the vocal tone, which may, after all, be essential to its success, however much you vary the arrangement.

In my favourite ever review (quoted in Bedsit Disco Queen) the journalist James Hunter described my singing of the song as being “full of her radical mid-range rationality”, but that quality is no use at all in a singing contest, where what is needed is an opportunity to impress, with high notes, ad libs, bells and whistles. “You made that song your own” is the great compliment from the judges. Funny how hard that is for a singer, when it’s what every listener does.

Tracey Thorn is a musician and writer, best known as one half of Everything but the Girl. She writes the fortnightly “Off the Record” column for the New Statesman. Her latest book is Naked at the Albert Hall.

This article first appeared in the 27 March 2015 issue of the New Statesman, Easter Double 2015

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Theresa May's "clean Brexit" is hard Brexit with better PR

The Prime Minister's objectives point to the hardest of exits from the European Union. 

Theresa May will outline her approach to Britain’s Brexit deal in a much-hyped speech later today, with a 12-point plan for Brexit.

The headlines: her vow that Britain will not be “half in, half out” and border control will come before our membership of the single market.

And the PM will unveil a new flavour of Brexit: not hard, not soft, but “clean” aka hard but with better PR.

“Britain's clean break from EU” is the i’s splash, “My 12-point plan for Brexit” is the Telegraph’s, “We Will Get Clean Break From EU” cheers the Express, “Theresa’s New Free Britain” roars the Mail, “May: We’ll Go It Alone With CLEAN Brexit” is the Metro’s take. The Guardian goes for the somewhat more subdued “May rules out UK staying in single market” as their splash while the Sun opts for “Great Brexpectations”.

You might, at this point, be grappling with a sense of déjà vu. May’s new approach to the Brexit talks is pretty much what you’d expect from what she’s said since getting the keys to Downing Street, as I wrote back in October. Neither of her stated red lines, on border control or freeing British law from the European Court of Justice, can be met without taking Britain out of the single market aka a hard Brexit in old money.

What is new is the language on the customs union, the only area where May has actually been sparing on detail. The speech will make it clear that after Brexit, Britain will want to strike its own trade deals, which means that either an unlikely exemption will be carved out, or, more likely, that the United Kingdom will be out of the European Union, the single market and the customs union.

(As an aside, another good steer about the customs union can be found in today’s row between Boris Johnson and the other foreign ministers of the EU27. He is under fire for vetoing an EU statement in support of a two-state solution, reputedly to curry favour with Donald Trump. It would be strange if Downing Street was shredding decades of British policy on the Middle East to appease the President-Elect if we weren’t going to leave the customs union in order at the end of it.)

But what really matters isn’t what May says today but what happens around Europe over the next few months. Donald Trump’s attacks on the EU and Nato yesterday will increase the incentive on the part of the EU27 to put securing the political project front-and-centre in the Brexit talks, making a good deal for Britain significantly less likely.

Add that to the unforced errors on the part of the British government, like Amber Rudd’s wheeze to compile lists of foreign workers, and the diplomatic situation is not what you would wish to secure the best Brexit deal, to put it mildly.

Clean Brexit? Nah. It’s going to get messy. 

Stephen Bush is special correspondent at the New Statesman. His daily briefing, Morning Call, provides a quick and essential guide to British politics.