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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It's Gary Lineker 1, the Sun 0

The football hero has found himself at the heart of a Twitter storm over the refugee children debate.

The Mole wonders what sort of topsy-turvy universe we now live in where Gary Lineker is suddenly being called a “political activist” by a Conservative MP? Our favourite big-eared football pundit has found himself in a war of words with the Sun newspaper after wading into the controversy over the age of the refugee children granted entry into Britain from Calais.

Pictures published earlier this week in the right-wing press prompted speculation over the migrants' “true age”, and a Tory MP even went as far as suggesting that these children should have their age verified by dental X-rays. All of which leaves your poor Mole with a deeply furrowed brow. But luckily the British Dental Association was on hand to condemn the idea as unethical, inaccurate and inappropriate. Phew. Thank God for dentists.

Back to old Big Ears, sorry, Saint Gary, who on Wednesday tweeted his outrage over the Murdoch-owned newspaper’s scaremongering coverage of the story. He smacked down the ex-English Defence League leader, Tommy Robinson, in a single tweet, calling him a “racist idiot”, and went on to defend his right to express his opinions freely on his feed.

The Sun hit back in traditional form, calling for Lineker to be ousted from his job as host of the BBC’s Match of the Day. The headline they chose? “Out on his ears”, of course, referring to the sporting hero’s most notable assets. In the article, the tabloid lays into Lineker, branding him a “leftie luvvie” and “jug-eared”. The article attacked him for describing those querying the age of the young migrants as “hideously racist” and suggested he had breached BBC guidelines on impartiality.

All of which has prompted calls for a boycott of the Sun and an outpouring of support for Lineker on Twitter. His fellow football hero Stan Collymore waded in, tweeting that he was on “Team Lineker”. Leading the charge against the Murdoch-owned title was the close ally of Labour leader Jeremy Corbyn and former Channel 4 News economics editor, Paul Mason, who tweeted:

Lineker, who is not accustomed to finding himself at the centre of such highly politicised arguments on social media, responded with typical good humour, saying he had received a bit of a “spanking”.

All of which leaves the Mole with renewed respect for Lineker and an uncharacteristic desire to watch this weekend’s Match of the Day to see if any trace of his new activist persona might surface.


I'm a mole, innit.