Dave
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Post by Dave on Feb 6, 2008 18:21:56 GMT
Hi Peter and anyone else who can't listen to the main Radio NZ Interview, I thought I'd posted it but it was only the short clip. Here is the main interview (28 minutes, 48kbps, 9MB) What a pity they felt they had to cut out all the songs (often without even saying what they were!) especially the live studio performance.  but the rest was good! Cheers, Dave |
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Post by postscript on Feb 6, 2008 18:55:35 GMT
Hi Peter and anyone else who can't listen to the main Radio NZ Interview, I thought I'd posted it but it was only the short clip. Here is the main interview (28 minutes, 48kbps, 9MB) What a pity they felt they had to cut out all the songs (often without even saying what they were!) especially the live studio performance. but the rest was good! Cheers, Dave Entirely agree Dave. Thank you for your trouble. Folks who haven't yet heard it: - Very relaxed interview, arguably a very Kiwi interview?
- Listen closely to her voice. Notice how she increases her Kiwi accent? Interesting mixture because when there is a pause she seems to be thinking her response and the Englishness comes through again.
Peter S. |
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Post by socalboy on Feb 6, 2008 19:07:40 GMT
I’m intrigued by Dobbyn’s observation that Hayley adopted easily to Bluegrass. A few days ago while my son and I were listening to music in my car, he remarked that it was first time he had heard this particular Hayley CD. I told him it wasn’t Hayley, it was Alison Krauss. But I could understand the mistake. Although they are usually genres apart, Alison’s bluegrass-style vocal purity is frequently noted. I tried to imagine Hayley singing some of Alison’s songs and it wasn’t a difficult stretch at all. In fact, it was Alison who sang “Down to the River to Pray” on the original “O Brother Where Art Thou?” soundtrack, a song which Hayley covered beautifully in her Live From New Zealand concert.
Like Hayley, Alison was something of a child prodigy, generally does not write her own material and experiments in other genres. Her soundtrack work has been a huge part of her success. I think bluegrass is a genre ripe with possibilities for Hayley, and could help her break open some new markets.
I suspect Hayley’s next few years will go down much the way Dave has outlined. I do think that diversification is essential to avoid the inertia about which Jon has warned. Hayley is clearly up to it, and I’m excited to see where she goes from here.
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Post by Gene on Feb 7, 2008 0:30:49 GMT
I’m intrigued by Dobbyn’s observation that Hayley adopted easily to Bluegrass. A few days ago while my son and I were listening to music in my car, he remarked that it was first time he had heard this particular Hayley CD. I told him it wasn’t Hayley, it was Alison Krauss. But I could understand the mistake. Although they are usually genres apart, Alison’s bluegrass-style vocal purity is frequently noted. I tried to imagine Hayley singing some of Alison’s Allison Krauss is one of my favorite artists. When I first listened to Hayley, I too, made an association with Allison. She, as a part of Union Station, performed some of the most popular tunes in the country. And as a soloists, she is as fine a singer as any. Also a wonderful instrumentalist. When I do my morning runs, my MP3 player puffs out an intermix of Allison and Hayley and I feel that I could run forever. Both of these fine ladies need to know that they have had a significant impact on my health!  Regards, Gene |
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Post by socalboy on Feb 7, 2008 1:03:04 GMT
[quote author=gene board=Media thread=1201899235 post=1202344249 [/quote] Both of these fine ladies need to know that they have had a significant impact on my health! [/quote] Mine too Gene. And I like the idea of your intermix. I may try it. |
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Post by milewalker on Feb 7, 2008 1:23:40 GMT
Hi Dave and all I think that I should probably be a bit more careful when posting while I should be working  What I was trying to say was that Hayley was established in three markets - the UK, NZ (of course) and Japan. Of those three, the UK and NZ are not, however, growth markets, which is to say that the level she has is likely about what she will continue to see. I am certainly not trying to discount the fact that the UK represents 100K or so sales she can rely on. NZ presents a slightly different situation because she is extremely popular there in a market which is simply quite small. Japan however, intrigues me - just the right combination of material released there at the right time might in fact do substantially better than her present performance. It may still be a "growth" market for her. Underlying this is of course a question. When she performs a set of concerts like this with someone like Dobbyn, it does create some stress among her core fans. Without singling anyone out, I think one can see this undertow even in some of the posts above (and also on the Shepherd's Bush thread) Some people like the idea more than others. Some people are more willing by disposition or temperament or whatever to accept more experimentation than others. This reaction is pretty ordinary - and it wouldnt merit comment at all except that I can easily see a situation arising......Maybe as soon as the next album, but more likely two or three down the road, the experimentation could easily reach a point where it does begin to cut into her core strength. Just using the example of bluegrass cited above, were she to do this, it is probably at the expense of a few of her more classically oriented fans. This is also normal I think - with younger performers in particular. The trick is of course to find just the right balance which brings in people faster than it loses them. Ultimately, the view I am taking here is not only admittedly speculative, but it is also long range She is going to be a viable performer for a long time. But if she does want to remain an actual market presence say in 10 years time she needs a bigger (and also, in a perfect world, younger) base than she has now - IMHO. As always, I could be wrong  BTW Dave, while I think you are correct about the general music trends away from CD sales I strongly suspect that this effect is still weakest among the group of people likely to be Hayley fans at the present time. Based on my own habits - I may well purchase downloads of individual songs, but if I want an entire release, I am still more likely to buy a "hard copy". Who knows - if this works out right for her, her char position might actually improve. One other comment in closing.....This drew no comment at all at the time, but at the end of her newsletter from (I think) last spring, she said something about returning to Nashville..... Jon |
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Post by postscript on Feb 7, 2008 13:52:28 GMT
Your post 20 Jon (Milewalker). I don't disagree with the essence of what you say (that she has a conundrum to resolve) as may be you (or someone else) has posted, 'standing still' ain't an option.
She has to keep moving. That means she has to make decisions and we have inferences that on certain points she is indecisive. Hence the 'quietude' while she decides which way to jump.
My personal feeling is that it is a question of balance. With care she can broaden and move into new horizons/combinations provided there is sufficient core as to hold what she has gained, add new to long-term retain and thus grow exponentially.
This is why, when i heard of the song list on Marvelly's CD I raised the question whether Hayley's/Decca's philosophy of adapting arrangements according to country/culture was necessarily the best way. Would she not attract more people across the culture range by more careful selection of one song list made available universally? After all, while there are special provincial interests/bias in all cultures all cultures do have a common overlap and that would be the area to pitch for.
Peter S.
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Post by socalboy on Feb 7, 2008 18:45:43 GMT
This is why, when i heard of the song list on Marvelly's CD I raised the question whether Hayley's/Decca's philosophy of adapting arrangements according to country/culture was necessarily the best way. Would she not attract more people across the culture range by more careful selection of one song list made available universally? After all, while there are special provincial interests/bias in all cultures all cultures do have a common overlap and that would be the area to pitch for. Peter S. In fact, I would argue that in Hayley’s case there has been too much effort put into the concept of localization, and that Peter’s assertion about cultural overlap – when it comes to music – is a critical one. Before Hayley I knew nothing of Maori culture or music. That didn’t stop me (and countless others) from falling in love with Pokarekare Ana. The Japanese have a unique cultural tradition, but they have taken passionately to western classical music. Paul Simon tapped into a surprising cultural link when he made a hugely successful album featuring tribal African music. And the list goes on. The point being that artistic connections – music above all – resonate at a deeply human level that can trump cultural differences. Likewise, cultural identity guarantees nothing. I don’t care for a lot of the music made in my own backyard – rap, heavy metal. I don’t even like jazz that much (which can get you arrested in the States). My musical preferences are clearly not cultural so much as generational or personal. Respectfully, I think there’s been a bit too much squeamishness about what Hayley stands to lose if she tries this or that. There are always risks, and as she ventures forth she will lose a few fans as she gains others, but I don’t think the losses will come because she forsakes cultural or regional interests. She is where she is because of her exquisite voice, and above all for the distinctiveness of that voice. That quality that we call pure or angelic or any number of words that never quite capture it. James Horner called it “soft and mysterious.” Wherever she goes the vast majority of her fans will go with her. I’m mindful of not reading more into this than is warranted, but her decision to tour with Dobbyn strikes me as a highly strategic exploration on her part. Though touring with Il Divo and Celtic Woman was a departure, musically she remained in her box. Not so much with Dobbyn. I never forget the story of Hayley fighting for the inclusion of Wuthering Heights on Pure. She’s a courageous girl at heart, which may tell us something about her future. |
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Dave
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Post by Dave on Feb 7, 2008 19:03:11 GMT
... She is where she is because of her exquisite voice, and above all for the distinctiveness of that voice. That quality that we call pure or angelic or any number of words that never quite capture it. James Horner called it “soft and mysterious.” Wherever she goes the vast majority of her fans will go with her. Hi Socalboy, I couldn't have put it any better myself. If the changes are gradual, and I am certain they will be because Hayley will surely want to continue being as musically diverse as she can, most of her existing fans and supporters will follow wherever she chooses to go. And a few more may be collected along the way. Cheers, Dave |
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Post by stevemacdonald on Feb 7, 2008 19:54:28 GMT
... Before Hayley I knew nothing of Maori culture or music. That didn’t stop me (and countless others) from falling in love with Pokarekare Ana. Heh, besides Hayley's impeccable vocals, the one thing that makes this Maori song accessible to me is its underlying melody which is actually European in origin... it was adapted from a Dalmatian fiddler's dance tune. The other cool Maori song, E Pari Ra, was similarly Western in musical origin. I wonder what Maori music sounds like all by itself -- that is, without the help of Western composers. |
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Post by milewalker on Feb 7, 2008 20:04:38 GMT
Respectfully, I think there’s been a bit too much squeamishness about what Hayley stands to lose if she tries this or that. There are always risks, and as she ventures forth she will lose a few fans as she gains others, but I don’t think the losses will come because she forsakes cultural or regional interests. She is where she is because of her exquisite voice, and above all for the distinctiveness of that voice. That quality that we call pure or angelic or any number of words that never quite capture it. James Horner called it “soft and mysterious.” Wherever she goes the vast majority of her fans will go with her. I’m mindful of not reading more into this than is warranted, but her decision to tour with Dobbyn strikes me as a highly strategic exploration on her part. Though touring with Il Divo and Celtic Woman was a departure, musically she remained in her box. Not so much with Dobbyn. I never forget the story of Hayley fighting for the inclusion of Wuthering Heights on Pure. She’s a courageous girl at heart, which may tell us something about her future. Hi Socialboy and all, Very well stated, and for the most part I agree. One thing I have been trying to say - though not perhaps very well - is that Hayley would lose a certain number of fans over time even if she changed absolutely nothing. Take any long standing act in any musical genre, and one can see this quite clearly. Usually, if the act is successful enough in their prime, they will still be able to tour successfully, but will have more difficulty selling their later work. Over the last 15 years of his career, John Denver probably lost about 75 percent of his peak following. He could still tour profitably because that peak following was quite large. All I am saying is that Hayley doesnt have the current following to be able to do the same thing in my opinion. For this reason, I too wholeheartedly support things like the Dobbyn colloboration even though I dont personally care that much for him as a singer either. I do sense a degree of tentativeness (Peter has called it indecision) at times, though I dont know if this comes from Hayley or from Decca or from the interplay between the two entities quite frankly. In any event, it is far better in my opinion that Hayley begins to do this gradually now, than to do what happens too often - wait until the need to adapt becomes overwhelming and then be forced to make a more radical change. Jon |
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Post by milewalker on Feb 7, 2008 20:10:11 GMT
... Before Hayley I knew nothing of Maori culture or music. That didn’t stop me (and countless others) from falling in love with Pokarekare Ana. Heh, besides Hayley's impeccable vocals, the one thing that makes this Maori song accessible to me is its underlying melody which is actually European in origin... it was adapted from a Dalmatian fiddler's dance tune. The other cool Maori song, E Pari Ra, was similarly Western in musical origin. I wonder what Maori music sounds like all by itself -- that is, without the help of Western composers. Thanks for that Steve - I was about to make the same point but you beat me too it. I did wonder just how that Dalmation played the fiddle was there a paws before the audience reacted?? As a matter of fact E Pari Ra is a waltz.... Jon |
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Post by stevemacdonald on Feb 7, 2008 20:18:04 GMT
... I did wonder just how that Dalmation played the fiddle was there a paws before the audience reacted?? I'm told his playing was a bit spotty. |
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Post by thomas on Feb 7, 2008 21:08:02 GMT
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Post by socalboy on Feb 7, 2008 21:12:02 GMT
... I did wonder just how that Dalmation played the fiddle was there a paws before the audience reacted?? I'm told his playing was a bit spotty. Yes, but he was praised for his dogged perseverance. |
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but the rest was good!
