- Roz’s blog
- THE NOVEL
- Who’s Roz?
Posts Tagged The Andrews Sisters
Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week’s post is by romance novelist and Novelicious founder Kirsty Greenwood @kirstybooks
Soundtrack by Jeff Buckley, Fairground Attraction, Phoenix, Carole King, John Grant, Grease 2, George Fenton, Color Me Badd, Bobby Helms, Skeeter Davis, Rosemary Clooney, Duke Ellington, Stacey Kent, Best Coast, Stevie Wonder, Hans Zimmer, Danny Elfman, George Gershwin, Rufus Wainwright, Ella Fitzgerald, Toni Braxton, Ani Difranco
I always intended to have a career in music. Encouraged by musically minded parents, my sisters and I spent much of our teenage time singing in harmony. We were cool that way. Known for our rendition of The Andrews Sisters’ Boogie Woogie Bugle Boy, we performed in local pubs, at karaoke, family birthday parties and such. We still get asked to perform Boogie Woogie, but it’s not quite so adorable now we’re in our 30s. At 22 I studied music at college, sang, learned to play the guitar and wrote whimsical/folksy pop songs. I won a ‘Song of the Year’ award and wrote and sang for a local bhangra/pop producer. Music was my everything. Shortly after getting my degree, I was hit with a period of bipolar depression that lasted for over a year. I stopped performing and lost all interest in pursuing music professionally. During my recovery I started to write romantic comedy – writing fiction is remarkably similar in process to writing songs (both crafted in terms of story, rhythm, theme, timbre, pace and texture) – and found it to be hugely enjoyable as well as restorative.
A creative place
I use music to quickly access a creative state, particularly if I’m procrastinating on a book or I’m having a day when I don’t feel like writing jokes. So before a writing session I’ll listen to songs that buoy my spirits, energise and inspire me. Jeff Buckley (Mojo Pin, Vancouver and So Real are all shortcuts to a mood lift), John Grant’s Queen of Denmark album, Carole King’s Tapestry, Eddi Reader, Phoenix, Stevie Wonder’s Songs in the Key of Life, Rufus Wainwright, Ella Fitzgerald, plenty of 80s power ballads and, er, the Grease 2 soundtrack which just straight up makes me laugh.
When deep into writing I love the easy companionship of music, but find anything lyrical too entertaining and end up singing along. I’ll listen to classical music and film instrumentals, particularly Hans Zimmer, Danny Elfman, George Gershwin and George Fenton, whose You’ve Got Mail soundtrack really helped me to get into a jaunty, ‘romcom’ mind-set for Yours Truly, as well as making me think about Nora Ephron and how I need to try harder.
Back to the 90s
My debut novel, Yours Truly, gave me a legitimate excuse to listen to lots of 90s pop. My leading man, Riley, has a thing for the supremely cheesy band Color Me Badd (they had one hit song, it was called I Wanna Sex You Up), and there’s a sex scene set to Toni Braxton’s extra randy You’re Making Me High. Music was used to bond the main characters, as it does so much in real life. Riley, an amateur musician, sings little off-the-cuff ditties to Natalie in order to woo her, and she is constantly amused by his willingness to expose his 90s pop ‘fanboying’.
I’m now writing my second book. It’s called The Vintage Guide to Love and Romance (published June 2014 with Pan Macmillan) and is the first in a series. One of the central characters, Matilda Beam, is a 77-year-old writer who can’t let go of her 1950s glory days. When my protagonist, Jess, meets Matilda, she’s sitting in a grand, cluttered room, listening to a Bobby Helms record on repeat. I find the melodies of most of his songs melancholy and the hefty reverb used on his voice makes it sound otherwordly and creepy. I wanted to provide a soundtrack for the scene that would give the audience an immediate insight into Matilda’s state of mind and also to freak out the thoroughly modern and lively Jess.
I have a dedicated Spotify playlist for The Vintage Guide to Love and Romance. These are the songs I’ve listened to in order to connect with characters and emotions, or to help me get to the ambience of a scene more clearly. The most often played tracks on there are:
End of the World (Skeeter Davis): Hauntingly beautiful, lonely and lost. A soundtrack for Matilda Beam in 2013.
Sophisticated Lady (Rosemary Clooney, Duke Ellington): Sultry and smoky, this song perfectly embodied the young Matilda Beam as a socialite and writer in the 50s. When I listen to this, I think of her being spun across the dance floor at some fabulous New York party.
Wishin’ and Hopin’ (Ani Difranco): I saw a tongue in cheek video for this song on the opening credits to My Best Friend’s Wedding and it mirrors the way Matilda Beam believes women ought to behave in order to find love. Its ludicrousness always makes me laugh and Ani Difranco’s raspy voice sounds so damn sexy in it.
This Can’t Be Love (Stacey Kent): The main romantic relationship in The Vintage Guide to Love and Romance is kind of screwball in nature with fast dialogue, disagreements and a touch of slapstick. This charming little song always puts me in mind of that.
Up All Night (Best Coast): I don’t know much about this band, but I stumbled upon this song on YouTube before I began work on the book and immediately felt it was a perfect fit for the character of Jessica Beam. It’s bursting with youthful longing and excess. I listen to this on repeat before working on emotionally charged Jess scenes.
And there you have my Undercover Soundtrack. Thanks so much for having me, Roz!
Kirsty Greenwood is an author of comedy romances, founding editor of Novelicious.com and director of the Novelicious Books imprint. She likes American TV, green clothes, Point Horror, Kristen Wiig and funny stories. She doesn’t like the Ironside theme tune or the phrase ‘nom, nom, nom’. Yours Truly is out now (Pan Macmillan). Find her on Facebook and tweet her on @Kirstybooks
Ani Difranco, authors, Best Coast, Bobby Helms, Boogie Woogie, Carole King, classical music, Color Me Badd, contemporary fiction, Danny Elfman, Desert Island Discs, drama, Duke Ellington, Eddi Reader, Ella Fitzgerald, entertainment, Fairground Attraction, George Fenton, George Gershwin, Grease 2, Hans Zimmer, Ironside, Jeff Buckley, John Grant, Kirsty Greenwood, Matilda Beam, music, music for writers, music for writing, musicians, My Memories of a Future Life, Nail Your Novel, Nora Ephron, Novelicious, Pan Macmillan, Phoenix, playlist for writers, Point Horror, romance, romcom, Rosemary Clooney, Roz Morris, Rufus Wainwright, Skeeter Davis, soundtrack, Stacey Kent, Stevie Wonder, The Andrews Sisters, The Undercover Soundtrack, Toni Braxton, undercover soundtrack, Women Writers, writers, writing, writing to music, Yours Truly
Once a week I host a writer who uses music as part of their creative process – perhaps to open a secret channel to understand a character, populate a mysterious place, or explore the depths in a pivotal moment. This week’s guest is screenwriter, playwright and novelist Cally Phillips @i_ebookreview
Soundtrack by Michael Jackson, Shaggy, The Beatles, Harry Belafonte, The Muppets, Nat King Cole, David Rovics, Sam Cooke, John K and Fred Ebb, Joel Grey, Liza Minnelli, Bing Crosby, The Andrews Sisters
All my life I have made up words to songs. As a student I used to entertain my companions on the way to and from the pub by making up ‘different’ lyrics to pop songs and musicals. It was just something I did. I heard music as a soundtrack in my head all the time and used the melody to write my own version of songs. I had a love of musical theatre and sort of wished that the world could be like that, people breaking out into song in the oddest places without any provocation. Strangely, I never thought about a career as a lyricist (I didn’t know you could). When I ‘became’ a writer for a job in my late 20s I chose screenwriting because I needed to earn a living. But life takes you on all kinds of unexpected paths and sometimes all the creativity inside you just hits that perfect moment. I’m lucky. For me the moment lasted the best part of 10 years. And changed my life.
In 2003 I started working with an advocacy group for adults labelled with learning disability who wanted to learn drama. I had no experience of ‘learning disability’ but plenty of experience of practical drama. It was challenging to begin with. Most of the group couldn’t read or write, some couldn’t or didn’t even speak. However, an amazing thing happened. Music unlocked the door.
One member of the group who never spoke beyond ‘Yes’, ‘No’ and ‘Happy’ just came alive when we started to use music. He revealed a talent for singing as well as a keen memory of 50s and 60s music. Consequently I started using music to bind together our flexible scripts. I found that by changing the lyrics of familiar pop songs to suit the story we managed to create dramas that the cast could engage with and which entertained an audience.
In 2004 we did a comedy musical version of Hamlet (called Piglet!) which included ‘ghosty’ pigs doing a song and dance version of Michael Jackson’s Thriller (song starts 04:40) and Shaggy’s It Wasn’t Me alongside my adaptation of a well-known classic with one word changed! ‘Piglet, do you want to know a secret.’ This was followed up by devised musical plays around the theme of Fairtrade – Go Bananas which featured Day-oh and Wake up and Smell the Coffee which featured, among other songs You’re the cream in my coffee and a play on recycling using the title of a David Rovics song The End of the Age of Oil and built around that song. Performed at the Scottish Parliament, we opened the event with our ‘star’ singer (the man who didn’t speak, remember) singing Amazing Grace accapella. That was a high point of my life. There wasn’t a dry eye in the house.
Our most ambitious project was performed in 2008. Aiken Drum’s Recycled Musical was our first full musical. For the uninitiated, Aiken Drum is a traditional Scots tale which deals with how people view ‘outsiders’. It was a really political piece in many ways. We set it in a sort of fictional Industrial Revolution town called Trade Town. All the songs were adapted from pop songs. For example I adapted the lyrics of Wonderful World (song starts 0:38) –
‘Don’t know much about industry,
Don’t know much about commodities,
Don’t know much about stocks and shares…’
and my favourite line
Don’t know why you want to work for money, I don’t think consumerism’s funny.’
And we also butchered Cabaret’s classic Money Makes the World go round
‘When you haven’t any shoes on your feet and your coat’s thin as paper and you look thirty pounds underweight
My advice is get a job, get a mortgage, pay with credit, have all the luxuries you need
Cause money makes the world go around…’
Having moved 200 miles north I no longer work with the group, but I have taken our experiences from that time and published them as a novel, A Week with No Labels, which includes all the ‘dramas’ I’ve mentioned and a few more besides. It includes many of the ‘created/adapted’ lyrics. Described by Julia Jones as ‘perhaps the most significant book I’ve read on my Kindle this year’, it is a tribute to my time with this amazing bunch of people who changed the course of my life and changed me irrevocably as well. Without the music there would have been no creativity. Without ABC there would have been no novel.
On the way to writing A Week with No Labels I have learned that music and creativity is for everyone. And that life can be a musical. One shouldn’t take it too seriously, one shouldn’t strive for perfection because what’s most important in life is to live and love and be creative together. The song which was always in my mind while I penned A Week With No Labels and remains there whenever I think about it is You’ve got a friend. Sung by my friend, Larry. Among other things he taught me that in our real life musicals the voice is less important than the heart. So maybe music is about more than just words.
Cally Phillips has worked as a screenwriter and playwright for 20 years and is now focussed on fiction writing. Committed to a life of creativity, she publishes advocacy work through Guerrilla Midgie Press and other writing through HoAmPresst Publishing. She writes in silence but still makes up songs, sometimes to extant tunes, sometimes recycling other melodies. Only the dogs get to hear these masterpieces. She is currently director of the Edinburgh eBook Festival and reviews for Reading Between the Lines Collective. She is also a member of the Authors Electric Writers Collective. A Week With no Labels is available in ebook format for Kindle and epub and as a paperback.Her website is here. Find her on Facebook and Twitter @i_ebookreview
A Week With No Labels, adults with learning disabilities, advocacy group, authors, Authors Electric, Bing Crosby, Cally Phillips, comedy, contemporary fiction, David Rovics, Desert Island Discs, Do Authors Dream of Electric Books, entertainment, Harry Belafonte, Joel Grey, John K and Fred Ebb, learning disabilities theatre group, learning disability, Liza Minnelli, Michael Jackson, music, music for writers, music for writing, My Memories of a Future Life, Nat King Cole, playlist for writers, Roz Morris, Sam Cooke, Shaggy, The Andrews Sisters, The Beatles, The Muppets, The Undercover Soundtrack, theatre, undercover soundtrack, unexpected paths, Women Writers, words to songs, writers, writing, writing to music
- The Undercover Soundtrack is a series where writers - and occasionally other arty folk - reveal how music shapes their work.
- It began as a companion to my first novel, My Memories of a Future Life, and now thrives as a creative salon in its own right. Pull on your headphones and join us.
- If you're curious about the novel that started it all, click the image below.
Kobo featured book, London Book Fair 2013
Seal of Excellence for Outstanding Independent Fiction, Awesome Indies 2013
Underground Book Reviews Top Summer Read 2012
League of Extraordinary Authors Top 10 Indie Elite 2012
Multi-Story Pick of the Month March and October 2012
Alliance of Independent Authors Book of the Month, January 2013
Email merozmorriswriter at gmail dot com
- All content copyright Roz Morris 2011-2016. Nothing may be reproduced without my express permission in writing beforehand. Photography: Bonnie Schupp Photography, gcg2009 and Roz Morris
Follow me on TwitterMy Tweets
What is The Undercover Soundtrack?Sleeve notes here
For the soundtrack of My Memories of a Future Life, you'll need Chopin's Sonata in B Minor, Rachmaninov preludes, lashings of Grieg's piano concerto in A minor and The Clash's Rock the Kasbah (they go together well).
You'll also need Samuel Barber's Dover Beach on piano, although that doesn't actually exist so do the best you can.
And the novel's undercover pieces. You can find them here
- What's on their soundtracks? Zip down to the footer and you can search by artiste or composer. See who shares your taste in inspirational music
Find something unforgettable
Sign up for my newsletter
- 'My Memories of a Future Life is a poignant story steeped with melancholy, edged with a desperate hope, and twisted throughout with darkness and humor'
- 'Some of the sharpest writing I've read in a long while'
- 'The feel of a modern-day witch trial with a tense romance'
- 'Clever when you think about it afterwards; haunting and engrossing while you're reading'