Sophie with Steve Allen, LBC

Sophie was on Steve Allen's In Conversation With... programme, broadcast on LBC Radio, 12 June 2011. It is more like listening in to a conversation than an interview. They talk about Sophie's life, opinions, and work.

http://www.megaupload.com/?d=29OZJEKZ
thanks to Paul for the recording

Make a scene: Review

MAKE A SCENE (2011, EBGB RECORDS)

Three albums, four years of recording and delays, and five singles later, Sophie Ellis-Bextor has returned with one of the most anticipated albums of the year - "Make a scene"; collaborating with the cream of pop-dance producers including voted #1 DJ of the world Armin Van Buuren, chart toppers Calvin Harris and Freemasons, that incredibly talented Joe Mount of Metronomy and God himself - Richard X. Of course, there are a few regulars here - Greg Kurstin, Liam Howe of Sneaker Pimps and Dimitri Tikovoi; and a surprise collaboration with Fred Ball... So does this make the album a generic and manufactured one - NO!

The album opens with a bang (literally - "bang, bang, it’s a hold up"). Revolution, the album opener, has Sophie attempting a monotone delivery for the second time in her career (check the middle-8 from "Making Music", Shoot from the Hip). The chorus is simple, repetitive and arresting; the "army" hook is catchy. Cathy Dennis, who worked with Sophie on her last top 10 hit Catch You (which was also a Denis/Kurstin collaboration), co-wrote the song - and in fact, came up with the self-referencing line in the song (the line in the bridge - "face to face its murder on the dancefloor"). Revolution is highly energetic and frenetic, but is very short. It feels like the song is in a hurry to be done and introduce what seems to be Sophie's best album yet. (9/10)

All those cymbal crashes in Revolution lead to this big crash in the very beginning of track two. Bittersweet is a song produced by Freemasons and Biffco. The song was Sophie's second single off the album, but failed to set the charts on fire. Nonetheless, it received an overwhelmingly good response from her fan-base and went on to become the Song of the Day on PopJustice. It even kept Sophie on top of the PJ Almighty for what seemed like an eternity. Bittersweet is enthralling - with flawless production sampling bits from "Fade to Grey" by Visage and "Blue Monday" by New Order; the song even draws influences from "You Spin Me Around (Like a Record)" by Dead or Alive. Sophie effortlessly mews over the production. The meandering melody in the chorus, the cut-up vocals in the middle-8, the whispering bits and that incredible close to the chorus (the heavenly "oh-oh-oh-so here I am" bit) - all these make Bittersweet the ultimate pop/dance song that most solo female acts would kill for. To sum up, the song is a modern classic. (10/10)

Off And On, the planned-to be-sixth single off the album, is the first of the two songs with no lyrical contribution by La Bex. Originally written and demo-ed for Roisin Murphy's 2007 album, 'Overpowered', the song was handed over to Sophie to promote the then-planned Greatest Hits compilation. Fortunately, recording sessions proved fruitful and now we have the 4th album instead. Off And On is a commercial electro-pop number, which has been edited since its original premiere on Sophie's MySpace several years ago. Could this be the first top ten single from the album - I sincerely hope so, but only commercial radio can give this song the exposure it deserves. (9/10)

Heartbreak (Make Me A Dancer) was also made to promote the GH compilation. The original demo is significantly different from the final mix that was released as a mutual single by Freemasons and Sophie back in 2009. The song charted just outside the top 10, but stands as the highest charted single from the album (in the UK) and has become one of her most popular songs since Murder on the Dancefloor. Described as electro-dance monster, the song will have you moving along to the loud synths and the big beats. This song, along with Bittersweet, proves that the Bex Monster and Freemasons are a match made in pop heaven. The Freemasons have always had brilliant and glittery production on their songs; their two songs on this album are no different. Their production brings out the emotion and drama in Sophie's voice - something that is absent in your regular commercial dance songs (yes Guetta, I'm talking about you) (9.5/10)

Not Giving Up On Love, the fourth single off the album, is a trance song, with a simple piano loop, great synths, some live drums thrown in here and there and, of course, Sophie's ever-so lush vocals. Miss E.B. is no stranger to melancholic melodies - what some fans consider her forte. The song is a collaboration with Armin Van Buuren, who is the voted #1 DJ of the world. The song was a big success in several countries across Europe but had no impact on the UK Charts. Vocal trance is a new field for Sophie, and I look forward to more trance DJ-collaborations in the future. The full length club edit is so much better than the hurriedly edited radio version, but you simply cannot have a 6+ minute trance track in the middle a pop album - still, it is worth listening to. (10/10)

The next song, Can't Fight This Feeling, is a collaboration with upcoming French DJ Junior Caldera. This is his biggest success across Europe, and in fact the song got a lot of attention from Sophie's fanbase in Russia and some other countries across Europe. On my first listen, both track 5 and 6 stuck out like a sore thumb. The song isn't bad at all. It is very commercial sounding, very 2009-10. Its weird because her songs almost never sound 'current'. Its very hit or miss really. I liked the song a lot when it was released as a single before Bittersweet, but the shine has worn off now. Sophie has recently written another track with Junior Caldera. Lets hope that song sees the light of the day in some form. (7/10)

If I have to sum up the next song in one word, I would only say "heavenly". Starlight, produced by Richard X *screams* is straight out of the 80's. Starlight is released as the 5th (overall) single from the album, the 4th in the UK. You can watch the video, directed by her father, Robin Bextor, right here - http://www.youtube.com/watch?v=DDlkxDu06OU

The song has a melancholic feeling, and is slightly ethereal and lush. This is definitely one of the best songs on the album. I'd love for Sophie to work with Richard X *screams* again. Starlight is positioned in the perfect place - and feels refreshing to listen to after 6 dance songs that play back-to-back! You don't know what heaven feels like until you have heard this song. Everything from the slick production and the poetic lyrics to the lush vocals are perfect. One thing that will really grab your attention is the almost-Madonna-esque middle-8; "We are one". (10/10)

Sophie performed Under Your Touch last year on the Album Charts Show and I was really looking forward to listening to the studio version of the song. It is produced by long time collaborator Liam Howe of the Sneaker pimps. The song begins with eeire strings, which brings to mind Madonna's "Sorry". The song has a very busy production, with loads of sounds building up as the song progresses. Sophie sounds fantastic. The mechanised vocals in the song were a nice surprise. It might sound slightly filler-ish on the first listen, but after a couple of listens, the song grows on you, and you tend to put this into a long list of songs that should be singles. (8.5/10)

The title track, Make A Scene, is unlike anything that she has ever done before. The song begins with some clunky notes and a strange beat, and soon builds into this really bouncy jam. The chorus is phenomenal and has Sophie screaming "come on now" as she makes a scene. The almost spoken verses, the saxophone, the really weird drum sequence that sounds a little off-track in the first few seconds, Sophie screaming in some places - in theory this will seem like one of the worst ideas ever. But it all comes together so well - everything feels so disjoint, but at the same time, its all very 'together'. One must give sufficient credit to Joseph Mount, of Metronomy, who helped co-write and co-produce this song. You can definitely hear some 'Nights Out' influences in this song. You might even say that this song sounds like something off Roisin Murphy's 'Ruby Blue' album, crossed with production by Basement Jaxx (now that is a collaboration that should happen!). I'd love to see more Sophie-Metronomy songs in the future.(10/10)

Magic is the second of the two Richard X *screams* songs on the album. The song is, as the title suggests, magical. It begins with simple "ooh ooh"s and builds up into this 80's influenced, scratch that, 80's epic. A simple-but-massive chorus takes centre stage; the production really brings out the best in Sophie's voice. I'm a sucker for anything Richard X *screams*, but this has to be one of his best productions. Lyrically, the song is very poetic, much like Starlight. The middle-8 contains whispers again. Sophie brought whispers back in fashion - I'm not even sure if whispers went out of fashion, but I'd love to give Sophie credit for putting whispers on two (thats right, TWO) songs on the album. Well done Sophie. Well done Hannah. Richard X *screams*, I salute you! (10/10)

The next song is a historic moment in pop music (or so I think, don't burst my bubble). Sophie is probably the only popstar in the world to have used the word "politicise" in a song. And as a fan from PopJustice once said, she is also, probably, the only popstar in the world to have written an electro-pop number about a text stalker. Now THIS is your quirky pop song. The almost story-like lyrics describe Sophie's attitude toward her text stalker. One line in particular - "when you're lost at sea, I'm on land" - is like a slap-in-the-face-get-a-life type of situation. I love the general bitchy-ness about the song. Dial My Number is produced by Liam Howe and co-written with Hannah Robinson. The song, like the other Howe production, is very busy sounding, and quite loud. This was probably the most anticipated song on the album - and it could end up becoming a fan-favourite. (9/10)

Homewrecker is such an amazing-title for a pop song. You'd expect swearing and cursing on this song - but surprisingly, there's no swearing or cursing... or is there? The lyrics of the song are intentionally blunt, but also very witty. The “ho..ho..homewrecker” bit caught everyone by surprise. Its right there, she’s actually swearing, but its so wonderfully hidden beneath the apparent hook. Only Sophie Ellis-Bextor could swear and still sound so posh, take notes Ke$ha. The song is produced by Greg Kurstin, and has some similar production gimmics. The organ in the beginning of the song make this song seem almost-demented in some ways. Well done, Sophie, well done! (8.5/10)

Now is that point in the album when you're pretty much done with dancing and jumping around, and you just want to sit down and listen to some good pop music. And Sophie knows that. Synchronised, is the first of the two ballads on the album; the second song with no lyrical contribution by Sophie, and is truly immense. The song sounds very commercial - kinda like "If You Go"'s moody little sister. The song focuses on Sophie's vocal power, and that is, essentially, what makes this song a masterpiece. Sophie's vocals have never sounded this good and emotive. Here is solid proof against all those people who claim that Sophie cannot breathe life and emotion into a song - IN YOUR FACE, HATERS! (10/10)

Cut Straight To The Heart is the perfect close to a perfect album. The song features lyrical contribution by the infamous Ed Harcourt. Sophie sounds very vulnerable, and the general feeling and production of the song can be compared to one of her older songs from her second album - "I Am Not Good At Not Getting What I Want". The track has beautiful instrumentation, and also samples the drum sequence from Placebo's cover of "Running Up That Hill (A Deal With God)", which is also, not so surprisingly, produced by Dimitri. The song might be slightly over-shadowed by the amazing-ness of its predecessor, but is no less brilliant. Sophie finishes the album in style. (10/10)

If you haven't heard this album yet, you haven't really heard what good pop music sounds like. Sophie has once again proved that she truly deserves the title "Pop Goddess". Well done.

ALBUM HIGHLIGHTS:
Bittersweet
Not Giving Up On Love
Starlight
Make A Scene
Magic
Synchronised
Cut Straight To The Heart

OVERALL RATING: 9.3/10. Plus, additional 0.7 for the brilliant artwork and photographs in the album, all the effort that has gone behind getting it finally out there. A solid 10/10 effort overall!


...yes, this is exactly how I feel about the release. Its finally here, and it is flawless. Make sure you legally purchase a copy (or two) of Make a scene.

Link to online sites where you can buy the album:
iTunes UK
Amazon
7Digital

Buy the CD from here:
Amazon
HMV
Play
Tesco

Lots of promo.

PurplePR and the rest of Sophie's team are doing a fabulous job promoting her. Kudos to you guys.

KEEP VOTING FOR SOPHIE ON GAYDAR. She is #2 now - http://gaydarradio.com/UserPortal/YourChoice/YourChoice.aspx

Sophie Ellis-Bextor interviewed on This Morning

Recording thanks to Paul. Upload thanks to Renzo

Sophie performing Starlight on This Morning

Recording thanks to Paul. Upload thanks to Renzo

Sophie Ellis-Bextor on BBC Breakfast

Recording thanks to Paul. Upload thanks to Renzo

Sophie was Victoria Derbyshire's guest on Monday Music Review, broadcast on BBC Radio 5 Live, 13 June 2011. Other guests were Colin Patterson (BBC Radio 5 Live's Entertainment Correspondent), Kate Mossman (from The Word - a music magazine) and Kevin Rutkiewicz (Professional footballer and musician).

http://www.megaupload.com/?d=HAD4RRBB

thanks to Paul for the upload

Sophie was the guest of Paul Rees on The Q Show, Q Radio, broadcast on 6 June 2011.

http://www.megaupload.com/?d=D9TITF97

thanks to Paul for the upload

Digital Spy caught up with Sophie

Don't you just love it when you read a good interview? Thank you DigitalSpy for this.
ORIGINAL ARTICLE: http://www.digitalspy.co.uk/music/interviews/a324829/sophie-ellis-bextor-interview-im-a-sucker-for-sad-pop.html

The last time we spoke to Sophie Ellis-Bextor, she was on the cusp of releasing her fourth studio album Make A Scene. Fast-forward more than a year and, well, she's finally got around to putting out the record. Before we all accuse her of being a lady of too much leisure, the last 12 months have seen her part ways with her record label and set up her own, as well as putting out a pair of successful chart hits across Europe. Intrigued, we phoned Mademoiselle E-B herself to find out how it's all going.

Your new album was delayed for almost a year. How does it feel to finally get it out?
"It feels really good thanks! I'm actually very happy with what we've achieved behind the scenes with establishing the new label and getting such a fantastic team around me. I know to the outside world it seems like this record has taken forever, but from leaving Universal to bringing out the album independently has actually been quite a quick process."

Things seemed to go quiet last year after the release of 'Bittersweet'. What happened?
"Peter Lorraine, who was the head of the sub-label I was on called Fascination, decided to leave and go into management instead. He's a lovely guy, and we're still close, but he was the reason I was with that label, so instead of negotiating a new deal with Universal I thought I'd go it alone."

Did you have to buy the album back from the label?
"No they just gave me the album, which was great, because we'd already made a music video and shot the artwork for it. They were really good about it - the whole thing was very smooth and easy."

Did you ever worry that your music career was over?
"I was excited more than anything else! I'd been talking about the idea of releasing independently with my manager a few years before anyway. I could have signed a deal with a different label, but I was keen to try doing it by myself first. One day I might want to return to that world, but at the moment I can't see myself going back to that structure."

Does releasing music independently put the pressure on?
"I'd say it takes the pressure off - you don't need to sell as many records for the project to be deemed a success, and there are no worries about how much of a priority you are to your label. It also means I can release EPs instead of albums if I want to, which is something I'm considering."

You co-wrote most of the album; was that important to you?
"I don't think writing or co-writing my songs makes me a better singer, but I haven't really got an excuse not to do it as I've got too many opinions! For example I wrote my new single 'Starlight' with Richard X and a girl called Hannah, and the process usually starts with Richard setting up a drum loop, then we add some chords over it, then we put the lyrics to the melody. I think Richard X did a great job with it. I'm a sucker for sad disco pop."

How would you describe the sound of the rest of the LP?
"It's very dancey, very electro, disco, and very confident. I feel like I enjoyed making this record more than any other. Hopefully people find it quite uplifting too. 'Starlight' is a favourite of mine and I love the title track 'Make A Scene' - it's a bit bonkers! I made it with Metronomy and I loved their approach to producing."

Will there be any more singles from the album?
"I'd like to release 'Off & On' next. I think it's about time I got on with it - it's the song that I keep putting back but really want to release."

You've had a lot of success in Russia; was that planned?
"It sort just happened. I started playing the odd gig and kept getting called back more and more and the events got bigger. It was great because it felt like the hard work paid off. I've had a couple of top three hits there now and the album performed well, which is fantastic."

We've heard some of the Russian corporate gigs can be, erm, interesting...
"I know what you're talking about, but I've always made sure to form friendships with whoever I'm working with. I've never experienced anything that's made me uncomfortable, but I have heard stories. You have to keep your wits about you!"

You feature on The Feeling's new album with Roisin Murphy, who also wrote 'Off & On' for your album. Would you ever collaborate with her?
"That's weird connection, isn't it!? When I recorded 'Off & On' I hadn't ever met her, but I really get on with her now and she's the perfect fit for the Feeling track. The Freemasons also worked on that particular song, and they're an act I'd collaborate with any time they wanted me! I love their approach to dance while still remaining sensitive to pop music."

We hear you've started work on your next album; how's it going?
"I've actually gone completely the opposite way to Make A Scene. It's a lot more live-sounding, with drum kits and real instruments. I'm not sure if I'll continue with it, but that's where I wanted to start - I wanted go outside my comfort zone. Dance music is great, but it's not a time to be reflective or particularly wistful. Lyrically I can do some different stuff too - there's more to life than dancing in the clubs!"

Sophie on BBC Radio 2

Interview + performance on Weekend Wogan (BBC Radio 2) by RenzoEB
recording thanks to Paul, upload thanks to Renzo

Full Show - http://www.megaupload.com/?d=FA0W06RQ
Starlight - http://www.megaupload.com/?d=W8IXVMVY
Rebellion (Lies) - http://www.megaupload.com/?d=HT9JE05B

Radio Interviews

Interview on BBC Berkshire, Kent, Oxford, Solent, Surrey and Sussex by SOPHIERAZZI

My Perfect Weekend: Sophie Ellis-Bextor

ORIGINAL ARTICLE: http://www.telegraph.co.uk/news/celebritynews/my-perfect-weekend/8566627/My-perfect-weekend-Sophie-Ellis-Bextor.html

On Friday evenings I love to go dancing with my husband [Richard Jones, bassist with band the Feeling] and a group of our friends. We run an occasional club night at the Café de Paris in Soho called Love to Love and I usually get on the decks at some stage. It all started because I couldn’t find the perfect club night in London – one that played all the tunes I wanted to dance to – so I thought we’d better start one ourselves. It’s revived my love of dance and disco music; they sound so phenomenal belting out through big speakers. And dancing to your favourite tracks is a great way to shake off the stresses of the week.

Richard will dance with me at the beginning of the evening, when he’s in the mood, and then when he gets bored of dancing (which is always long before I do) I’ll prance around with my girlfriends. We’ll do silly, pretend-sexy moves to songs by Rihanna.

We usually get back to our home in Hammersmith quite late and if we’re very lucky our lovely nanny Claire will let us have a bit of a lie in on Saturday morning. It’s always a treat when she stays over and makes breakfast for our boys, Sonny, seven, and Kit, two – who wakes up at 6am on a good day and likes to be busy.

I recently bought him a little broom and mop so he can make himself useful. Unfortunately he took the broom and hit a cupboard door which had a glass window in it. Sadly it doesn’t have a glass window in it any more. I think he was a bit shocked.

I really love being in London at weekends – there’s always so much to do. If it’s lovely weather we’ll go for a walk down along the river with my mother (the former Blue Peter presenter Janet Ellis) who lives nearby, or meet friends at a pub for a shandy and some lunch.

We’re spoilt for choice in terms of good pubs near us: I’d recommend the Raven, the Black Lion and the Dove. Then in the afternoon I’ll wander around Portobello Market with Richard and the boys, and will invariably end up buying something tacky that nobody else wants.

Our house is so filled with kitsch objects that it looks like a bric-a-brac store. I don’t know why I’m so drawn to tatty old furniture, and wonky tapestry pictures but luckily Richard shares my enthusiasm. He once bought a bass that’s shaped like an axe. It’s mounted on the wall along with all the other tat.

In the coming weeks we’ll be escaping the city on a few Saturdays. I’m appearing at several of the smaller, less cliquey festivals including the Forest Tour 2011 with Erasure and the Cornbury Festival at the beginning of July. I’m afraid I’m not much of a camper so we’ll just go for the day.

Sometimes we’ll drive to my dad’s (Robin Bextor, the film and television producer) house in East Sussex, an hour and a half away. For for a couple of years now he’s been running a restaurant called Moonrakers in the village of Alfriston. It is ridiculously pretty around there. The back terrace of the restaurant overlooks the Tye, a big village green, and there’s a really old church called St Andrews, where Morning Has Broken was written.

The Bextor side of my family – my parents separated when I was four – are all very food motivated. We’ll sit outside in the sun with a glass of wine and order from the menu – spring lamb, fresh fish, ham hock – it’s all locally produced and very tasty.

We never go out on Saturday night. We’ll get takeaway fish ’n’ chips and eat it on our knees in front of some silly Saturday night television such as You’ve Been Framed. I’m sorry but I enjoy watching people fall over.

Richard and I will have friends over for a barbecue on Sunday. We’ve got loads of toys out in the garden – we’re like big kids really. There’s ping pong, a climbing frame and a trampoline. We’ve even got one of those amusement arcade slot machines where you put a coin in and it almost pushes all the other coins off a ledge. My birthday present last year was an inflatable hot tub so I guess that will be getting a second airing this summer.

On Sunday evening I’ll get on with all the admin waiting for me inside. I’ve recently started my own record label called EBGB’s and am enjoying being the boss lady. I think this is something we’ll see more acts doing in the future – Mumford & Sons made their album on their own label, then licensed it to Island. You have to sell a lot fewer albums to make a living when you do it this way.

My fourth album Making a Scene came out earlier this month so I’ve also been doing promotion work for that. It’s great fun although tiring at times; particularly when you’re doing interviews and all the questions are, “Oh, you must be tired?!” and “Aw, do you miss your kids”.

I try my hardest not to read reviews. I’ll have a look if my friends say it’s a good one. But even then I tend only to take on board the disapproving bits. If I get 4 out of 5, I’ll think, “Ah, it could’ve been 5 out of 5, where did I go wrong?”

I’ve been so focused on getting this latest album out to the people who want to buy it that I’d forgotten that there would be critics going, “Well we don’t know if we actually want to own it, but we’re going to tell you what we think of it anyway”.

I never manage to get to bed early on Sunday night but this doesn’t matter as I don’t know one level of exhaustion from another. I don’t dread the arrival of Monday, because I love doing what I do. But I will go to the gym first thing to work off all those fish ’n’ chips.

In short

Herbal tea or stiff drink?
If it’s past six o’clock, a caipiroska

Do you believe in the spirit world?
I like the influence of the macabre but I don’t believe in ghosts

What’s your favourite restaurant – apart from you father’s?
The bar on the beach at Santa Maria di Castellabate in southern Italy

Your inspiration?
Julie Andrews. I grew up watching The Sound of Music

Last music you bought?
Metronomy’s new album

How do you relax?
I jump around, play with the kids or go dancing

What irritates you most?
Bad manners

If you could live in another era when would it be?
The Fifties

What would you eat for your last supper?
Fish ’n’ chips with as much mayo and ketchup as I wanted

My favourite things
London
Music
Food
Bright colours
Spring

Sophie launched Evian’s new Let’s Baby Dance campaign: a new advert and a new global online app to make the world’s longest user-generated music video. www.facebook.com/evianUK