Good evening from a sun-drenched and very tired Clash Blog. How is your week playing out? Where on earth is that Malaysian Air flight…that’s turning into not only a tragedy but becoming increasingly strange isn’t it.
Two short videos for you tonight (thanks Gil W) that feature an extended interview with Mick, Paul and Diplo about the song ‘Hero’ which was released this week for the Converse project “Three Artists, One Song”. I’ve mentioned the C word again and I promise that will be the last time, covering my legalities just in case. Before talking about the song, which I’ll do more of later this week, I’d actually recommend watching the interview first as it provides some valuable background to the project.
What’s immediately interesting is that Frank Ocean seemed to have the final say on which piece of music was used as he was to provide the vocals. Fair enough I suppose but more interesting is that they worked on ideas/and the music for (separately from Ocean) about five tracks in total, wouldn’t it be great to hear what will probably never see the light of day? Also great to hear is just how much respect Diplo and the host hold for Mick and Paul which is clear throughout the interview. You’ll also learn more about the abominable snowman if you listen all the way through.
Sway interviews Paul, Mick and Diplo about ‘Hero’ pt. 1
The interview is worth a watch if only to see Mick and Paul interacting with an artist from a very different field, not a shock to see that it’s Mick who adds humour and Paul some seriousness to the dialogue. I’ve been reliably informed that the other music worked upon won’t be released, nor does it suggest the seeds of a new venture. Which brings us right back to the ‘What next for Mick’ lottery.
Sway interviews Paul, Mick and Diplo about ‘Hero’ pt. 2
The song itself can be heard below and if you haven’t heard it you might be disappointed at the apparent lack of Simonon’s bass guitar until quite late in the song. I think it’s in the mix but you’ll need to scavenge a bit for it. I’ll need to listen a few more times but initially it sounds to me like something that could have been recorded and shelved during sessions for The Good, The Bad and The Queen – especially the opening moments. Crucially in my opinion the choir kicks in at the exact moment when the song is gaining some steam and that detracts rather than enhances it.
What did you think of it? I’d be keen to know. More soon – take good care.