Every Monday throughout 2023 I will be highlighting a different piece of music that I have either written or been closely involved with. And this week, prepare to dance like nobody’s watching (because you’re all on your own) because it’s…
What’s it called?
The Solitary Life.
What’s it from?
My 2019 ragtime musical ‘It’s Not Really the Apocalypse’, which tells the story of four old friends who wake up one morning to discover they are the only people remaining on planet Earth.
What’s it all about?
Gary has finally had enough of his friends, and broken off from the group to live a life of complete freedom alone in the wilderness. He’s having a great time – or is he? The more he tries to deny it, the more he realises that life without his companions is maybe not everything he’d hoped.
Listen out for…
The comical middle section at 2:02, featuring Gary’s desperate attempts at a song and dance despite having no-one to enjoy it with. Note that the following instrumental section is supposed to represent the character engaging in an elaborate one-man ballroom dance, which builds to a frenzy before pootling out as his enthusiasm fades (2:39-3:16).
Find out more at…
www.michaelgrantmusician.com/inrta
New Music Monday, #31: ‘Lolli-Pop Music’
Every Monday throughout 2023 I will be highlighting a different piece of music that I have either written or been closely involved with. And this week, prepare to look both ways before crossing the road because it’s…
What’s it called?
Lolli-Pop Music.
What’s it from?
According to the apocryphal tales, ‘The Attack of the Dancing Demon Lollipop Man from Hell’ was to be the crowning glory in the career of esteemed filmmaker Armando Allegro, telling the story of an ordinary man who becomes possessed by the spirit of an evil road safety officer (with horrific consequences). Sadly the film itself has been lost forever, however parts of the soundtrack did survive to be later reconstructed by myself and the enigmatic Mister James Ure. This EP, released in 2022, is the result of those reconstructions.
What’s it all about?
This song will originally have played over the film’s end credits, and provides a light-hearted take on what it would be like to be relentlessly hunted down by a vengeful lollipop man.
Listen out for…
The choir of robotic synthesised backing vocals which appears in every chorus, courtesy of Mister Dan Wackett and his Vocaloids.
Find out more at…
www.michaelgrantmusician.com/lollipop
‘Michael Grant – A World of Woodwind’: Newspaper Article
It may have escaped your notice, but I am in fact something of a Big Deal, you know. Don’t believe me? What if I told you I recently featured in a newspaper article dedicated entirely to meeeeee!
A big ‘thank you’ to Andy from Didsbury Post for not only taking an interest in my exploits but also putting together a really well-written little article. Next stop: The Guardian!
“Michael Grant – A World of Woodwind
“by Andy Rayner
“It may seem somewhat absurd that a film about an inept French detective could be the spark for a successful musical career, and although Michael Grant may not be directly indebted to Inspector Clouseau, he can certainly trace his musical beginnings back to the iconic theme tune from the Pink Panther film series. Growing up in the seaside town of Scarborough, he was a seven-year-old primary school pupil when his teacher brought a clarinet into class and played a rendition of Henry Mancini’s classic piece, inspiring Michael to take up the instrument himself.
“By the age of 14, Michael had passed his grade 8 clarinet exam, and moved on to the bassoon. Being interested in musical theatre, this gave him an opening into playing in the orchestra for local amateur dramatic productions, where he discovered that woodwind players are expected to be extremely versatile. After landing a place in the pit for one particular show, he was informed by the producer that he would be required to play saxophone as well – with just five weeks to learn it before the run began! Next up was the flute, and having a completely different embouchure from the reed instruments this became his biggest challenge, which of course he successfully overcame to give him a good spread of diversity within the woodwind family.
“I expected Michael to tell me that he went on to music college after sixth form, but in fact he ended up at Durham University studying chemistry. Despite being immersed the the sciences, he discovered a fantastic music scene in the city and was eventually playing in three different orchestras as well as singing in a barbershop choir. After graduation, he returned home to Scarborough and was so busy with music that thoughts of a scientific career were firmly put on the back burner. With regular engagements in London, he moved to the capital but then found that gigs and sessions were being offered all over the country.
“Michael decided that Manchester was the place to be to make the best of these opportunities, so he is now based in Didsbury and is busier than ever. It has also given him the opportunity to pursue another passion, trad jazz, and he plays regularly with the Dixie Beats, a 6-piece outfit based in Bolton. Composition and arranging are two more fields where Michael is involved, and he has recently written a whole CD’s worth of piano pieces that have been recorded by professional pianist Jack Mitchell Smith under the title of ‘Miniatures’ – an interesting collection that is well worth a listen. Michael’s big ambition is to become a successful composer of film music, and with his talent he could well become the successor to John Williams and Hans Zimmer – or even the next Henry Mancini…”
New Music Monday, #30: ‘Lullaby’
Every Monday throughout 2023 I will be highlighting a different piece of music that I have either written or been closely involved with. And this week, prepare to drift off to sleep because it’s…
What’s it called?
Lullaby.
What’s it from?
‘Miniatures’, my 2023 album of classical piano compositions.
What’s it all about?
Well, I suppose it’s called ‘Lullaby’, which must mean it’s about going to sleep, right? Except I’m fairly sure I came up with the title after writing the music, so really it’s just an abstract composition with a generally soothing atmosphere. Having said that, I have enjoyed reading other people’s perspectives which highlight the more sinister soundworld that lurks just below the surface:
“There is a certain mystery within this particular one – it’s very pleasant yet there is just something in there to create a little less pure relaxation and a tad more trepidation.”
“”Lullaby” is much gentler and quieter, but it is also tinged with a melancholy tone that is likely to be even more soothing for restless adults than babies.”
Listen out for…
There’s one note in particular that I think must be my favourite – it’s the C# incorporated into a B minor chord which generates a poignant clash at 2:54:
Oh, and this isn’t necessarily something to ‘listen out for’, but anyone with a sense of humour will surely appreciate the expression marking I wrote on my original sketch:
Find out more at…
www.michaelgrantmusician.com/miniatures
New Music Monday, #29: ‘Bridgerton’
Every Monday throughout 2023 I will be highlighting a different piece of music that I have either written or been closely involved with. And this week, prepare to go back to the Holden Days (with a twist) because it’s…
What’s it called?
Bridgerton.
What’s it from?
‘Music for the Moving Image’, my ever-expanding album showcasing pieces that I’ve written for various film projects, with all the pesky sound effects and dialogue removed.
What’s it all about?
I wrote this as my entry for the 2022 Spitfire Audio Scoring Competition, where the task was to compose a new score for a short clip from everyone’s favourite historical-ish period drama. So I did! Having not watched any of the series, I can’t really say I have the faintest clue what’s going on, but hopefully that’s not obvious by my choice of musical notes and sounds.
Listen out for…
The really really nice tune I wrote at 0:52, which I think appropriately combines classical textures and instrumentation with a more contemporary harmonic backing (to try and link the two styles that the series is known for).
Find out more at…
https://youtu.be/efqO5BX-QHU , where you can watch the full film to the accompaniment of my lovely music.
Also, I seem to remember writing a very informative blog post about the piece when I first released it: https://www.michaelgrantmusician.com/2022/10/film-music-bridgerton-re-scored-by.html/
New Music Monday, #28: ‘The Trap’
Every Monday throughout 2023 I will be highlighting a different piece of music that I have either written or been closely involved with. And this week, prepare to carry out your plans using the most excessively convoluted methods because it’s…
What’s it called?
The Trap.
What’s it from?
‘Mongolian Death Worm: A Puppet Show Musical’, the show what I wrote, starred in, directed, produced, edited etc. with my regular collaborator Mister James Ure during the first national lockdown in 2020. It’s a full 68 minutes of silliness, centring around the search for a mysterious creature that has been pilfering steaks from a village community somewhere near the Gobi Desert.
What’s it all about?
Roy and Sheriff have already had two attempts to catch that pesky giant worm, but have so far been repeatedly thwarted by some unseen agent wielding an enormous pan. This time though, they really think they’ve cracked it, with a trap so watertight and foolproof that there’s surely nothing that could go wrong!
Listen out for…
The lyrics in this one are particularly worth paying close attention to. Note not only how bizarrely over-complicated the trap is, but also how many unnecessary additional delays are built into it – for example:
To relay the message to my Aunty Joan,
Who after an hour sends an email to me,
Then when I receive it I count down from three…”
Find out more at…
www.michaelgrantmusician.com/mdw
New Music Monday, #27: ‘I’m Sorry’
Every Monday throughout 2023 I will be highlighting a different piece of music that I have either written or been closely involved with. And this week, prepare to apologise because it’s…
What’s it called?
I’m Sorry.
What’s it from?
My 2019 ragtime musical ‘It’s Not Really the Apocalypse’, which tells the story of four old friends who wake up one morning to discover they are the only people remaining on planet Earth.
What’s it all about?
Basically, there’s a big falling-out between the characters at one point, and one of them (Gary) decides he’d be better off striking out to live on his own. Eventually though he realises that this was a bad move, so he returns to the group and tries to patch things up by means of this musical apology.
Listen out for…
The little ‘bridge’ section just after the first chorus, which I think is really quite pretty (1:50-2:15).
Find out more at…
www.michaelgrantmusician.com/inrta
Messiah 3000: Out Now!
It is almost a year since, on a car journey to a gig in Retford with my fellow members of The Jelly Roll Jazz Band, we received untold inspiration by listening to Bob Dylan’s seminal album, ‘Christmas in the Heart’.
So taken were we with this masterwork, that we were each moved to create our own Christmas album to spread the joy of the festive season. And now that we are once again nearing the month of July, it finally seems the ideal time to share with you the results of my own labours on this front.
The resulting album is ‘Messiah 3000’, and is my interpretation of highlights from Handel’s ‘Messiah’ as if it had been written by a robot 1000 years in the future. But more importantly, it was an excuse to make use of as many of the weird synth sounds kicking around my computer as possible.
As usual, the whole thing is available on The Bandcamp by clicking here.
Or if that doesn’t appeal, here’s a handy little player for your ultimate convenience:
New Music Monday, #26: ‘Parting Waves’
Every Monday throughout 2023 I will be highlighting a different piece of music that I have either written or been closely involved with. And this week, prepare to cross the Red Sea because it’s…
What’s it called?
Parting Waves.
What’s it from?
‘Miniatures’, my 2023 album of classical piano compositions.
What’s it all about?
As with all the pieces on this album, it’s abstract and not meant to be interpreted in any literal or concrete sense. I’ve always thought, though, that it has a certain bittersweet character to it which is evocative of the sadness of saying goodbye. That’s why I felt it should go right at the end of the album, despite being the first of the pieces I wrote.
In coming up with a title, I first struggled with various dreadfully naff ones like ‘Farewell’, ‘Goodbye’, ‘Parting Sorrows’ etc. I eventually managed to come up with something a little more interesting and oblique, however, with ‘Parting Waves’ – a phrase that is open to several interpretations:
- The action of physically waving to someone as you bid them farewell.
- Waves of emotion that you feel when parting from someone.
- Sound waves – in that sense, this music is literally the parting waves of the album.
- And of course, the Moses interpretation. But that one doesn’t really make sense in this context so is probably best ignored. Think of it as a bonus meaning for if you decide you need it.
Listen out for…
If you ask me, the whole thing’s pretty beautiful (and beautifully pretty). But my personal highlight would be the middle section (1:49-3:05).
Find out more at…
www.michaelgrantmusician.com/miniatures