Tabla de contenidos para March 2023 en MOJO

IN MARCH 1991, A NEW PHASE BEGAN IN THE MOST STORIED of musical careers. Bob Dylan released a box set entitled The Bootleg Series Volumes 1-3; 58 songs extracted from his archives, that provided an intimate glimpse into the working practices and secret moments of genius guarded for so long. Thirty-two years on, Dylan has released 12 more new albums, plus 14 further entries in The Bootleg Series. Sometimes, it feels like he has become a man with two careers: on a relentless quest to keep driving his muse forward, while simultaneously examining myriad alternative routes through his past. Really, though, it’s all a single mission, of a piece with his alchemical live work. Dylan’s songs are in continuous flux, never fixed in space or time, always evolving and revealing…

ONE OF THE MORE unexpected documents to emerge after the death of Terry Hall was a two-hour listening session from 1985, originally broadcast on Manchester’s Piccadilly radio. Among songs by his then-current vehicle The Colourfield, Hall’s unapologetically MOR selections included Get Dancin’ by Disco Tex and The Sex-O-Lettes, O Lori by Alessi, and Can’t Take My Eyes Off You by Andy Williams. Hall spent his 40-plus year career surprising his listeners, taking sudden turns and obeying his own in-built artistic compass rather than following a predictable career path. Born in Coventry on March 19, 1959, he left school at 15, already living with manic depression and prescribed Valium. After a variety of low-key jobs, he joined local punks Squad. Aged 19 he joined The Coventry Automatics and was mixing punk…

IN THEIR respective Portland homes, Quasi’s Janet Weiss and Sam Coomes ponder the designation “cult heroes”. For drummer Weiss, host of a radio show called We Can Be Heroes that spotlights how rarely women receive that title, it’s welcome. Singer, keyboardist and guitarist Coomes doesn’t bridle, either – although he adds “a lot of people escape our cult, or avoid it”, making them laugh. No matter how effervescently Quasi surf the intergalactic soundwaves between McCartney and Malkmus, they haven’t yet bent the mainstream to their will. “Every time we put a record out, we joke, ‘This is it! We’re going to be huge!’” laughs Weiss. Instead, says Coomes, he’s come to realise music is “more like a spiritual quest and not so much a job or career”. “Things can break……

The month’s best US rock, Soviet synths and Gaelic roots. PETER GABRIEL 1 PANOPTICOM (BRIGHT SIDE MIX) Classic PG moves, with help from Eno, to initiate what he calls, “an infinitely expandable accessible data globe.” From new LP i/o. Find it: streaming services THE NATURAL LINES 2 A SCENE THAT WILL NEVER DIE Matt Pond’s latest incarnation head for the wide-open spaces of heart-swelling, Petty/ Springsteen American rock. Find it: streaming services A CERTAIN RATIO 3 AFRO DIZZY From new LP 1982: this tribute to Promethean Afrobeat titan, Tony Allen, is built around his drum samples and jaw-dropping Manchester soul singer Ellen Beth Abdi. Find it: YouTube BAABA MAAL AGREEMENT 4 A low, hypnotic groove and slow-build percussion cut against Maal’s powerfully expressive voice. From new LP, Being.…

Gina Birch ★★★★ I Play My Bass Loud THIRD MAN. CD/DL/LP “I ALWAYS THOUGHT: if I open my big bay window upstairs and play my bass, I’m not some groovy young rapper. I’m this old white woman playing my bass guitar out of my window,” says Gina Birch. “I just want to stick my head out and yell down the street: HELL, I’M HERE, AND I’M PLAYING MY BASS LOUD!” Since she and Ana da Silva formed The Raincoats in 1977, Birch has combined film, music and conceptual art to record her supercharged, highly individualistic view of what it means to be a woman in the world. Seeing early gigs by the Sex Pistols and The Slits set her on a journey of discovery, from The Raincoats’ scratchy post-punk to…

The Mother Hips ★★★★ When We Disappear BLUE ROSE. CD/DL/LP San Francisco band’s self-produced follow-up to 2021’s Glowing Lantern. Having followed The Mother Hips through 30-odd years and a dozen albums, I still don’t have an easy answer as to what kind of band they are. All I know is that whatever they play or sing sounds like California. Late-’60s/early-’70s West Coast country rock and soul play a big part – at its best here on tender, bittersweet Leaving The Valley and masterful, Gram Parsons-y Almost To Idaho. Sometimes it brings to mind The Band – if The Band were a jam band. There’s also elements of psych rock and Beach Boys (both can be found in Room Four) as well as harmonies (Lost Out The Window) and rocking blues…

★★★★★ Genius Of Modern Music: Volume One BLUE NOTE. LP High Priest Of Bebop’s groundbreaking debut album returns to vinyl. NOW FRESHLY mastered by the acclaimed audio engineer Kevin Gray as part of Blue Note’s ongoing Classic Vinyl Series, Monk’s debut long-player was a compilation of 78 rpm mono singles recorded in 1947 that was first released on a 10-inch LP in 1951 before being expanded to a 12-inch album five years later to accommodate a further four cuts. As the collection reveals, even at what was an early stage of his musical evolution, Monk’s musical language, with its angular melodic hooks, cascading keyboard lines, dissonant chords, and jaunty swing rhythms was already fully formed. Halfa-dozen of the set’s tunes would quickly become jazz standards, including the mysterious ballad ’Round…

SKIPPING LIKE Charlie Watts on the cover of Get Yer Ya-Ya’s Out! through The Rolling Stones In Mono ★★★★ (ABKCO), I’m struggling to recall the last time I heard anyone enthusing about the Stones’ earliest albums. Even Aftermath, often regarded as their first landmark LP – the first to be entirely self-written – is arguably past its sell-by date, with its casual misogyny (Stupid Girl, Under My Thumb, Out Of Time) and once bold, now enervating, 11-minute centrepiece Goin’ Home. Aftermath’s American version does have Paint It, Black on it, though. Post-Boomers aren’t that fussed about the blues, are they? Apart from the White Stripes/ Black Keys kind. That negates the first few albums here. Some septuagenarians get watery eyed at The Rolling Stones and The Rolling Stones No.…

FROM AN EARLY age, Mike Oldfield was a prodigiously talented musician who practised obsessively. He first played folk clubs aged 12 as a solo guitarist and then in The Sallyangie, a duo with his vocalist elder sister Sally, who released one album, Children Of The Sun, in 1969. As well as writing songs, he was already experimenting with lengthy instrumentals on steel-stringed acoustic guitar. Aged 16, Oldfield joined Kevin Ayers’ group The Whole World, playing bass and guitar with them from 1970-72. He borrowed Ayers’ 2-track reel-to-reel tape recorder and a Farfisa organ from the band’s keyboard player David Bedford, and began working on the opening section of what became his debut solo album, a 49-minute, mainly instrumental suite he eventually titled Tubular Bells. Oldfield played virtually all the instruments…

“MOST PEOPLE miss the minutiae of drumming and that’s fine by me,” said Jet Black in 2014. “I consider the song much more important.” Born Brian John Duffy in Ilford, Essex in 1938, Black was an asthmatic child who dabbled in piano, violin and clarinet before his apprentice cabinet-maker job funded the drum kit he’d long coveted. Playing “Cockney weddings” and socialite parties thrown by Julie Andrews’ mother Barbara, he evolved a jazz-influenced style part informed by the Latin rhythms of bandleader, Edmundo Ros. Though punk’s bile eventually brought him fame and a brief gig teaching Sex Pistols’ drummer Paul Cook, Black’s playing recalled an era when dynamics were king. His brushwork was particularly admired. “My job was to complement not dominate.” Industrious and entrepreneurial, Black ran an ice-cream van…

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THERE WILL be a fitting way to remember Terry Hall – as well as his late Specials bandmate John Bradbury, plus Ranking Roger, Saxa and Everett Morton from The Beat and Winston Bazoomies from Bad Manners – this March 24. On that date, a restored version of 1981’s six-band ska concert film Dance Craze will be launched at the BFI. Filmed in 1980 during the height of 2 Tone mania, Dance Craze’s limited cinema run brought together performances from the above-mentioned groups plus Madness, The Selecter and The Bodysnatchers. Apart from a VHS release in 1989, in the absence of film materials since rediscovered, it has been unavailable since. “It’s great that it’s finally getting a release,” says Jerry Dammers. “The BFI have taken it up, as much because of…

JUST BEFORE Miles Davis’s Bitches Brew reached its half-century in 2020, plans were afoot for celebratory shows in London, Paris and Amsterdam featuring the elite of the London jazz scene. “None of that happened because of the pandemic,” laments producer Martin Terefe from his Stockholm home. “I kept bugging Bruce [Lampcov, promoter], saying ‘This is such a great idea, can we just do the recording part?’” A revolutionary album of bold contradictions, the original LP witnessed Davis stretching his formula of free-associative solos to its limits, while its editing and sampling had a huge impact on hip-hop and dance music. If the show was relatively straightforward – atribute to jazz fusion’s founding text – defining what the newly christened London Brew might be was more fraught. “It became much more…

NEARING THE end of the writing process for her second album Deep Is The Way, Australian singer-songwriter Gena Rose Bruce submitted to her music publisher what she calls a “dream list” of potential collaborators. Among the names was Bill Callahan. “I’m a huge fan,” Bruce enthuses. “He wrote back saying, ‘I’m keen’. He had actually heard of my music before, which was really cool.” The result is two songs co-written by the pair: the typically atmospheric country of the record’s title track (in which they very effectively entwine their voices), and the atypical (for Callahan) upbeat synth pop of Foolishly In Love. All communication between Bruce and Callahan while writing lyrics was done via e-mail. They’ve yet to meet. “It was really quite poetic in that sense,” she says. “We…

The first album where you’re credited as a proper band member of Fleetwood Mac was Future Games in 1971. Did it feel like you were moving away from the blues into a different new sound? Yeah, I think so. We started being a bit more adventurous. Trying different things. Then Bob [Welch] joined. He had a West Coast, Wes Montgomery jazz sound that had a really great feel to it, and I started harmonising with him. Which became the root of what people now call “the classic Fleetwood Mac sound”… Well, yes, because in the past no one did harmonies. I remember saying to Danny Kirwan, “harmonies?” And he’d be, “Ooh no no! I don’t want harmonies!” So it was only really with Bob that we started to develop a…

MARK HOWARD HAD BEEN DRIVING for more than 30 hours when he pulled over to sleep in the cab of a massive removals truck. It was Christmas night 1996, in New Orleans, but he had too far to travel to bother with hotels. A day earlier, Howard had loaded the rig with vintage microphones and classic guitars, prized amplifiers and multiple motorcycles from Teatro, the coastal California studio he helped his boss, Daniel Lanois, launch and run. By New Year’s Day, the gear needed to be in place in a grand rented studio on the edge of the country’s other ocean. Hurtling through Arizona, New Mexico and Texas on little more ➢ Randee Credit St. in here Nicholas Randee St. Nicholas than naps, Howard knew he needed to hurry. Bob…

Yo La Tengo ★★★★ This Stupid World MATADOR. CD/DL/LP “THIS STUPID world/ It’s killing me,” murmurs Ira Kaplan on the title track to Yo La Tengo’s seventeenth album. It’s a bleak message, but in tune with an album dealing with those realities that ultimately cannot be negotiated away. It marks a gear change from Yo La Tengo’s recent records. As the world became a darker, more conflicted place, the trio responded with music to cushion its blows. 2018’s There’s A Riot Going On might have titularly referenced the unrest then roiling Trump’s America, but its bruised lullabies and soft-focus feedback symphonies harboured few lyrical references beyond Here You Are’s message of retreat (“Tune out the world/Except our friends”). 2020’s We Have Amnesia Sometimes, meanwhile, was entirely wordless, its ambient drones…

Young Fathers ★★★★ Heavy Heavy NINJA TUNE. CD/DL/LP FOR ALL of their inherent quirks, Young Fathers have always been a soul band at heart. This much was evident as early as their second EP, 2013’s Tape Two, and its warped Marvin Gaye-styled opener, I Heard. By the time of their comparatively accessible third album,Cocoa Sugar in 2018, the groovesome Border Girl even bore echoes of Off The Wall-era Michael Jackson, albeit a lo-fi incarnation performing over distorted human beatbox. It’s a strain that survives in Heavy Heavy, with Shoot Me Down’s nagging falsetto hookline or the impression in Be Your Lady of an R&B singer performing in an echoey bathroom before a demented, thumping beat kicks down its door. These 10 tight tracks – the longest just a shade over…

Robert Palmer ★★★★ The Island Years 1974-1985 EDSEL/DEMON. CD/DL IN THE summer of 1983, I worked in a record shop where one of our favourite things to blast on the stereo was a compilation cassette of lesser-known Robert Palmer tracks: from sexy early single Give Me An Inch – featuring an extraordinary bass performance by James Jamerson – the slinky You Overwhelm Me and woozy, Eastern-sounding Found You Now, to that year’s The Silver Gun, a strange, shape-shifting song sung entirely in Urdu. Every time we played this tape, customers would drift to the counter to ask what it was. When told it was Robert Palmer, they’d most likely say, “Who?”, or perhaps occasionally, “What?!” Whatever their foreknowledge of him they had no idea he sounded like this – and…

Laraaji ★★★★ Segue To Infinity NUMERO GROUP. LP PERHAPS INEVITABLY, any narrative about Laraaji (including this one) must involve Brian Eno and the 1979 Sliding Doors moment when the producer happened upon the musician known first as Edward Larry Gordon, then Larry G (a pun on which led to his enduring fauxmystic moniker), busking in a corner of New York’s Washington Square Park. The chance meeting would result in the endlessly transporting Eno-produced Ambient 3: Day Of Radiance, released in 1980, which alerted the wider world to the free-flowing caresses of Laraaji’s music. However, as this release verifies, there is a significant prequel to this oft-repeated origin story. Born in Philadelphia and raised in New Jersey, the young Gordon graduated in piano and composition from Washington DC’s Howard University before…

De La Soul ★★★★★ 3 Feet High And Rising AOI. DL The ground-breaking 1989 debut that made hip-hop accessible to introverts and suburbanites returns to streaming services, along with their five subsequent LPs. A high-concept medley of musical influences (the LP’s title repurposes Johnny Cash), rhythm, rhyme, in-jokes and unprecedented joy. JB Dr. Strangely Strange ★★ Radio Sessions TLAK. CD This Irish ‘anti-group’ purveyed pleasingly wonky folk-psych indebted to the Incredible String Band. However, only die-hard admirers will relish these poor quality off-air mono recordings of thought-lost radio sessions (BBC In Concert, Top Gear etc). JI The Du-Tels ★★★★ No Knowledge Of Music Required DON GIOVANNI RECORDS. CD/DL Holy Modal’s Peter Stampfel and Magic Band veteran Gary Lucas’s 2000 ‘kids’ LP. Stampfel shines on Rotten Family, his tale of no-goodniks;…

Needles & Plastic: Flying Nun Records, 1981-1988 ★★★★ Matthew Goody THIRD MAN. £28.99 CULTURALLY SPEAKING, New Zealand in the late ’70s was a largely monochrome place. For decades the country had been stifled through censorship laws aimed at maintaining a cartoonish ’50s idyll by ‘protecting’ its youth from the corrosion of radical music, books, films and ideas. Kiwis also suffered from “cultural cringe”, a wide-spread colonial hangover that assumed homegrown art would always be inferior. “That Roger Shepherd got beyond the first year is miraculous.” Meanwhile, the minuscule New Zealand music industry of the day revolved around local light entertainment pop and major international releases. Punk and new wave threw up some high-profile local acts, but they were still aping overseas trends. Then, in 1981, the Flying Nun label changed…

FEBRUARY 10 Pretenders’ debut single Stop Your Sobbing – a cover of a Kinks song from 1964 – had entered the UK charts at a respectable Number 60. In the weeks that followed it would rise higher, eventually peaking at Number 34. Success was calling, but no-bull singer Chrissie Hynde retained her sang-froid. She did, though, admit to one swell of pride this month. On the February 26 episode of BBC2 comedy Fawlty Towers, titled The Psychiatrist, the rakish Mr Johnson (played by Nicky Henson) repeatedly read the February 17 edition of Melody Maker with Hynde on the cover, headlined, ‘The Great Pretender’. “[It] really did give me that rush,” she told her friend Nick Kent a month later. “I just went, Wow – that got me.” She’d been…

It started on the way to sign on the dole. And ended after 10 LPs and 10 45s in 10 years… HELLO MARCH11, 1980 I made [1979 single] Index on my own, but I realised that having a tiny label and making 500 singles wasn’t going to give me what I wanted. So the idea was to form a new kind of rock band, and make it big. I knew Maurice [Deebank, guitar] from the village [Water Orton, outside Birmingham]. He’d begun having classical guitar lessons when he was nine and was, like, a genius. He was easy to hang out with, an odd character, but in a good way. In 1980 we’d walk to the dole office in Chelmsley Wood. On this particular day, we stopped on this little…

MOJO welcomes correspondence for publication. Write to us at: MOJO, Bauer Media Publishing, The Lantern, 75 Hampstead Road, London, NW1 2PL. E-mail to: mojoreaders@bauermedia.co.uk WHEN TIME OUT OF MIND WAS RELEASED in September 1997, Bob Dylan was 56 years old. “Shadows are fallin’ and I’ve been here all day,” began Not Dark Yet, and to some the lyrics of Dylan’s 30th album had a valedictory ring. Here was a standard-bearer of the generation who had sworn never to grow old, come to a point where he was grappling with a new sense of mortality. Time Out Of Mind read like a curtain-call for rock’s gilded stars as they confronted the absurdity of continuing into their sixties. “It’s not dark yet, but it’s gettin’ there…” Well, we got that one wrong,…

“It was really fun seeing Paul sing in Spanish.” NANCY AND Lee. Porter Wagoner and Dolly Parton. Mark Lanegan and Isobel Campbell. When MOJO wonders where the new pairing of singer-songwriter Galen Ayers (daughter of Kevin) and Clash/ The Good, The Bad & The Queen bassist Paul Simonon fits into the duo landscape, the latter grins, gappily, “Morecambe and Wise.” There will be sunshine, it seems, on their debut album. Its origins lay in lockdown, when Simonon moved to a fishing village in Mallorca, where he painted and worked on musical ideas for 18 months. “Then I came back to London and ran into Galen,” he says, adding that the two – who speak to MOJO together on a Zoom call – have been pals for a decade. “I was…

I was living in Dunton Green in Kent, around ’82. I’d started on, like, the Anti-Nowhere League and The Exploited. Then a mate, Richard, gave me the Bloody Revolutions single and put me on to Crass. When I found Penis Envy, it was an explosion for a 14-year-old kid. I would have bought it in HMV or Our Price in London, and played it in my bedroom. I was so kind of innocent to all the things they were bringing up on this album. Poison In A Pretty Pill – Idon’t know what pill they’re singing about but, for me, it was an attack on the pharmaceutical world. Our Wedding was crazy, and they managed to get that on to some kind of wedding magazine as a flexi disc! The…

“This exercise in trying to look at the earth with compassion.” LUCRECIA DALT is trying to process the success of her most recent album, the sensuous sci-fi-bolero art-pop wonder that is ¡Ay!. As we speak, ¡Ay! is gradually finding itself at the high end of numerous Best Of 2022 lists. “I’m genuinely surprised,” she says, from a hotel room in Bogotá where she is currently on tour. It’s an understandable point of curiosity. ¡Ay! is undeniably Dalt’s most accessible LP to date, calling to mind similar art-pop margin walkers as Björk’s Homogenic and Julia Holter’s Have You In My Wilderness. But it was born of a wildly experimental idea with its roots in her childhood in Pereira, Colombia, and conceived at a crossroads in a career that has been anything…

Phil Wainman: The Sweet played at my wedding. The actor Paul Nicholas said, “I’ve got this band, they’re from Ruislip. And if you produce them, I’ll manage them.” And that’s how it began. [Debut 1968 single] Slow Motion was a good record, and they were a great little band then. They were kind of my age group. Brian [Connolly, singer] was a little older than me. They were my first production. I was introduced to Nicky Chinn and we tried writing together, but it just wasn’t happening. And then he turned up with a waiter from [London nightclub] Tramp, Mike Chapman. Mike Chapman: I first met Nicky in late 1969. I was in a struggling band named Tangerine Peel and needed to do something to pay the rent. I’d been…

Sunny War ★★★★ Anarchist Gospel NEW WEST. CD/DL/LP “I AM HE and she is she/But you’re the only you,” declared Crass on the broad-spectrum invective of 1980’s Big A Little A. It’s a line quoted by Sunny War on Whole, the closing track on Anarchist Gospel and a nod to the band who she credits with her political awakening when she was a teenager in California. “Don’t you work yourself to death,” she advises in true Do They Owe Us A Living? style, “take a break from the man-made hell/ To catch your breath.” Finding her own space outside of “the system” has been a long-term project for the singer and guitarist, her adopted name (she is otherwise Sydney Ward) suggesting a volatile mix of positivity and peril. Born in…

The Mary Wallopers ★★★★ The Mary Wallopers BC. CD/DL WITH THE unnerving look of an Amyl & The Sniffers tribute act, Dundalk, County Louth’s The Mary Wallopers ended 2022 as the year’s most exciting musical arrivistes, revitalising Irish folk music for a new generation. Their sharply upward career trajectory resulted from brothers Charles (vocals, guitar) and Andrew Hendy (vocals, banjo), plus pal Seán McKenna (vocals, guitar), putting on rowdy gigs in the Hendys’ living room circa 2016, then touring pubs throughout Ireland, and finally going viral with further lounge engagements livestreamed to the world. Equally homespun, they’ve been chipping away at this debut for years, constantly needing to re-record tracks as they improved, not least after expanding their line-up for the pub-roving phase, to include bassist Roisín Barrett, drummer David…

James Brandon Lewis ★★★★ Eye Of I ANTI-. CD/DL/LP After 2021 breakthrough, New York tenor saxophonist shifts gears with unusual power trio. Hymned by Sonny Rollins after 2021’s Jesup Wagon, a layered tribute to George Washington Carver, Lewis cuts loose from his conceptualist moorings for a stripped-back set defined by memorable melodies and thrusting performances. Whether refracting short phrases à la Rollins (the filmic Send Seraphic Beings), sending quavering saxes flailing in different directions (Donny Hathaway cover Someday We’ll All Be Free) or letting his fat-toned sound scroll through the emotions (the meditative Within You Are Answers), Lewis hits peak saxophone artistry here, beautifully offset by cellist Chris Hoffman and drummer Max Jaffe’s minimalist backings and a stirring link-up with Washington DC’s jazzy noiseniks The Messthetics (finale Fear Not). It…

Jane Birkin ★★★★ Jane Birkin WRASSE/UNIVERSAL. CD/DL THERE’S SOMETHING very English about the modesty with which Birkin reviews her career: begun when she walked into the wrong theatre audition yet got a job because she was light enough for the actor Dennis Waterman to lift. While she would be frequently cast thereafter as a mere muse, this 18-CD box underlines how she took control, reinventing herself until, today, Serge Gainsbourg belongs to Jane Birkin, and not the other way round. Her 1960s output fits on the first disc, ‘Jane Birkin & Serge Gainsbourg’ (opening with Je T’Aime … Moi Non Plus), plus four tracks from Gainsbourg’s L’Histoire De Melody Nelson on which she appears, soundtrack contributions and rarities, everything written by Gainsbourg, with help from Jean-Claude Vannier and Michel Colombier. If…

★★★★ Low-Life Definitive RHINO. CD/DL/LP FOR THEIR third LP, New Order’s sights were set on America. They went for maximum audience engagement by… putting worried-looking drummer Stephen Morris on a sleeve wrapped in tracing paper. Aptly, this multi-disc edition allows all contradictions. The core album remains among their most essential, with warring psychological states soundtracked by consummate Hi-NRG pop and electronic rock, with an added disc of unreleased instrumentals and ‘Writing Sessions’ expanding a familiar landscape in ways fans will relish. On DVD, four contemporaneous gigs show a group adept at wrestling with synths and live performance – there are no off nights here – with a great newly-unearthed Belgian date finding singer Bernard Sumner on whooping and slap bass. No one else was sounding like this in 1985, and…

M New York-London-Paris-Munich MCA, 1979 ONE OF 1979’s signature smashes was M’s Pop Muzik, a conceptual, metronomic, new wave disco mantra which topped charts from Australia to the US, and lived on in covers by U2, Tricky, James Last and more. “It’s very flattering that it still keeps banging out there,” says its urbane creator Robin Scott today, “but there is lots more besides.” Scott’s story began in Croydon in 1947. He attended the town’s art school, where he and fellow conspirators Malcolm McLaren and Jamie Reid took part in a six-day protest during the tumultuous summer of 1968. In 1969, Scott released his singer-songwriter debut Woman From The Warm Grass, partly backed by Mighty Baby. 1970s activities included recording electronic pieces, the musical Heartaches And Teardrops, managing and producing…