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Home , Liam Howlett, The xx, Vampire Weekend, XL Recordings

THE MEANING OF EVERYTHING

From to , XL Recordings’ co-owner Richard Russell shaped one of the world’s most successful independent record companies. Dan Keeling meets him at ’s Brat to talk alpha personalities, Châteauneuf-du-Pape and his own collaborative album project Everything Is Recorded

Photographs by Benjamin McMahon

46 Noble Rot Noble Rot 47 “ hat’s different every time? Robert Wyatt?” asks Richard success with The Bouncer (a hardcore record “made in two hours” Russell, illuminated, saint-like, in front of a large with DJing partner Nick Halkes under the pseudonym Kicks Like W Georgian window. “Er, is that an album?” says Noble A Mule, which went to number seven in 1992), the following year Rot, taken aback by the sudden burst of music trivia. “It’s a lyric he took over running XL Recordings, a dance label founded by on a song from his album Rock Bottom,” Russell continues. “Have Hawkes and another friend, Tim Palmer, in the photocopier room you heard Rock Bottom? It’s a masterpiece, it’s incredible. He of Wandsworth’s before both departed, leaving made it just after the accident that left him paralysed, but he said him “knocking about in a ‘no one particularly seems to want to get it had nothing to do with that. It’s got some threads with what rid of me kind of way’.” Having had hit singles with House Of Pain, I’ve done, in that some people who’ve listened to my album made Roy Davis Jr and , the label’s most significant connections to me having been ill. I said that there’s no connection, breakthrough came with the latter’s third album The Fat Of The but when I told my friend, he said, ‘That’s what Robert Wyatt Land (1997), which went to number one in 26 countries on the way always said about Rock Bottom, but he didn’t know. You can say to selling a gazillion copies. this album has nothing to do with getting ill, but sometimes other Over the next couple of decades, Russell went on to sign a roster people know better than you.’ Now I think he’s probably right.” of artists unequalled by any other British record company since We’re discussing Everything Is Recorded, the sublime musical the heyday of Chris Blackwell’s Island Records. Having worked as patchwork Russell recorded in the aftermath of being diagnosed an A&R man at rival labels, it’s been inspirational for Noble Rot with Guillain-Barré syndrome – a rare autoimmune disorder that watching Russell cut a creativity-focused course through an left him temporarily paralysed – from which he’s now almost fully industry built on compromises, continually enjoying artistic and recovered. Featuring , Brian Eno and Peter commercial success throughout the most challenging times. Adele, Gabriel alongside a host of younger talent including , , Radiohead, , , Basement and Ghostface Killah’s son Infinite, Everything Is Recorded Jaxx, The Streets, MIA, , : mixes raw production values, live improvisation and samples Russell’s record speaks for itself, and then some. We meet for from Grace Jones and Curtis Mayfield into a fresh yet familiar lunch at Brat, a wooden-panelled beauty of a dining room whole. “My sister said, ‘It sounds like your bedroom in 1987’, overlooking Shoreditch High Street, recently transformed into a which I took as a big compliment.” Having previously produced temple of Basque-inspired grilling from its previous incarnation as final albums by Gil Scott Heron (I’m New Here, 2010) and Bobby a grotty strip club. “I got chatting to a cabbie who was an ex-raver Womack (The Bravest Man In The Universe, 2012), as well as the other day,” says Russell, fresh from the first Everything Is Damon Albarn’s debut solo (2014), a return to Recorded live shows. “He said, ‘How do you keep up with a load of making his own music, rather than just releasing other people’s, 20-year-old ? No one your age could’ve partied with us was seemingly inevitable. when we were 20; it must be killing you!’ When I told him that Russell, 47, grew up in an orthodox Jewish household in they’re mostly vegan teetotallers, he seemed disappointed. Maybe Edgware, north London, losing his religion in the capital’s that’s the new generation gap: parents who secretly wish their burgeoning 1980s scene. Getting his first taste of chart kids would get off social media and take some drugs.”

48 Noble Rot Noble Rot 49 Noble Rot: Do you drink RR: I like it. I’m not a big Python, and that’s a different much at home? Champagne drinker, kind of listening, because you Richard Russell: I always although I find if I drink have to listen to every word. drink at home, and I get a lot Champagne and stay on it, of pleasure from it. I know it has a really good effect. NR: So who’s the funniest “Having a sense of humour is really common in great music quite a few alcoholics and This is quite an unusual artist you’ve worked with? people. There's a certain type of artist who appeals to me, consider myself lucky not to Champagne, to be fair. It’s RR: Having a sense of be one. I can have a drink or more like a wine, and has humour is really common in who are alpha characters, who’re playing by their own rules” two and be happy, but I think got a lot of different layers great music people. There’s a it’s pure luck if you’re able to of interest. certain type of artist who do that. I drink different appeals to me, who are alpha things depending on my NR: How did you get into characters, who’re playing by mood. I know that if I have a music? their own rules and don’t Châteauneuf-du-Pape, it’s RR: Well, hip hop before give a shit. That’s when the going to really taste of dance music and pop music really good stuff happens. made a record together with assure you not nearly as [The Prodigy], something, and that I’m before hip hop; the Beatles Damon [Albarn, from Blur] is , during the many people think you’re who I was working with by going to really know about it. before pop music. My dad really funny, maybe in ways recording Bobby was like, a cunt as think I’m a cunt.” then, had turned it down. I Then there’s lighter Riojas, used to listen to a lot of that he doesn’t communicate “We’re going to play all this I felt great after that. He’s was like, “Hmm, he’s on to which I like. If I’m cooking, spoken word like Monty publicly much. When we stuff live together, right?” really funny. Gil [Scott something there that I’m I’ve got definite ideas about And I was thinking, “That’s Heron] was really funny, but not.” There was definitely an which wine will go with never going to happen”, and with him there was also this element of wish fulfilment, something. I never use then it did. It was the first deep profundity to every but while it’s quite recipes, but I have ideas live performances I’d done word. I once asked him how interesting to do Top of the about what goes together, since Kicks Like A Mule and he saw himself and he said, Pops, it’s more interesting to and sometimes it’ll work every show was brilliant. “I don’t see myself one way or have the opportunity to do really well. Then we did Later… with the other. I might go off and Top of the Pops and not do it Jools Holland, and when the get high now, I might not, but because you’re on to NR: Where are your audience turned up there if you start thinking like that, something greater favourite places to eat out were a lot of record company you’re going to die a artistically. The Prodigy in London? people, which made me feel thousand deaths between never performed on RR: Dinings in Marylebone, a bit self-conscious. I was here and the corner.” television because Liam and the Mandarin Kitchen on playing [sampling drum thought it was crap, and that Queensway. Wow, this bread machine] MPC, and Damon’s NR: What do XL artists have was very inspiring for me. is so good – the anchovies playing piano, and he asks, in common with each other? Actually, one of the reasons I are amazing! “Are you all right, Richard?” RR: Quality. I think that was lost my bottle making music and I said, “No, there are a the Island Records thing, too. early on was that I was busy NR: So you’re into Japanese lot of record company people running the label and Liam and Chinese? here and I’ve started to feel NR: Is it something to do was so much better at RR: Oh yes. They say you can self-conscious”, which I with attitude as well? music-making than I was. always tell a good Chinese hadn’t felt at all in the rest of RR: Possibly, but that can be The mistake was to look at restaurant if it’s got a lot of the process. He said, “Ah, I executed in so many someone else and think, Jews in it. My actual know what’s going on there. different ways. “They’re better than me”, and favourite London restaurant You’re making the mistake of then stop. was Inaho, a tiny Japanese thinking about what other NR: Kicks Like A Mule’s The place on Hereford Road people think of you. I can tell Bouncer was your first taste NR: How would you describe that’s now closed. It was you what they think of you. of chart success in 1990. Is working with Liam? like you were in the chef’s They think you’re a cunt. that a potent memory? RR: He’s incredible. He’s just, front room. They think you’re a cunt, and RR: What was interesting, in “Fuck that” to everything after this performance retrospect, is that we did Top except the right thing for NR: What do you think of this they’re going to either think of the Pops and, while it was him, and that’s a beautiful Champagne [NV Jacques you’re a bit less of a cunt or a kind of fun, I always had this artistic way to be. For me, Selosse ‘Substance’]? Richard Russell at Brat, London, 22nd March 2018 bit more of a cunt, but I can nagging feeling about how that’s the only way for artists

50 Noble Rot Noble Rot 51 to be, and I realised I was deal for Music for the Jilted It’s not the right way to treat someone who was able to Generation with Mute, but anyone, because you’ve got accommodate that. There’s we felt we would need to treat people as people. So nothing about that attitude something more. By then, we were suddenly flavour of that I don’t like. I'm not that Firestarter had come out and the month without a deal in alpha, but I like being around there was Prodigy mania, America, and it was like the people who are because it’s and all the majors wanted to labels had decided as one, fun, and they’re going to say sign them, including the one “This is what we’re all doing what they want. Liam is like who’d dropped us the first for the next few weeks. that and Damon is like that time. Then I had that We’re all trying to sign this.” and Gil is like that and Adele experience where you is like that and Giggs is like become the centre of NR: How are you enjoying that. They’re all like that, attention. I was reminded of the red [1994 Thierry and there’s always a lot of this by something I read in Allemand Cornas]? humour that goes with it. Noble Rot about Fantasy RR: To me, it’s a bit like being Liam is very inspirational. Restaurants that the writer given a hug, which is Yes, so The Prodigy, America, had invented, where they something I look for in music Supersize me: (From left) XL artists The Prodigy, Dizzee Rascal, Adele all that stuff, I was like, said, “This is a place where quite a bit. That feeling is “That’s the reason we’re doing no one calls you sir and no there in a lot of 1970s records, what we’re doing.” one calls you mate.” I’m where there was this period really into that in a of incredible warmth, before NR: The Prodigy’s The Fat of restaurant. I don’t want to digital technology really the Land was a huge hit be called sir or mate in a kicked in. around the world… restaurant. One of the things RR: Yes, it was definitely that big entertainment NR:What’s your favourite Italy. She inherited a million liquids, even though it was a way of talking about death, something that I wanted, corporations do is they’ve got lyric? bucks and when she died it really hot summer. I had to some parts of which are that from early doors I’d two modes, and will treat you RR: I can only talk about came to me. I can’t help it if suck a wet sponge, so very practical and easy to been feeling was possible. one of two ways. If you’re a stuff I’ve heard in the last I’m lucky.” Those lyrics are aspects of it had a torture follow, and some parts of Even though their music was star and making them money few days, but Idiot Wind by wild. He wrote lyrics in his quality to them. I used to which you go, “Whoa, wait a not what people would have – or the object of their desire Bob Dylan. “Someone’s got it twenties which are ancient, have visions of glasses of minute. You think told you was commercial, – they’ll treat you like a god. in for me, they’re planting totally coming from water as the ultimate everyone’s reincarnated?” that just didn’t matter. In If you’re not, they will treat stories in the press. somewhere else. He’s fantasy. There’s nothing you That’s a bit harder to take America, because XL didn’t you like shit. You’re either a Whoever it is I wish they’d completely a channel. could take more for granted, on board if you’re from the have an office there, we genius or a cunt. It’s like cut it out quick, but when and it was incredible having West, but you start to licensed the first album to being called sir or mate, you they will I can only guess. NR: When did you get into the value of everyday things consider the spirit. So when Elektra and got dropped know what I mean? Neither They say I shot a man named Dylan? pointed out to you in this I found myself where I was, after release. Then we did a of these things is very human. Gray and took his wife to RR: When I was ill. I’d never extraordinary way, which it was incredibly useful. I listened to him before that. would be very hard to get think if it had happened to I think he has a shamanic otherwise. I used to me before, it would have quality, and when I was at my fantasise about walking been much worse. most sick and vulnerable, he down the street to get a cup was all I wanted to listen to. of coffee, so when I actually NR: What’s been your It’s very healing music. got back to doing those biggest thrill as an A&R things, it was huge, and still label head? NR: How bad was your is. You get to see the RR: Dizzee [Rascal] winning “I used to have visions of glasses of water as the illness? vividness of everything. The the Mercury Music Prize. RR: At one point I was interesting thing was that Because the doors weren’t ultimate fantasy. There's nothing you could take more for paralysed and couldn’t even for two years before I got ill open for music like that in granted, and it was incredible having the value of everyday pick up a glass of water. I’d been intensely reading 2003, and it was really Then, all the sodium from about dying, and got really significant. I really felt like things pointed out to you in this extraordinary way” my body disappeared and I interested in Buddhism. he should win. I’m interested wasn’t allowed to drink Buddhism has a very good in things that mean a lot, and

52 Noble Rot Noble Rot 53 I think you can mean a lot to discovering bands bollocks? people would get better by a small number of people and RR: If everyone had passed, not trying so hard to be that’s totally legit. Maybe that makes it even better. commercial. The right meaning a lot to a lot of That’s even more romantic. people know what they’re people is the Holy Grail, but meant to be doing. It’s I’m not sure it is for me. Not NR: You must have had easier than people make it any more. Do your readers discussions with some artists sound if you’re working know that you discovered when you weren’t aligned on with people you believe in. ? a vision for a record. How do Any identity that gets you deal with that? attached to a person is NR: I wouldn’t say that RR: I never really self- dangerous, as it becomes I discovered Coldplay identified as a record hard to shake it off – “He’s because that implies they company. this, he’s that” – but I were lost before we signed always had this feeling that them to . Like NR: But XL is one of the maybe the bass player could most artists, they were most successful independent actually be producing, and known about by many other record companies ever. maybe the manager should people. It’s like the story of RR: Maybe that’s why; be in the , he’s the most Everything Is Recorded live collective how Oasis were randomly there are different ways of interesting one. And so discovered by Alan McGee seeing things. As soon as often, the A&R person is a at a gig in Glasgow, and he you’re playing any of those fucking star! I used to say signed them to Creation on roles, it’s boring and to people, you meet these the back of a cigarette predictable. I don’t think A&R guys, and they’re packet after the show. In I’ve ever had a conversation often so charismatic, and NR: How’s Adele to work always made me feel very is a collaborative thing, reality, Oasis had already with an artist where I was then Simon Cowell with? confident, that she knew which a lot of people are been passed on by every encouraging them to be happened. I was like, hold RR: She’s this archetype I’m what she was doing. She was involved in and have always major label, so A&R is often more commercial – because on, did I will that into talking about. Absolutely around a lot of male artists been; at times in my life I’ve more about identifying, I’ve never thought anyone being? He was the biggest alpha, really funny, and who reckoned they had been the main driving force, signing and facilitating. would get better by doing British star at that moment; doing what’s meant to be swagger, but they didn’t but not right at the start Isn’t that whole thing of that – but I’ve thought an A&R man. done, not what anyone else really and she did. If you’re and not at the moment. It’s is saying. Early on, I working with someone as a record company, it’s remember she started good as that, it’s easy. It’s highly collaborative. I’ve talking with agent about easy work unless you choose made seven albums since festivals and she said, “I’m to be someone who’s trying 2010 and that kept me busy, not doing festivals.” to undermine it in some way, but that’s what I wanted to Everyone else said, and that wouldn’t be easy do for this period. “What??” Because that’s work. If you find good people where the big money gets and you’re going somewhere made. She didn’t think it together, it’s a joy, isn’t it? was the right thing for her to do at that time. As soon as NR: So what’s next for XL I saw she had the confidence and your own music? to reject something RR: Just to continue. We’re everyone else saw as the recording some more music ultimate opportunity, with Green [Gartside from I thought, “This whole thing Scritti Polliti] and Infinite is so happening.” She called [who both collaborated on it at that point that she album track Bloodshot wasn’t playing festivals until Eyes] at the moment, more she was headlining or less the same people. Glastonbury. From the first But I’m definitely not doing time I saw Adele, she the second album now. XL Dan Keeling and Richard Russell at Brat, 22nd March 2018

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