"I hated my first single, 'Mr Postman,' so much that I didn't want to hear it again." So says UK soul grandee, O MAR LYE-FOOK, MBE, who accompanies this statement with a gravelly chuckle. " This was 1984 and after tw o weeks of hearing it, I couldn't stand it, " he explains. " So from that point, any music that I made, I had to like because you've got to play it for the rest of your life. " Six years later, and, Omar, now 22, came up with a song that he could listen to repeatedly. It was called 'There's Nothing Like This.' "When I wrote that song, I made a demo of it and put it on a 90-minute cassette, " he says. " There was 45 minutes on one side of just that song and it played and played and played. Nobody got bored of it so that was a sign that it was going to be quite a big hit." Indeed, it was, and for many soul fans of a certain age, it was the song that represented their first acquaintance with OMAR's music. It was back in the summer of 1991 when Acid Jazz was the hip and exciting new currency in the world of British R&B and bands like the Brand New Heavies, Incognito, and the Young Disciples were setting the pace. OMAR, then 23 - a multi-instrumentalist and former percussionist for the Kent Youth Orchestra - was a label mate of the latter two groups (on Gilles Peterson's influential Talkin' Loud imprint) and broke into the UK charts with 'There's Nothing Like This.' With its summery vibe, feel-good groove and addictive chorus, for many people that particular song came to encapsulate a special moment in time and was adopted as an anthem. 1 / 6
'There's Nothing Like This' remains one of the highpoints in OMAR's canon even though it was recorded almost thirty years ago. Though its success has eclipsed almost everything else he has done in commercial terms, he doesn't view it as a heavy and uncomfortable albatross around his neck. " No, I'm very happy with it," he tells SJF. "If that's the only song of mine that people know then at least they can start with that one and then get to learn the rest," he laughs. He then reveals that some people, when they recognise him, often approach him singing the 'There's Nothing Like This's' chorus line. "For the most part it's fine," he says, "but when you're trying to meet someone or get a private moment, and people come up to you singing it, you think 'not right this second!'" But 48-year-old OMAR - who was awarded an MBE in 2012 for his services to music - isn't content to rest on his laurels and live in the past. Though not a prolific recording artist, there's been a fairly steady stream of music during the last 25 years and now he's now about to release his eighth album, 'Love In Beats,' which follows in the wake of 2013's critically-acclaimed 'The Man.' The new LP - which features noteworthy cameos from keyboardist-of-the-moment, Robert Glasper, soul veteran, Leon Ware, spoken-word specialist the Floacist (aka Natalie Stewart) and singer Natasha Watts, to name a few - is an eclectic collision of soul, funk, jazz and Caribbean flavours that has been masterfully marinated by its genius creator together with his producer brother, Scratch Professor. In an interview with SJF's Charles Waring, OMAR talks about his new record as well as other fascinating facets of his career, including his aspirations in the world of acting... 2 / 6
Tell I'd point 'right, twenty 'Feeds timeless How It's think reggae of would Something on a let's little Yes, You've instance. and said problem, when Someone knowing I've them for cover loving had back Is album? been us where let's songs. about working do we it.' Some your had We on new some enough actually them album, music came go back 'Love to up make my to with In 2003, brother Beats.' Yeah, actually fight the one his still timing worked kept to go gem. 'man, mentioned it's does the and Robert of drums the I sent new and get you eclectic My minute back just got 'Butterfly,' a beats sent bumping man.' forth then asked track. How was courier please, very Mind' leave album describe it sent with stuff some a and didn't his unique. few and that right they album going are like It varied But send his him (featuring your me, like and took finish stuff solo on into high-profile you've years a then way. everything really mix that's solo get that. bit 'is Freestyle. storm his a brother, It's and compare put Herbie each come it,' album be it. more while fighting stuff me, track, back talent? matter any got digitally? funny That's basically, them how It's so The fine. off other I between harder. I to just good?' Hancock didn't else musically and which thought you Floacist) Scratch cameos It's on And because do with that why the like I a that then coming can on next. which put actually North over we solo called and Scratch done what each album. board? 'Love tune how I've my Professor. didn't you was It and I on I'm more said Sea out was I've you've always vocals it other there we which listen this these did In work can 'Love world. something glad I covers like put same done kind Jazz Beats' 'oh quite very tracks was for album April imagine from those man 'Vicky's was we things days done yeah, In the What's of When time Festival. well with beautiful. stressful Beats.' now a did, would I pride (laughs) than is recorded people past think. and lot songs with that came before? it's versed these we'd (saxophonist) that Tune' because I you of it's was we bless myself busy three fine,' fit was There I've We different sometimes go out just a up the and like needed, days. (with putting Internet. by little we're studio done just because 'okay, started not the years back album. the to we've are just Norman Robert bit Quite having track,' making kept work four brothers musical definitely Courtney flung then. this and we've about and ahead Back (laughs). come album. of he's Dropbox a 2007. Glasper, tracks. album with and Connors. send hip-hop we listen contact Glasper) few music nineteen got of so up we're just bases. he beats I and Pine people It's it good. just together with We'd said back that and job got and from for just day curve. how track. getting I'm and said but did or this send 'no So have that that well terms you really then do, The (Laughs) Guadeloupe that traditional same how came Yeah, you thing into exactly, way... did with the the studio Leon and funnily 'Gave (Cape enough, worked My Verdean Heart' with with singer) way... Jean-Michel Leon Mayra Ware, (Rotin) (Andrade). who's too. also I'd Natasha met him the Watts new II He's show put overall You've about? was easy. finding brother that What Andrade? She Pelanconi) background happened song something perfectly. she singing such came quite had Natalie can view looked put also very a you from to about right long Guadeloupe of vocals down big the and be (Stewart She Brighton, got down much how tell well that project star there time song because it each asked is The turns me for I with we and put a ago and aka Parisian 'De about other Floacist to became fitting last but I we The French Ja worked guys, that if and result year for him? just Vu' I was Floacist) together on. feel wanted fans said which got featuring Caribbean so When that with producing 'Feeds kept lives one track of together 'yeah, you each a so years I put the went friend sing and I contact My Croydon, hear thought Paris-based that's a in track ago. duet makes best album, to Mind.' Zouk of and album Natalie' mine, 'Feeds Portuguese and from a started I together gigs French went tune which music. the How wanted come then. I (producer) albums, band ever Cape called My writing did was there A one I alive One Mind' just played friend remember. she to was that Verdean 'Destiny,' French work a round and time should even didn't song came Prince fantastic collaboration way of some then gigs mine I more. was disappoint. together, but singer, up say. and It Fatty we keys go. was corner booked and I the went think Paris but (aka sound and Jean-Michel Mayra Jazz which come the from it The my it did Mike was fits Top studio Cafe. of me. for turned poem she the just my Five a toit Tell conversation... It while could down game you hear either In sometimes rhythm experience-type-thing: You're I of which get kind play is. regards you girls rather us The back. hear with of bass, called cry is of overall a about use were I've just quite rhythm music noted or the my eat a to When drums, like laugh, what done go Would conversation songs doing a your daughters the view from different multi-instrumentalist. of bucket it happens I track, them depending view and heard songwriting, You of where acrostic the I'm of keys. Rather. talking music. experience I and things 'Girl kind sick going just I've I to poems thought their I Talk a had of be always background and but The by It's guy over a wing the do lying mum the plate Interlude,' inspiration wearing a where the melody for who that you mood the game do it lyrics me. Do music around from of top sounds tries the write they shit' you I'm But before other there music something and can to what which in. turn from write kids perfect I dinner It something. come wasn't people's really. the and speaks first just each play, your sounds mostly time? seemed and fit from for table letter sure I that own don't to words then part, shoes? I've anywhere. So me like chatting what. offers interlude perfectly. experience try to one written we their I and you're use to fit. Then were lyrics my melodies particular come names and the for brother choices Every eavesdropping urgency playing one piano afterwards. they music into it day I'm do album time were with instrument had as like that a you of around singing. I it word. was I the a done 'would playing hear helps but and A lifesat couple Ithat, You on also it, toor a I 3 / 6
Going kit followed euphonium. You Yes, Oh, Hall backstage with stick influence everything. there, because going What Well, favourite Was De Which Yeah, that it's harmonies. How It second show done town.' two studio Does think of started was and well Blanc,' yeah, dream. weeks fantastic I kids played did I love then together memories musician pile. 'one I a right, again. can that's and your said think album, pinch-me be when by Kent it of absolutely, the would about year and count area. go we day feel And at the covered, exactly! being So 'who head back, so. what (laughs). know I stuff first to Youth basically. were thought and I amazing then 'Music.' I'm pretty guitar, to of I has have my music: I was do think is can also front and moment. his. but put actually record Stranglers' going what then Kent when this?' eight just grave But those Orchestra. one you influenced and always of much. to visually then that's We remember 'wow, one He vocalist I hanging 'The course... Youth first to you of have went having years He pieces quite of toured heard settings. has day,' play work I Stevie covers the that where I was said his Secret play drew remember 'Golden of this piano, shaped later, I Orchestra, comfortably highlights and old, him zone. I you out, was that of LA arrangements, with lucky Italy, buying those 'Stevie.' said percussion (Wonder), and so my really you music I've around Life place does and write I the you many get Brown'... him classical to My Brazil, said that my restaurants, played to days? of all Michael happening?' myself, principal most amazing they I a then by bought? first after music? music. Plants' later of music, said didn't different and invited phone song father of myself North your lesson picked with wanted ex-manager, smells course. you've string 'Stevie the say and was Jackson's for regards I percussionist you? is but was call your harmonies. orchestra remember brass, career? America. clubs, instrumentation, I'm the things since percussion, would arrangements - of more to out a Mahler, who?' Omar.' 'The done career? as drummer work the and to then for 'Off well, so have Keith Secret Royal where you're studio I your after He thinking blue, me. used with I hotels classical Brahms, orchestral there was I've said then been Harris, taught that. Festival so He's own Wall,' Life but always and to played come duet 13 the and ensembles, 'Stevie encapsulates to the from with we of To a music. music? it's Dvorak, production, well. myself me gave The called multi-instrumentalist course Plants' 14 tuba from, didn't work Hall at it him; then. how twice said Wonder.' at Police's me Stevie Royal and cornet, 'Feeling the when from with 'hi, Debussy get for back. is to We orchestras, let's my and time my man, the round do you everything anything him the Festival my did first 'Regatta I week go Then realised was 'I'm You.' know, a I'm to drum -the TV top the for I 4 / 6
'There's going Heavies, thing. What coming who called 19. is They only You've active. I'm and stubborn song, I've my Have would Well, but well. Walker, as How Oh got things percussion had music Tell been impressed films, do. did 50-minute amazing. well, dedicated was not eighth it's I a been to 23 plays three There had I've pretty if fire certain doing sound back It that for Kianja. are doesn't totally like you How tough about but been was a based and people if Nothing got group Incognito, enough singing blessed me. big your album against sounds anybody's got guitar sold-out by acting and are asked has my much. develop the monologue I've today's have look, fully-formed, focus his since influence recording the So live It's do your work one-man belly a memories time exciting then amazing harder keep been and whole now couple there's with music story my instruments enough like a me, fantastic compare It's you unfulfilled nights 2012. one-man-show, enjoy and certain my of decided sings. new listening... time first everything who amazing. performing that This'? basically. R&B Acid make (laughs), and managed singer/guitarist time. vocals all Jamiroquai, future? with play has of a since skills It's place. what to working talent? lot would of and young to I the colour, Ego Jazz, to was world? shunned be suppose... my a called just music to of the me, I ambitions way. Also, school it. and the had was songs. I do young, Shepherd's Ella just A I've together. a I well. His being summer the that. singers I this I'm Do like lot acting great mid-'80s remember. writing and glad Bill who stay got May certain Lovesong. agent guitar. of album just you the make for There So I'm called unsigned Withers. get reflect groups Manchester, a little to work came couple 33 is I've and musician? going I'd also friend, I'm skills keep your of and told another excited, Bush age, number years. are and was like piece Ollie been '91, that just went choice. with, riding People developing out him go head but to industry, your game of there I to Max talent everything. a myself, Theatre. when one would has keep Clark. through not website checking lot full and I alive young like part go nine above the time ear But Beesley, were man been of long any so force couldn't out stuff I'm Chetham's making when love of Check which music your as to there's long? a people I singer there. projects blessed things so dead, after that learning from bring written water. script they into we out. lot Young made studio I've I contemporaries who tour can't work it. of wave. speak. this ground that. it. One are know and I a leave, coming got I'm for things. wasn't would I He's School for out your that shame. used Disciples, I started choice kid to or breakup coming with and make. So still there's a sample every what four-part collaborations out, rhythm Che done called they musician regarding go breakthrough it say to anything It's enjoying get him. by of was between I've late, play As he's I wrote out next like Music. also a seem some Bobby mean? the He's Shanice but tour guy going long been all often are drama very with keys well great. weekend a Brand so they myself like marriage named to parts still up young as no acting Womack. for right Lots late. and be a that He's I've were Smith, series around longer me. I'm with revival just New really but anda I've now of girl Che at in still and as It's OMAR'S NEW ALBUM, 'LOVE IN BEATS,' IS RELEASED ON JANUARY 27TH VIA FREESTYLE RECORDS. 5 / 6
http://www.omarmusic.co.uk/ 6 / 6