OMAR INTERVIEW

Every inch the British Soul icon, Omar developed his style at an early age growing up in a musical household. Born Omar Lye-Fook in 1968 to a Chinese Jamaican father and Indian mother, he grew up in Canterbury, Kent. His father was in a band and founded Kongo Records, a positive influence which nurtured Omar’s desire to make music.

His first hit at the age of 22, “There’s Nothing Like This”, hit the streets in 1990 and has since become a summer Soul classic. Following his first two singles, “Mr Postman” and “You And Me” featuring backing vocals from Caron Wheeler, Omar stunned everyone with his first album, also entitled “There’s Nothing Like This”. Released on his fathers label, Kongo Records, it entered the UK album charts unaided by promotion or advertising. With this, Omar earned his name as the founder of Nu-Classic Soul.

Over the past 13 years he’s been cited as a major influence by the likes of D’Angelo, Maxwell, Jill Scott, Erykah Badu, India Arie and even Stevie Wonder. Omar is currently working on album number seven which, with the help of a new studio at his London home, is expected for worldwide release early next year.

What are your earliest memories of music?
My earliest memories of music would have been, sort of cross between – when I first started learning was in primary school when I was about eight years old and then the cornet and being around that. And also my dad was a drummer so I remember being in rehearsal rooms and yeah kind of liked the smell of the rehearsal room.

Who were your musical influences growing up?
Back then it was Level 42, Stevie Wonder and Reggae singers like John Holt, Bob Marley, Dennis Brown. Those were the main staples of my musical diet.

Coming from a musical family, obviously your dad and your brother do their thing in their own right do you think you’ve learnt anything from them?
I was just thinking about this the other day because my brother comes and works in my studio quite a bit. The other day I was producing these Danish artists and at one point when I needed a bit of inspiration he was there to give me that. I do work solitude most of the time but there’s very few people that I will work with and my brother is one of them. That’s the brilliant thing about him he just spurred me on so that was good to do that.

In terms of my Dad, my Dad’s production ethics, his production lessons when I was growing up I think I’ve kept the same kind of ethics to this day. It’s all about space it’s funny because he’s not a very technical man but he gets it over in the vibe and the noises he makes. Those things have helped me out to this day to explain to other people trying to get across the vibe I want.

You play a number of instruments, which is your favourite to play and why?
I don’t have a favourite, it’s like having three kids and who’s the favourite one to play with so it’s down to the vibe, I might start a song by the beat or it might be the bass sound or it might be the keys it doesn’t really matter you’ve got to finish the whole thing off so there is no favourite.

When did you realise you could make music as a career?
It’s funny when “There’s Nothing Like This” started blowing up and people started paying attention to it then I could see the potential. I’ve always been into music whether it be brass bands, choirs, percussion ensembles, jazz bands whatever. I’ve always aspired to be the lead man, in percussion and youth orchestra you’re sitting in the back I remember I always had the dream, we used to do the Royal Festival Hall in Southbank and I always said to myself I’m going to be out the front of this stage one day and do my own thing. I eventually ended up doing two concerts at the venue so it’s the kind of thing where you set a goal for yourself then you never know it can come true.

How would you describe the Omar sound?
The sound is a mixture of Latin, Funk, Soul, Reggae, a bit of classic and a bit of Jazz in there. You just get a big pot, a big spoon, stir it up and pour it out to see what comes out, that’s the kind of thing that I deal with.

You’re widely regard as a pioneer of the UK soul movement but which UK artist do you think paved the way for you?
People like Incognito for a start. I remember I used to get drum lessons in a rehearsal studio and I always remember the smell of fried eggs, I love fried eggs! I was once talking to Bluey of Incognito and he said yeah he used to rehearse underneath this café and I’m like man I used to have drum lessons in your rehearsal studio. I find those guys, Junior Giscombe who was before me performing, Carl McIntosh and Loose Ends, they were doing their thing before I hit out there. You’re talking about Vast Construction, Light of the World, Sudden Freeze, Billy Ocean, all these people were out doing their thing years before.

You released your music on both indie and major record labels, what are the pros and cons of both?
Well doing a major obviously you’ve got the power behind them, you’ve got the potential of the power behind you but then you can also get lost because if you’re not one of the bigger acts then you’re kind of sidelined. That’s the pros and cons of that. But in terms of the indies you’ve got more control but they have less power to get you onto the radio and onto the TV so you have to weigh up and see what your strengths are. A lot of people have to do that now in terms of the whole industry has changed, there’s not such big bucks as there was before. People are downloading for nothing so you’ve got to work out how you’re going to make your money now, rather than sit there and complain about it and try and change the laws you’ve just got to get out there and do some hustling. Make them hats, t-shirts, condoms, key rings, whatever you need to do and sell them on the side.

With the way music is selling nowadays has your approach to making music changed differently to when you first started?
Oh hell no. It starts like a seed with me, I get a little bee in my bonnet with a groove or a melody or something and it grows from there. I have no inclination of where it’s going to end up or what’s happening now or anything. The only thing I said to myself years ago when I did my first single, which I hated after two weeks, is that I’m never going to make a song again that I’m going to hate because you have to perform that stuff over and over again, 10, 20, 30 years down the line so you’ve got to be happy with it. I’ve just been fortunate that I have made the tunes that have stood the test of time and I’m still performing them now.

What inspires you to make music?
It’s all kind of different facets. It’s great to walk down the street and somebody tell me that they love the music that I do and keep on doing what I’m doing because then I know I’m getting some kind of recognition in that sense. I was thinking about this the other day, sometimes I like to make music for when you’re in a party and it’s one of them late night house parties they switch off the lights and prop up against the wall, get a woman and rub her up against the wall. Sometimes I think I think like that in terms of the tunes I’m making. I also think of some songs that I might want to sing then there’s the Latin vibe and the jazz vibe. I just come from all different angles where I think people will have a good time listening to it, singing it or dancing to it.

You’ve worked with a lot of major US artists like Stevie Wonder, Common and toured the US a number of times. Are you received well by American audiences?
The last time I was there was three years ago, I’ve been busy doing other things but it’s one of my biggest markets. When I am over there it’s sold out shows. My main market is New York, Atlanta, LA, DC, so I’ve got a nice little fan base there. It’s still underground do you know what I mean, I get to do nice tight little clubs where the sound is really great and you get intimate with the audience. It’s so much fun you can be underground and still have a successful career over there.

You were recently awarded an MBE from the Queen how does it make you feel to receive such an honour like that?
I’ve been named on the list I go and get it in January. It’s mind blowing because I get overlooked for a lot of awards out there you know what they are and I’m put up for them but never been nominated. So when this came along I was just like this is another one of those, yeah thank you very much nominated and let me know what happens in 10 years time. So when I opened up the letter it said from the prime minister I was like wow it’s actually happening. So I’m very grateful to get recognised from such a high office in the land, it’s fantastic.

Out of all the albums you’ve made do you have a favourite and if so why?
They all mean something to me, they’re all part of my evolution as a musician, as a songwriter, as an artist, performer, whatever, it’s all part of the journey. I’m very grateful to have each one of those because they show where I was at at the time and I’ve continued to evolve. The latest album I’ve done is called “The Man”, we’re just working out a deal for that right now but I personally think it’s the best music I’ve done to date. I’m not a boasting man in general but I’m very proud of it.

What’s been the highlight of your career so far?
There’s quite a few there the MBE is up there. Working with Stevie Wonder is a moment I will always treasure and remember vividly because that guy is a massive influence in terms of my vocal style, my arrangements and my production. He’s king of all he surveys as far as I’m concerned so to get a phone call from him and for us to go to his studio was just fantastic and I soaked up every minute of it.

What’s the best piece of advice that’s ever been given to you?
The best bit of advice I would give is just to study this business, if you’re going to do this then you’re going to be in for the long haul. Unless you’re going to be one of those lucky one out of 30,000 people that queue up at the Pop Idol or the X Factor gigs that get through to the end then everything is going to take a bit of time. You have to study your craft, you have to practise at performing. You also have to find something that distinguishes yourself from everybody else so that people will remember you, get your Facebook page up, your MySpace or your Twitter or whatever. You have to have a profile and a presence out there that people can remember you.

Is there an artist you haven’t worked with yet that you’d like to work with?
I keep saying that I’d love to work with either Bill Withers or Bobby Womack because I always wanted to work with an idol back in the 60s and 70s and those two guys have passed me by so I wouldn’t mind getting to work with them.

This is your first time obviously coming to Australia in November, what can the audience expect from your shows?
Just good sweaty hot vibes because I’m hoping it’s going to be packed in there and we work up quite a sweat in terms of the set and the music so yeah it’s going to be good times.

What does the future hold for Omar?
Like I said I’ve just finished the latest album called The Man and we’re just negotiating the deal right now and that should be out early next year. I’m just touring, I’m on the road man, I’ve been to 10 countries in the last three months so things are busy really.

What’s your definition of Grindin’?
There’s two meanings grindin’ one is when you go out then you get up and do your nine to five every week, without fail you get out there and you do your job. Then there’s grindin’ where you grab a woman and you hold her up against a wall and dance to a nice slow tune.

TOUR DATES:
Friday 9th November @ Prince Bandroom, Melbourne
Saturday 10th November @ Oxford Art Factory, Sydney

Tickets available from www.moshtix.com.au