Omar Lye-Fook first hit the pop charts in 1991. Six albums and several high profile collaborations later, the critically acclaimed UK Soul Don talks to M Online.
How would you describe your music?
A mixture of funk, soul, jazz, classic, reggae… all the African styles basically, but in a new version. I like to mess about with the different styles.
Who are your biggest influences?
People like Stevie Wonder, James Brown, John Holt and Dennis Brown. I was classically trained so that had a big influence on me. In terms of production and musicians, I like to have a live element to my music. I was always into the classical thing and was the Principle Percussionist at the Kent Classical Orchestra at the age of 13. I was also a trumpet player and played in brass bands. Anything to do with music - I was into. I just loved that vibe of music being played together and so I always like to have that element in my music.
Your dad was in an early British funk band – FBI, did that inspire you to get into music?
My Dad used to play session drums for people in 1960’s and 70’s for Marcia Griffiths, Bob Andy, The Rolling Stones. There’s a story about him jamming with Jimi Hendrix. He was in the business for a long time and that’s where I got the bug, I guess. After my classical training in Canterbury I went and lived with him for a bit as we had lived apart for a bit while I studied, and he kind of guided me, so he was a big influence and actually I still use those values today.
Which instrument(s) are your favourite to compose on? Do you think that has an influence on the final song? i.e. Does composing to a sampled loop give different results to composing at the keyboard?
Bass, drums and keys is what I play now. Whatever instrument you start on is going to give you an influence, I mean if it’s drums, then it’s a rhythm, so its going to be prevalent throughout the tune. If I’m playing the bass then I want to try and make a melody on it, you can definitely hear what the underlying influence was on most of my songs.
You worked with your brother, Skratch Professor, on your latest album – what’s it like working with your sibling, do you fight?
Me and my brother don’t fight as such, but we definitely have differences of opinion because we’re both strong willed in terms of what we want to hear and we have different musical values. You need a bit of friction to get a vibe going, I think.
How’s Back A Yard studio coming on and do you have a mini bar in there?
Ha, ha! I’ve got a bottle of brandy in the corner so if you want to call that a mini bar then yeah! Having my own studio has paid for itself ten-fold. Being able to go into a studio space and work without having to worry about bills is great. A lot of people would have to pay £300 per day for a space like that. I use it to its fullest.
You also set up your own label, Blunt, what advantages does that give you?
I set up Blunt music because the label I was on went bust and it left us in the lurch. We needed a label to put the music out quickly. We’re looking to take the forthcoming release worldwide so we’re looking for a label deal at the moment. I’ve got an album ready to go with some fantastic tracks, I’m really happy with them.
You have such a distinctive sound and even though you work with so many artists, you always know an Omar record – what’s the secret of your sound?
I think the secret to my sound is - forgive my vernacular - I don’t give a fuck, really. I just like to chuck everything in the pot, mix it up and see what comes out of it. I like my basslines and I like certain styles but I’m always mixing them up so you never know what is going to be coming at you, but you know you’re going to get a hook line, you’re going to get a melody, bassline, rhythm and squelchy keys. Stevie Wonder was a big influence on me, especially the album The Secret Life of Plants, with the way he brought the influences to life. I just like to keep it funky and interesting.
You’ve worked with so many legendary musicians and songwriters, have you picked up any tricks, techniques or tips from them (or was it the other way round?!)?
I was so much in awe when I was working those legends. Steve Wonder worked with me at my friend’s studio in Chelsea. David Franks influenced me to get my own studio. When we worked together he had his studio in a room outside his house in LA and I thought ‘Wow, that’s a perfect set up, you don’t have to go anywhere, you’re not paying any extra bills - it’s all right there, wake up in the morning and its just around the corner!’ One day he had Tower of Power recording in his studio. You know these aren’t everyday occurrences! It is fair to say I was star struck. I did the song Outside with Lamont Dozier. We were working on some songs and it wasn’t really happening, then the next day I walked into the studio and he was playing some old funky soul - I was like ‘what the hell is this?’ It turned out it was stuff that Lamont had recorded in the 1970s but never finished. I said, ‘You got any more of that?’ and he replied, ‘Yeah.Loads’. So I took three or four tunes back to the UK with me. I took one of the tracks and put some strings and keys on it with my vocals on top and it became Outside.
What’s your favourite snack during a marathon songwriting session?
My favourite snack when I’m writing is cashew nuts - the healthy choice!
Why are royalties important to you and do you remember your first PRS cheques?
I don’t remember my first PRS royalty cheque but its always nice when they do come, I’m trying to find a way of bumping them up! They’ve been steady throughout the years. Its been 25 years now since my first one. I’ve done pretty well over the years and that’s a blessing.
What's the greatest gig you've ever played?
One of the greatest gigs I can remember playing was earlier on in my career at the Hammersmith Odeon, it was my first massive gig so it was really quite a big deal for me at the time. It was so hot in there because of all the crowds that people were being carried out.
What advice can you give to aspiring songwriters?
Make yourself stand out. Have all the hooks in there, all the normal stuff but be happy with what you do. I’ve been to record labels and they’ve tried to influence me to sound like other people because there’s a fad of a certain thing at the time. If I’d listened to them then I’d have made music that I hated and that sticks with you for the rest of your life. The first single I made I hated after two weeks and I vowed after that to never make music that I hated ever again. I love the music I’ve been making, my fans love the music that I’ve been making. The fact that it doesn’t get played on daytime radio doesn’t really bother me because that’s not what I’m making it for – it’s me expressing myself and people seem to understand that when they get to hear it, so I think I’m doing something right.
You’ve worked with Stevie Wonder, Lamont Dozier, Common, Rodney P, Estelle, Etc, is there anybody you’d still like to work with?
I’ve put an APB out on Bobby Womack and Bill Withers, two guys I’d love to get to work with.
Anyone British?
I’d like to work with Doneo, I love Party Hard! And Devil In A Blue Dress. I’m loving the funky house thing so that would be a nice hook up.
You’ve branched out into acting recently in the play Been So Long – what did you make of the experience?
It’s been fantastic, we spent a month at the Edinburgh festival. It’s just a completely different “muscle” that you use. I’m pretty relaxed with the music thing but you’ve got to get into a different mode for the acting. I got involved with Been So Long after I started acting lessons at the Identity Drama School about a year and a half ago. The director and writer of the play was teaching there. I just loved the whole experience - it’s completely different from the whole musician thing - a different discipline. I’m just looking for the next gig now. I don’t know if I’ll bring the acting skills into the music. I don’t know if I’m a David Bowie, as yet!
Ah, the smell of the grease paint, the roar of the crowd. Do you think you’ll be writing any Show Tunes now?
Ha ha, well if somebody asked me I guess, but it wouldn’t be your typical musical!
British MOBO acts have recently crossed over to the mainstream en masse – Dizzee Rascal, Tinchy Stryder etc, do you have an opinion on why that might be?
I just hope that they aren’t token. From my experience, you only get two or three people getting the limelight at any one time. At the moment it’s Beverly Knight in the soul vocalist department, I don’t hear anyone else getting any love. But I think it’s early days yet.
I heard a great new track When We Touch on Gilles Peterson’s Radio 1 show - what projects are you working on and when are they due out?
When We Touch - whatever you think of that, stop your mind and start again. I like to try something different - Like hip-hop with jazz, latin, brasilian, salsa with a sort of reggae feel to it. If you like your music interesting then I’m your man.
Your song It’s So is a bit of an underground anthem, it’s such a fresh sound that’s still undeniably ‘Omar’ - what was the inspiration for that tune?
It was a real surprise that the funky house crowd picked It’s So up, that scene was never the inspiration for the song. The funny thing is that I was listening to a lot of afrobeat artist Fela Kuti at the time and I was like ‘Man I love this! Then I went to Notting Hill Carnival and really loved the vibe the crowd was giving the soca and calypso - I wanted to try and do something like that too. I went home and did a beat and it sounded kind of nice, I used a bass sound that I had on the album Best By Far which I really like and wanted to use again. So I had the beat and the bassline and then my brass guys that I know from my time at college came down. They usually play all my arrangements but I said ‘If you guys have an idea you want to put on this, then put that down’ and everything just came together. I had no idea where the song was going to go or what market it would end up in - I just liked the tune, so it’s a pleasant surprise it’s ended up where it has.
What kind of music is influencing you at the moment?
Old school reggae and old school jungle from 1994, 1995. Classical – I’m putting on Classic FM for my twin girls in the mornings and hearing music I used to play in the orchestra years ago.
Do you have a favourite song, what is it and why?
That’s impossible… but today it's "Les Fleur"by Minnie Ripperton,such an uplifting tune when it gets to the chorus and I wished that I had written it!
Got any live dates lined up?
Have a look on www.omarmusic.net as my gigs are always updated.
Finally, ‘Jazz Flute’ solos – yes or no?
A resounding yes. I’m sure I must have used one at some point!