Words: Josh Fundafunda
Photography: Steve Hiett & Julie Driscoll
At his core Steve Hiett was a creative mind. His work as a photographer and musician made him an iconic figure in one space, and cultivated an underground following in another.
The British photographer had an eclectic career travelling across the globe working for many of the premier fashion publications. Less known however was his passion for music, and his prowess as a guitarist. Though little has been officially released, there’s no doubt that throughout the five decades of his photography career, Hiett kept a guitar nearby.
Unfortunately, his death in 2019 means much of the music he may have shared with the world most likely won’t be heard. What we do have though, is two wonderful Blues records from the iconic British photographer and musician.
During his schooldays he studied painting, graphic design and later photography, where he would eventually build his career. Though music was always an interest, it never became anything more. And after a short stint with a psych-pop band after his schooling, it was pushed to the rear-view in favour of photography.
A Portrait of Steve Hiett by Julie Driscoll
Photographing the likes of Jimi Hendrix was a notable moment in his early work. He would go on to shoot the likes of Miles Davis, The Beach Boys, Joni Mitchell and The Rolling Stones in what has become some of music’s most iconic performance portraiture.
Much of this took place very early on in his life and career. It wasn’t until the mid 70’s that his photography work turned to fashion where he would go on to work for publications like Elle, Marie Claire, The Face, and Vogue.
"Models would be seen in bizarre scenarios wearing the loudest colours backed often by an iconic deep blue sky..."
Hiett’s photography was known for its vibrancy. His most iconic pictures swam in saturation and toyed with contrasts. Some of his most memorable work included the unconventional use of daytime flash, totally overwhelming his images in light.
This made his fashion work stand out, giving him an iconic style and influence. Models would be seen in bizarre scenarios wearing the loudest colours backed often by an iconic deep blue sky. Even his black and white photography manages to produce brilliant images, like one of his off-kilter shoot for Charles Jourdan in 2000.
Jimi Hendrix captured by Steve Hiett
Despite over five decades of success as a fashion photographer, it’s his landscape photography that really shows his eye. He favoured striking contrasts between architectural lines and nature, often juxtaposing the two within the frame.
His Portraits de Villes for New York City is one such collection. An intimate collection of photos that act like a portrait of the hectic city. This book, originally released in 2012 is still available to find. This was a noticeably lower energy series of pictures in comparison to his other work, however, that vibrant blue sky can still be found throughout the book.
"Warm inky guitars sit you firmly down on a sunny beach far away from any other distractions, the album puts you in a trance..."
It seems to be an image he had in his mind since his very first photography exhibition, Down On The Road By The Beach, which bloomed into his first music album.
This happened back in the 80’s, when Hiett had travelled to Japan to work on this photography exhibition. After an impromptu studio visit, a call to assist with Steely Dan session musician Elliot Randall, and the Japanese art-rock band the Moonriders, the cult classic album by the same name was created.
An example of Steve Hiett's Signature Style
Originally, Down On The Road By The Beach was only released in Japan, making it a prize possession for collectors and music lovers alike. Only in 2019, alongside another underground record Girls In The Grass, was it reissued and made available to the wider world again.
The Blues guitar work is by far its strongest feature and arguably what makes Hiett’s music so memorable. Warm inky guitars sit you firmly down on a sunny beach far away from any other distractions, the album puts you in a trance.
"Like his guitar, Hiett’s vocals are awash with a watery reverb that serenades you along a groovy bassline..."
As was the medium back in the 80’s the record is split between an A and B side, the first of which leans into Hiett’s speciality Blues sound, whereas the second sees his Japanese collaborators take the reins and putting the “pop” in “dream-pop”.
Side A treats us to a couple of rare vocal performances from Hiett as well, which gives this record some much needed structure between extended spacy guitar segments. A standout example is the second track “Never Find A Girl (To Love Me Like You Do)”.
An example of Steve Hiett's Signature Style
Like his guitar, Hiett’s vocals are awash with a watery reverb that serenades you along a groovy bassline. It’s amazing just how relaxing his instrumentation can be, elevated by his vocal performance.
Similarly, the track “Roll Over, Beethoven – Out Of The Beach” sounds like the backing track to an elaborate dance number in a Surfers and Bikers Teen Beach movie.
"This section of the record is entirely instrumental, and with no vocals to latch on to the songs have a feeling of bittersweetness..."
Considering the original song by Chuck Berry is just that, this cover does an incredible job of translating it into a new experience. Hiett’s take manages to be far more mellow without losing that iconic groove.
As mentioned, Side B sees the Japanese collaborators take the wheel, resulting in a more sombre tone. Upbeat percussion and groovy guitars are traded for tunes that sound more like lullabies. This section of the record is entirely instrumental, and with no vocals to latch on to the songs have a feeling of bittersweetness.
An example of Steve Hiett's Signature Style
“The Next Time” sounds like a long walk home after a memorable evening. Even without vocals Hiett manages to make his guitar sound like it’s crying throughout the track. Likewise, the penultimate song, “Sleep Walk”, lulls you to and fro with the same heavily reverbed guitar.
The record ends with this overwhelming feeling of nostalgia – of memories made and moments that will live in the past. It’s a bittersweet ending but a feeling worth the delight this album brings. This sentiment is one that’s present throughout all of his work, both in photography and music, but is perhaps best showcased in Hiett’s next record, Girls In The Grass.
"These sessions were eventually recorded, and although they were originally not intended for release, they provide a unique window into Hiett’s mind..."
Like his first record, Girls In The Grass was also reissued in 2019, shortly after Hiett passed away. It was originally recorded in the 80’s after Hiett moved to Paris.
There, he became good friends with art director Simon Kentish, who he began jamming with on weekend afternoons. These sessions were eventually recorded, and although they were originally not intended for release, they provide a unique window into Hiett’s mind.
An example of Steve Hiett's Signature Style
Unlike Down On The Road By The Beach, Girls In The Grass feels more like a collection of sketches and ideas that are all tied together.
The result is 35 minutes of soothing Blues instrumentals. Similarly warm and inviting to the first album, it’s a wonderful listen. It sounds and feels very Lo-Fi in its production, perhaps due to the laid-back nature of the recordings.
"Its groovy bassline courtesy of Kentish anchors the song as Hiett slides across his guitar. Sparkly synth keys and an easy-going drum loop manages to keep you at ease..."
Guitars are still drenched in reverb and, alongside some simplistic percussion, is a combination that remains largely the same throughout the entire project. It’s a shame we don’t get to experience more vocal performances from Hiett, but it does leave the songs feeling more reflective as a result. Each additional piece of percussion, guitar, and bassline synthesizer really leaves its mark.
A great example is “It’s Raining Tomorrow”, an especially infectious track. Its groovy bassline courtesy of Kentish anchors the song as Hiett slides across his guitar. Sparkly synth keys and an easy-going drum loop manages to keep you at ease. It’s the nature of how these songs came about; relaxing afternoon jam sessions led to relaxing afternoon music.
An example of Steve Hiett's Signature Style
For those that connect with it, this record becomes endlessly repayable. I hear it’s influence in the work of artists such as Macabre Plaza, especially songs like “Love That Bird”, whose trotting drum loops and fluttering guitar rock back and forth. It’s a testament to Hiett’s skills as a musician that he created such an impact with so little.
It’s a true shame that Hiett died just before the re-issue of these records. The way they have aged speaks to the strong connection his music had on so many people. Thankfully, his memory will live on in his influential photography and his beautiful music.
Photos courtesy of Efficient Space
Comments