top of page

About

The Story of Bubblegumelicious 

David Barrat is a non-performing songwriter based in London, England, who has been writing songs, mainly in the pop genre, for over forty years, since he was a teenager in the 1980s.

 

Not being a musician, and, at the time, unable to play any instruments, he sang his songs onto cassettes, accompanied by only a drum machine. 

 

In the 1990s, after finishing university, he teamed up with a couple of producers, Richard Charlton and Charlie McIntosh, who owned their own recording studio in East London. They wrote the chords for his melodies, arranged the songs and, with session musicians and singers, started to create demos of his songs.

 

It wasn't long before computers rendered the need for session musicians redundant (with the exception of the odd saxophonist), and the backing tracks could now be created electronically on a digital audio workstation without them.  Their work together culminated in the release in June 1996, on their own label, of a dance single, Love Me (From Every Angle), performed by Jacqui Clark, one of the session singers they'd been using, under the name of Jakk, which reached the heady heights of number 44 in the Commercial Club Chart. 

 

By the end of the '90s. Richard went off to Portugal to become a financial trader and Charlie left for Scotland where he ran a successful whiskey business.  David remained in London and, during the 2000s, teamed up with another producer/arranger, Christian Fontana, who ran a recording studio near to where he lived. 

 

By this time, David had taught himself to play keyboards and was able to write his own chords as well as melodies.  David and Christian wrote many songs together and recorded many demos designed to be submitted to recording artists.  But opportunities of this nature were few and far between. In 2009/10, they put out some music by one of their regular session singers, Debbie Saloman, including the dance single "My House".  

Christian went off to Dubai for a few years in 2011 and David learnt how to create songs himself on a digital audio workstation, using Ableton Live.  He reconnected with Christian in 2018 and they created music remotely while Christian was living in Dundee. 

In the 2020s, David also worked some other producers hired on Soundbetter.

 

In August 2024, Christian retired from music production leaving David, who had by now written over one hundred songs, to explore the possibilities of creating music with AI. 

 

AI has become very controversial, especially in music, but "AI music" has a very wide number of meanings.  At one extreme, it's possible to provide an AI tool with an idea, or even a photograph, and ask the AI tool to produce a full song based on that idea or image.  Such an approach involves very little human input.  It is clearly what could be described as AI music. At the other extreme, one can provide the AI tool with a fully written, fully produced and professionally sung composition and ask it to replicate that song, note for note, creating what is essentially a cover version. Is that to be described that as AI music?  Not really.  It's just an electronic interpretation of what has been produced by humans, with computerised instruments and vocals.

 

No one these days is surprised to hear computer generated instruments but it's still novel, and perhaps off-putting, to hear realistic sounding computer generated vocals.  This is true even though most vocals on hit records for many years have been computer generated through pitch correction tools like autotune which, unknown to most consumers of music, mean that the vocals on the songs they are listening to are not genuine human vocals but have been translated from human to computer generated through pitch correction.  AI music is just a continuation of this. 

 

The recent advances in AI music generation are quite extraordinary and allow the creation of high quality, fully arranged songs in an absolute fraction of the time, and a fraction of the cost of doing it manually, in what might now be termed "the old fashioned way", albeit the that the really old fashioned way was in doing it with live instruments.  

Taking advantages of the possibilities of this new method, David has re-produced and re-imagined all his songs using AI, either with cover versions or melodic interpretations (see the article Music and AI), slowly releasing them under the name of Bubblegumelicious, a name derived from the title of one of his songs, "Bubblegum".

They can be heard on the Bubblegumelicous YouTube Channel, also on Soundcloud and Jango.  The purpose of releasing these songs is twofold.  Firstly for people to enjoy them, rather than having them sit in a metaphorical drawer, and, secondly, to showcase them for artists who may want to cover them.  There's no doubt that it's better to have humans singing and performing songs rather than AI vocals, so it would be ideal if someone else is sufficiently interested to cover any of the songs.

A brand new original pop song will be uploaded very week to the aforementioned platforms for the foreseeable future.

 

Back to Home page

Contact Bubblegumelicious

Do get in touch if you're interested in recording a Bubblegumelicious song.

Thanks for submitting!

©2024 by Orsam Music for Bubblegumelicious.

Created with Wix.com

The Sagar Saga: Finding the Missing Ling

In January 1905, former City detective inspector Robert Sagar, who had just retired, apparently gave interviews to reporters of four London newspapers in which he spoke of his knowledge of Jack the Ripper. 

Sagar 1.jpg

The articles containing these interviews, while very similar (indicating that they must have taken place at the same time) are all, nevertheless, a little bit different from each other and, in October 2020, Chris Phillips prepared a helpful comparison of the four reports featured side by side, which can be found here [Chris has now updated them to include the Evening News here].  He had, however, only located three reports from London newspapers, but was aware that there must have been a fourth report because such a report (different from the other three) was carried by some American newspapers, hence he included the Seattle Daily Times (of 4 February 1905) as his fourth report.

I have, however, now located the additional report in a London newspaper.  It was in the Evening News of Saturday, 7 January 1905.  It's not identical to the Seattle Daily Times report but it's close enough, especially in respect of the bit about Jack the Ripper, that, for comparison purposes, what Chris has labelled the Seattle Times report, can be regarded as the Evening News report.  There are, nevertheless, some important differences between the two which I will be discussing. 

So the four "interview" reports with Sagar that we have, are:

1. City Press of Saturday, 7 January, 1905.

2. Evening News of Saturday, 7 January, 1905.

3. Morning Leader of Monday, 9 January, 1905.

4. Daily News of Monday, 9 January, 1905 

A quick glance through these reports reveals that one of them is, curiously, very different to the others.

While the reports in the Evening News, Morning Leader and Daily News all contain quotes from Sagar, the City Press does not.  Its report is written purely in the third person, with no hint that its reporter had ever even spoken to the former detective.

The Morning Leader on the other hand tells us that, 'To a "Morning Leader" representative Mr. Sagar related some of his experiences'.  The Daily News is even more explicit as to when its reporter spoke to Sagar.  Hence, we are told that Sagar spoke to 'a representative of 'The Daily News on Saturday'.

That would seem to make sense.  All four reporters spoke to Robert Sagar on Saturday, 7 January 1905, right?

WRONG!

That's impossible. 

The City Press newspaper was published early on Saturday morning, so that it could not possibly have interviewed Sagar on Saturday and carried a report of the interview in its Saturday edition.  Here is the proof that the City Press was published on Saturday morning in January 1905:

Sagar 2.jpg

I'm a paragraph. Click here to add your own text and edit me. It's easy.

I'm a paragraph. Click here to add your own text and edit me. It's easy.

I'm a paragraph. Click here to add your own text and edit me. It's easy.

bottom of page