RAPH SOLO RELEASES LOVE LETTER TO HIS HOME CITY, “GOOD MORNING LONDON”
The second single from his album, THE ANONYMOUS ICON, out now
Raph Solo’s “Good Morning London,” the second single off of his new album, THE ANONYMOUS ICON, is a love letter to the city he calls home. “The song is about being yourself, no matter what they say,” says Solo. “Good Morning London” releases to iTunes and all major online music retailers on April 12, via Solo’s own indie label, Angel King Musique. The new music video is available at https://youtu.be/2rZOOpQrVWA. Raph Solo’s full-length studio album, THE ANONYMOUS ICON, is also available on iTunes.
“It’s a metaphorical breakup song about finding your way home,” continues Solo of his sultry new single. “As a songwriter, I never sit down to write a song. It’s an organic process. When I feel inspired, the melody and the lyrics come out together as one.”
With a hit dance record under his belt, it’s intuitive that Solo never stops moving—not even to write a tender pop ballad. “I remember writing the song on the street, walking from my ex’s flat to my friend’s flat. My ex and I were living together at the time, and things had gotten so bad that I called up a friend to ask if I could stay over for a few nights until I found a new place to stay.”
Solo credits “Good Morning London” as one of the quickest songs he’s ever written in his career as a songwriter, while walking down the streets of London, no less. Nonchalantly, he says, “I wrote it in three minutes.”
Solo reunites with video director David Brant on the “Good Morning London” music video. “It was really nice to be asked to work with Raph again, for what is now our third music video together,” says Brant. “Raph always has a strong idea of what he wants up front. Visually, we’re both into that quirky, surreal, cinematic, and epic look. We just have a similar aesthetic that seems to set the mood perfectly against his music.”
Solo likens baring his chiseled body on the set of “Good Morning London” to baring his soul as an artist. As the track hits full stride, Solo is seen with a big British flag wrapped around his otherwise-naked torso in a scene that’s become synonymous with the singer-producer’s mantra of authenticity and self-acceptance. Solo salutes a new day and a new chapter in his life, he says, with the words “Be you” scrawled on his back, and a bruised eye.
“Often we lose ourselves in relationships, and we end up saying ‘yes’ to please our partners because we love them, when really we want to say ‘no’,” Solo explains. “And sweetness gets taken for weakness, and the fairytale turns into a nightmare.”
“We should always remember to love and honor ourselves enough to stay true to who we are in relationships, romantic or otherwise.” The bruised eye, he says, is symbolic of the price he had to pay to learn that lesson the hard way.
The song’s standout lyrics, “City life is no piece of cake // that you can have with your cup of tea on your morning break,” speak to Solo’s state of mind and the vivacity of the city he loves. Today, he stands tall as a gay man and outspoken advocate for human rights, and he can have his cake and eat it, too.
Inspired by up-tempo 80’s pop and contemporaries like Burt Bacharach and Marvin Hamlisch, the combination of Solo’s vocals, Alex Pacali’s sweeping riffs, and David Brant’s hypnotic stroke of the keys leaves listeners spellbound. His third record sees the full realization of Solo’s signature timbre, layered with new refinement with every passing year and release, akin to the evolution of any true pop powerhouse. Solo colors his second single with a burst of falsettos, putting his vocal range on parade.
Born to Lebanese/Chilean parents on the Gulf of Guinea in Nigeria, West Africa, the singer-producer now hangs his hat in London, calling the second single a tribute to the city that’s helped to shape him. “‘Good Morning London’ speaks to exactly where I was — welcoming a new day and feeling like I was on my way home to somewhere I belong.”
THE ANONYMOUS ICON includes many of Solo’s prior releases, re-digitalized and re-mastered by studio maestro Leigh Darlow (Peter Banks, Robert Fripp).
