We spoke with Cantinuum about “Girls Just Want to Have Fun” and more!

Cantinuum, a new music project conceived by Grammy-winning producer, writer and mixer Scott Jacoby (AKA SCOJAC), and collaborator Sarah Tamir, is celebrating the release of a new single—an extraordinary reimagining of the classic Cyndi Lauper hit “Girls Just Want to Have Fun.” Performed by the award-winning singer-songwriter Deva Mahal (daughter of Taj Mahal), the song is transformed into a rich ballad anchored by her vivid vocals and soulfully languid arrangement. 

Q: (Scott/Sarah) Let’s start with the name — Cantinuum. It’s such a cool wordplay. When did you realize that name captured what you were creating together?

A: (Scott answer). sarah and i put a lot of thought into the name. we wanted it to be timeless, and for the name to MEAN something; and to mean something related to the very specific thing that we do in this project. at the same time, an artist faces the challenge of coming up with something original. so after going through about 20 different names that centered on the idea of renewing a song, we hit a wall of words that existed in the english language and realized that we might have to make up our own to get to the essence. getting past this wall removed the guardrails for us, and we starting having fun with the meanings of words, and then hit on merging the latin root for song with the idea of a continuum. it was perfect, because in a word, it said everything the project is.

(Sarah answer) – We wanted to find a word that would convey what we were doing with our covers. We looked through various musical terms and continuum caught our eye. Among the many definitions of continuum- ‘a continuous range of pitches’, ‘smooth transitions’ and ‘gradual changes’- made perfect sense.Changing the beginning of the word from Cont to Cant added to the fun, since canta means ‘to sing’ in Latin.

Q: (Scott & Deva) You’ve both worked with so many incredible artists individually, but this feels like something deeply personal. What itch were you trying to scratch with Cantinuum that your other projects didn’t?

A: (Scott answer). cantinuum is the most personal project i’ve ever been involved in, because it started with our (Sarah and myself) vision as musical artists. there was nothing else to consider, so there is a pureness is the objective. we do what we like. of course, the nature of the project – with guest artists for each song – opens up that cocoon, but in a good way. when we collaborate with an artist, we want to do right by that artist, and by the song as well, despite that fact that our arrangements are pretty radical. i’ve had the opportunity to work with many amazing artists in my career, and deva is at the very top of that list. her vocals are inspiring to me, and she brings an incredible depth and feeling that you just can’t deny.

A: (Deva answer): Scott and I have been working together for years on almost all of my records so he has such an intimate knowledge of my voice and how to bring its true sound. Because he really knows me, he was able to share his clear vision to make a really soulful and honest sounding tribute. For me, I have only ever previously recorded one cover so I was excited to dig into this and try to hold true to the essence of the record and embody Cyndi’s music while breathing something new into it that has its own identity.

Q: (Both) You’re reimagining 80s hits in a way that feels cinematic and emotional, not nostalgic. What draws you to that era and those songs in particular?

A: (Scott answer). i came of age in the 80’s. when 1980 hit i was 9 years old, and the decade ended when i was 19. arguably, these ten years are the years where my music brain was at its most spongy. i was absorbing everything, and it shaped who and what i am. i distinctly remember not loving how many of these songs from the 80’s sounded; they were frantic, loud, synthetic. i think i naturally gravitated to the sonics of the 60’s and 70’s. BUT, what i did recognize and appreciate was the songwriting. great hooks, great melodies, chords, lyrics, song- structures. the songs of the era are like comfort food to me, and i just wanted the opportunity to remake them in a way that tasted slightly better to my palate.

(Sarah answer) There is no era of music that I love more than the 80’s. For me, it’s a mix of memories of childhood/adolescence and great music that is much harder to come by these days. In choosing the 80’s as our decade to cover, its about reconnecting to the music that ‘struck a chord’ in me and pays homage to the music in a unique way.

(Deva answer): I love songs that are eternal and at The bones of it all, could exist in any decade because the song is just that timeless. The 80’s was an era where originality was required and songwriting was pushing all the boundaries. Full of passion and fearless sounding. I am always drawn to music like that. Songs that reach into your soul and etch themselves into your fibres.

Q: (Scott/Sarah) When you’re picking a song to rework, what’s the moment that tells you “this one has another life in it”?

A: (Scott answer). when the song makes me feel a certain way on it’s own, but there is an angle to have the lyric wear a different outfit. having people re-hear, re-appreciate these songs because of our arrangement is what the project is about.

(Sarah answer) When the lyrics of a song have emotional depth yet the music is super upbeat- those are the songs that are the most interesting to cover and pique our interest and perhaps breathe new life into it with a different perspective.

Q: This new take on “Girls Just Want to Have Fun” flips such a joyful anthem into something haunting and tender. What was your emotional entry point into that reinterpretation?

A: (Deva answer): I was thinking about all the young girls around the world who have either had to grow up too fast or never get the chance to. The young girls in Palestine, Congo and Sudan who aren’t allowed to just have fun because people who are too concerned with corruption and greed are making all the decisions. The young girls in the US who are forced into adulthood because they are forced to mothers. The young girls who just want to live and be safe but they or their family get snatched off the street by ICE just because they speak a different language. I was thinking about people like Breanna Taylor, who just wanted her life. I was thinking about all the mothers out there who are raising other humans and don’t have time for themselves or their dreams. I was thinking of Black women and their right to be  joyous and unburdened by the world’s limitations of us. Having fun as a form of divine rebellion against those that would oppress others.

Q: (Scott, Sarah When you’re breaking down these classics, how do you make sure you’re not just covering them, but actually uncovering something new inside them?

A: (Scott answer). i think there are a lot of potential pitfalls in what we’re doing, but not doing something new is something i don’t worry about! our take on doing a cover is that it’s been done the way that it is and – in our case – that original version is deservedly iconic. why try to redo, or outdo that. you can’t beat it. so you look for a different way to approach it. not to beat it, but to honor it with a new perspective.

(Sarah answer) I think each song is sacred and we wouldn’t want to change that. Every song can be reinterpreted and covered in different ways, whether that means focusing on the lyrics and amplifying them or bringing a certain hidden melody that was not front and cener in the original and bringing that out more for example,are ways to rediscover and uncover quiet gems that were not so apparent in the original song.

Q:(Scott , Sarah & Deva) There’s a lot of trust in how sparse and spacious your production feels. Do you remember a moment in the studio where you looked at each other and thought, “Yeah, this is it”?

A: (Scott answer). there is a boldness is going sparse. it’s naked, and everyone can see you as you are. with deva, there is nothing you need to hide. in fact, you just want to hear her voice naked because it delivers so much emotion. so with the arrangement, my first thought is “do no harm”. in other words, don’t get in the way. support, augment. i pictured the groove in slow triplets, which couldn’t be more opposite from the original. and i wanted the listener to be so excited to hear the next beat because there was so much time in between each beat.

(Sarah answer) The sparseness allows the listener to focus on mainly two things, the vocalist and the lyrics.The artists that we had the honor to work with are incredible vocalists and so to hear their emotional renditions with minimal music surrounding them is what we wanted to hear. We wanted the listener to really hear the lyrics and that was achieved through the spacious production.

(Deva answer): Absolutely. When I was tracking the vocals, there were some really great moments where me, James Goldsmith (my engineer) and Scott just looked at each other knew we did something.

Q: (Scott and Sarah) The sound of Cantinuum is so open — it breathes. Was that a conscious decision from the start, or something that came naturally as you worked together?

A: (Scott answer). music can be quite dense these days. it’s nice to allow space. it is all by design, very deliberate.

(sarah answer) from the beginning, we had the intention of being cinematic, sparse, and dreamy.

Q: (Scott/Sarah) These songs feel like they’re made to be felt as much as heard. What kind of space do you imagine people in when they listen — headphones, late night, lights low?

A: (Scott answer). music meets people wherever they are these days. for me it’s not as much about headphones, or cars, or lighting, its about being in a mental place that the listener can take the journey with the song. and in all the cantinuum songs, we try to have each song be a journey onto itself.

(sarah answer) I imagine the listener being in an emotional, thoughtful, and reflective mood wherever they enjoy listening to music

Q: (Scott/Sarah) Working with different voices like Deva Mahal adds so much character to each song. What’s your process for finding the right artist for each track?

A: (Scott answer). it’s a PROCESS! and such an important one. Sarah and i think long and hard on this, and take it very seriously. having said that, it’s also a really fun challenge. really three things are meeting and ideally there is a huge synergy: the guest artist, the song, the production concept. if i were to make a housing analogy, these three things are the blueprint, or the plan for the architectural design that is in our heads. to me it’s the highest form of creativity in what we’re doing. executing the production itself is something that is second nature to me after making thousands of songs.

(sarah answer) Once we have our artist, we contemplate what type of song would make sense for them to sing. their personality/ vocal style influences the type of song chosen for them and the artist themself has a hand in the choice because they have to connect with the lyrics. when they connect to it, the listener feels it.

Q: (Scott/Sarah) This project really celebrates songwriting — not just production. What have you both learned about these classic songs by taking them apart and rebuilding them?

A: (Scott answer). fucking love this question (and all of them, really quite insightful and enlightened questions – thank you). more than anything, this project is a celebration of songwriting. the song is the thing that lasts through the ages. i can say so much about the songs that we cover, but each is a gem. and the craft of songwriting in the 80’s was at a pretty sophisticated level. there are chord changes, and concepts that wouldn’t exist in the popular music of right now. some of the things that we might label as cheese, are really quite beautiful. the song structures of the 80’s also took risks. not every song was verse, chorus, verse, chorus, bridge, chorus. i cherish these different approaches, and getting deep into these songs allows you to appreciate what is so special about these songs.

(sarah answer) I’ve learned so much during this project with Scott and continue to learn. It has reinforced my appreciation of all songwriting- not just the 80’s. focusing on that decade, though, has shown me how those songs always had something unexpected that kept you on your toes.They were never boring or repetitive, every track was full of creativity and originality. The lyrics back then were so real and heartfelt-like poetry set to music- Thats why they’ve stood the test of time and are considered classics today. It feels as if people appreciate music of the past now more than ever-and with Cantinuum, proud to be bringing a little of that back!

Q: (Scott/Sarah) And looking ahead — what’s next for Cantinuum through the rest of this year? Are there more songs coming, maybe some performances, or a bigger body of work in the pipeline?

A: (Scott answer). our plan is to continue to release one song each quarter, so 4 each year. our next song – which i won’t mention – will feature the incredible Lila Dupont. we’re SO excited about this release. and it will go in a very unexpected direction. our last 2 songs have leaned heavily on r&b/soul, and our few few releases will delve into other genres of music that we are also passionate about. my hope is that cantinuum will go on forever, much in the same way these songs do. it’s my proudest moment as a person who makes music for a career. i’m beyond grateful to be able to do this project with sarah.

(sarah answer) Currently, we are working on a cover of another iconic 80’s song which will be in a completely different style than our other songs. Thrilled to be releasing it soon! What I love about Cantinuum is the element of surprise we bring to the table.We can explore any style, genre or guest artists,and you never quite know what’s coming next. Looking forward to Cantinuum’s next exciting collaboration.