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21 October 2020Pop Music Blogs
Refund Sisters unveiled an MV teaser for their hit track “Don’t Touch Me”! The quartet is composed of Lee Hyori, Uhm Jung Hwa, MAMAMOO’s Hwasa, and Jessi, and they came together after Lee Hyori named the lineup ofher dream project group on the MBC variety show âHow Do You Play?â. The show has followed the four stars as [â¦]
The post Watch: Refund Sisters Is Ready To Slay In MV Teaser For Chart-Topping Hit âDonât Touch Meâ appeared first on Soompi
NCT U’s “Make a Wish (Birthday Song)” has become the first song by the unit to win a music show trophy! On October 21, the nominees for first place on “Show Champion” were BLACKPINK’s “Lovesick Girls,” NCT U’s “Make A Wish (Birthday Song),” VERIVERY’s “G.B.T.B.,” WEi’s “TWILIGHT,” and PENTAGON’s “Daisy.” NCT U took the win! […]
Joey Phantom might be from Louisville, but you won’t see him sipping a mint julep any time soon. His tipple of choice lives in a shoebox below his bed, as he tells us in his new single, ‘Joint And A Juicebox’.
Joey’s not yet set the hip hop world on fire, but give him time. His new single is just the latest in a fine run of bangers, which included the head turners ‘Summertime’, and ‘Killin Shit Again’.
The track is old skool, telling a day in the life narrative, sharing how little in life he takes seriously. Produced by Grammy nominee Illuid Haller, and mixed by Goods Producer, and Jay Bump, ‘Joint And A Juicebox’ opens up with a slow finger-snapping groove, accompanied by a mellow orgain. The slightly off-kilter melody gives it an other-worldly feel, but there’s good vibes all round, as we’re encouraged to enjoy the day. Joey shares what we’re all feeling deep down – we don’t want to grow up, but we don’t exactly want to be kids forever either.
The music video for ‘Joint And A Juicebox’ is just as fun as the song. It’s 82 degrees in Louisville, just another day there. Joey’s heading out on the streets to handle his business, where he passes his substance of choice to a tiny, animated, wizard in a pizza hat. Yep. Next he’s at home, going past sexy aliens, goblins having a party, among other trippy creatures. All are courtesy of Tahj Mullins, who is best known as author and illustrator of the children’s book, ‘There’s A Moose On The Loose’. Joey is joined by his crew on the roof, where they spend the day enjoying the consumables in the title. The phone rings: Joey snaps out of it. Seems the whole thing has been a hallucination, down to some definitely killer weed.
Watch the very unusual clip for ‘Joint And A Juicebox’ by Joey Phantom. You can find out more about Joey and his music online on his Twitter account.
One look at the music video for ‘Naked Love’ by The Orange Apples., and you know it’s been made by a photographer. There’s a certain instinctiveness about how to approach an image; an understanding about how best to capture a still image which transfers so easily to film. A great sense of composition, lighting, shade, balance, poise, and shot selection, are all hallmarks of a great photographer, and Riga native photographer Egija Smeile, one half of the team who created the gorgeous clip for ‘Naked Love’, the new single from fellow Latvian artist The Orange Apples. It’s not all Smeile’s work however – she has joined forces with Stanislavs Tokalovs, an award winning film maker who is making a name for himself as one of the most daring in the Baltics.
The Orange Apples., aka Ilona Skuča, writes consistently artful and ambitious songs, and her voice is akin to Enya’s with its chords and notes that hang in the air like so much mist. Her debut release, ‘What’s Your Name?’ is effectively the musical equivalent of a photographic exhibition, and the perfect subject for Smeile and Tokalovs. The song is haunting, seductive, sweet, and yet ever so slightly dangerous.
The music video for ‘Naked Love’ opens with a shot of two young women and a young man, similarly dressed, all very attractive, together in a field, with their backs against a tree. The grasses are swaying in the wind, and it’s both idyllic and slightly unsettling. The unease continues when another man approaches the trio; it’s all very intriguing and confusing, deliberately ambiguous. From there on in it becomes a bit more concerning: the subjects are shot in increasingly more provocative poses. One moment they’re in black leather bodysuits with their legs tied, next they’re in gauzy plastic cocoons – standing so closely that their faces touch and they should kiss – they really should – yet they don’t. It’s arousing and mysterious and yet dark and alluring….and confusingly beautiful.
Watch the video for ‘Naked Love’, and find out more about The Orange Apples. from their Instagram.
Formerly known as Maxxy From The Trap, Atlanta based R&B singer MaxKaella launched her new persona in August, with ‘In My Bag’, a soulful and buoyant, yet uproarious duet with Dasia Gray. Her new single, ‘Money Dance’, keeps the momentum going – she previously showed she’s got it, now she’s gonna flaunt it.
‘Money Dance’ is authentic hot Southern hip-hop, with everything that style commands – booming kicks, skittering hi-hats, synths, bass, and of course, the effortless groove of MaxKaella herself. Oozing confidence and absolute assurance, she knows what sort of man she wants, and – owning her own finances – she knows exactly what she wants to do with him.
It’s clear from the get-go that MaxKaella is an accomplished artist, as she selects the perfect notes and rhythms for her range, and releases them at the exact moments to ensure the musical tension is heightened, and that the track is driven forward. She seduces with the track, and the accompanying music video is equally as seductive, and picks up where ‘In My Bag’ left off; the lighting, cool washes of purples and pinks, reminds us of the summer track. The main difference of course is that ‘In My Bag’ saw MaxKaella share the stage; this time with ‘Money Dance’ she’s having a solo show, and makes the most of being the centre of attention. She struts, gyrates, and makes love to the camera, demonstrating her sex appeal which has made her name in Atlanta’s R&B scene.
Watch the sensuous video for ‘Money Dance’ below. Find out more about MaxKaella and her music online on her Instagram page.
Stacy Gabel has made the step from behind the scenes to centre stage, moving from her position as a promo producer and writer at Nickelodeon, to in front of the camera as a creative. A native of Eastern Pennsylvania, Stacy is a bit of a local icon, and has won two Global Music Awards for Lyricist, Song, and Musician, and the Lehigh Valley Music Awards of Fans Choice Award, Discovered Artist, Outstanding Female Artist, All-Around Performer, and Best Song, in 2017, 2018, and 2019. Phew! Seems like Stacy made the right choice to move to the front of the stage!
Her latest single, ‘Stir Crazy’ reminds us in her “Broadway-meets-pop” lighthearted style, not to take ourselves too seriously. The clip shines a comedic light on the trivial day to day activity we might be going through at home during these long days of isolation. We make that incredibly long journey from the bedroom to the loungeroom, every single day, wearing the same oversized pyjamas each time. Stacy states that the track is basically a cabin-fever response “inspired by a whole lot of nothingness going on in my life”. We see her fight with her dog over the last slice of pizza, and trying frantically to keep up with the constant notifications on social media, all the while never once allowing her anticipation to falter that there are better days ahead. She reminds us, despite the separation and chaos, to nonetheless be kind to one another – a lesson to be remembered when the pandemic days are over.
Let the music video for Stacy Gabel’s song, ‘Stir Crazy’, be the antidote for your own lockdown-loco, and watch it below. You can find out more about Stacy Gabel and her music online on her official website. What did you think of ‘Stir Crazy’? Let us know in the comments.
- One Last Time (2014, #2)
- Bang Bang (2014, #1)
- No Tears Left to Cry (2018, #2)
- thank u, next (2018, #1)
- Side to Side (2016, #4)
- Into You (2016, #14)
- 7 rings (2019, #1)
- Problem (2014, #1)
- Dangerous Woman (2016, #17)
- Break Free (2014, #16)
- break up with your girlfriend, I'm bored (2019, #1)
- God is a Woman (2018, #4)
- Rain On Me (2020, #1)
- Santa Tell Me (2014, #13)
- Breathin' (2018, #8)
- Love Me Harder (2014, #48)
- boyfriend (2019, #4)
- Focus (2015, #10)
- Bed (2018, #20)
- Stuck with U (2020, #4)
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I'm not saying Adele can't sing or her songs aren't good, though I do find the kind of music she does to be awfully dated. I was going through 25 and I'd find songs which I'd expect in a Daytime Soap soundtrack with how MOR it was.
Her vocal range isn't even among the best in the business. At least compared to Lady Gaga and Beyonce. I would probably say Adele is closer to a Carole King in the sense she can sing however it's her songwriting which shines best. Nobody is as accomplished as singing about heartbreak as Adele (Someone Like You, Hello, Chasing Pavements).
For the record, I like Adele. I just don't see how some call her the greatest singer of her generation. Amy Winehouse was far superior if we're talking about singing.
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What was the number one song in the UK on 13th June 1970? British band Mungo Jerry, hit the top spot for 7 weeks with In The Summertime. In The Summertime was the best-selling single of 1970 and in fact it became one of the best-selling singles of all time, selling over 30 million copies. […]
21 October 2020Rock Music Blogs
Reading three-piece Launch Control have recently released a brand new EP named Attention Economy and it’s really good. To be honest that should be enough for you to go and check it out but, if you need to know more, read below.
The five track EP begins with Zombigots. I was quite surprised when the song started acoustically. This quieter sound really made me listen to the lyrics of the track. It’s not long before the song switches to full band however. I liked the contrast of the sombre acoustic beginning and the angry full band conclusion. The track is about how the UK is full of older, bigoted people and how it’s time for an uprising to make a change. The song is just over a minute long but packs in a lot in to start the EP brilliantly. The second song is the EP’s title track, Attention Economy. I was immediately struck by the delivery of the opening lines, with just the vocals delivered in a punchy way and some drums before some melodic guitar joins in. The way the vocals are delivered throughout the entire EP really interested me, there’s a rap-like style to them that gives Launch Control a different sound to any of their peers in the melodic skate punk scene. The song takes aim at the way in which products are advertised online and how the Internet has algorithms to show you things that it has learnt you like form searches. It’s really scary how much data companies have about you and this song brings that to light.
Cult Of Ignorance starts in more of a traditional melodic punk style. It has me thinking of a less raspy Rise Against and I love that. As the track progresses, the band get a bit more experiment with some additional synths giving the song a wonderful atmospheric quality. I’m pretty sure they also use the same sound effect that the Transformers use when they transform. I really hope that’s true. The track is about those fine folk (sarcasm) who spew out their uninformed, uneducated views and won’t listen when people try and retort with their own side of an argument. The penultimate song is titled Paper Tiger. Paper Tiger is about the person who seems to be the most powerful not being as strong as they think and the people beneath them coming to take them down. Again, Launch Control are not afraid to add different sounds and styles into their music, making them so engaging. One slight negative about the song is that I felt that the final moments of the song were crying out for some gang vocals, but to be fair I love gang vocals in every song. The final track is the five minute long Marketing For Martyrs. Sometimes I feel like I overuse the word epic when describing songs but I can’t think of a word that fits this song better. This is an emotional and powerful song that truly takes you on a journey. The track begins with what’s basically a spoken word section, before moving to uptempo melodic punk before finishing with what I can best describe as a hip hop/rap style. It’s incredible how Launch Control have moulded these styles together so well. If I could only pick one song from this EP to see live it’s Marketing For Martyrs. It’s such an impressive song and the perfect ending.
Despite being aware of Launch Control for a couple of years now, this is the first time I’ve given them a proper listen and I’m so impressed. What I loved was how fresh they sound compared to a lot of bands in their genre. If you, like me, are finding the melodic skate punk style a bit stale then you really need to check out Attention Economy.Stream and downloadAttention Economy on Bandcamp here.Like Launch Control on Facebook here.
This review was written by Colin Clark.
In The Number Ones, I'm reviewing every single #1 single in the history of the Billboard Hot 100, starting with the chart's beginning, in 1958, and working my way up into the present. More »
Creator denies it’s a “lame parody” and says it’s “one of the weirdest tributes” instead.
Our fav Australian artist Golden Vessel has just released his wonderful 11-track “road-trip” album, ‘colt’.
Led by a bass guitar, it’s a collection of genres and collabs spanning from indie, alternative, electro and pop, influenced by some songs shared in his playlist below:
Alex G – Gretel
This song blew my mind when it came out. I love the video too, it’s so sweet. It’s this really clever mix of light and dark, electronic and acoustic.
Big Thief – Black diamonds
I started listening to big thief just as I started making my album and they instantly became my favourite band. I got to see them play in Cambridge, UK and I had the worst hay fever but it was the best night.
Blood Orange – Smoke (Remix)
I love the mix of hip hop / guitar / sound design on this song. And the vocals are so dry and bolt it’s great.
Porches – Country
It’s such a sparse simple song but it also feels so powerful and that really intrigued me.
Mount Kimbie – Marilyn
A beautiful song, I love how it flows and evolves. Mount Kimbie’s recent use of bass guitar was influential on me, even just to see the way they incorporate it into an electronic composition.
The Nicholas – Addict
I found this song on a Spotify playlist and hit him up to see whether he would want to do a songwriting session. He quickly became one of my closest friends and really influenced the direction of colt (contributing to 6/11 of the songs).
Frank Ocean – Close To You
Blonde was so influential on me when I was making my first record but I found I kept coming back to listen through his entire catalogue whilst making colt.
Ross From Friends – Pale Blue Dot
This was actually my most listened to song of 2018. On colt I finally found ways to implement my love of house music into what I do (on midwest & blinker) and I love the sound design that Ross From Friends brings.
Toro Y Moi – New House
On tour in America we played this album on repeat and so it really feels like long drives and that period of time.
Adrianne Lenker – 10 miles
This is the lead singer from Big Thief (who I’ve already included) but Adrianne’s songwriting really shaped me and so I love her solo music also which is just to focus on the songs.
Sounds like: Akurei, GRAE, Alice Jemima
Jane’s Addiction frontman Perry Farrell looks back over his storied career in new Metal Hammer magazine interview
Mellon Collie And The Infinite Sadness was the last truly great US rock album of the 90s – and of the Smashing Pumpkins' career. We look back at the groundbreaking record, 25 years on
21 October 2020Classical Music Blogs
21 October 2020
The Lyric Opera of Chicago will confirm later today that its entire season is cancelled through to June 2021.
‘As the State of Illinois moves through its five-phase plan of reopening, performing arts companies on Lyric’s scale are still slated to be part of the final phase. Operating on anything close to a normal basis until that phase is reached is simply not possible,â the company is telling artists and their agents.
The one dud note is this: âYou are now welcome to accept other work that emerges within our original contract periodâ.
Well, thanks for that.
21 October 2020Toru Takemitsu:Requiem for String Orchestra Context
Toru Takemitsu was born in 1930 in Tokyo. At a very young age, Takemitsu was called into military service. However, during his time in the military, Takemitsu became aware of Western classical music. During the post-war U.S. occupation of Japan, Takemistu was taken ill for a long period of time. Bed-ridden, he took this opportunity to listen to as much Western music as he could on the U.S. network. He said, much later in his life, that he began to distance himself from Japanese music, because it reminded him too much of the war.
Although completely self-taught at this stage, Takemistu began to compose at the age of sixteen, by using influences from the Western classical music he had heard whilst ill. In an interview, Takemistu suggested that music âclarifiedâ his identity, because âafter the war, music was the only thing left.â Throughout his fruitful career, Takemistu only studied under Yasuji Kiyose for a brief time, but largely he was a self-taught composer and musician.
As well as his orchestral and chamber works, Takemistu is also remembered for his ideas regarding electronic music technology. In 1951, Takemistu was one of the founding members of the anti-academic group called âJikken KÅbÅâ (âexperimental workshopâ). This was an artistic group that was established for multidisciplinary collaboration on âmixed-media projects.â Takemistu composed many works throughout this period, and he also composed some works with the aid of electronic tape recording, such as Relief Statique (1955), and Vocalism A.I (1956). At this point, Takemistuâs music was largely kept in Japan and the surrounding area, that was, until the late 1950s, where, by chance, he hit international fame. When Requiem for String Orchestra was premiered in 1957, it was received well.
In 1958, by chance the great Igor Stravinsky heard this work on his visit to Japan. It has been noted that NHK (a Japanese broadcaster), had organised the latest Japanese music for Stravinsky to hear on his visit, and by mistake Takemistuâs Requiem was put on. NHK tried to turn the piece off, but Stravinsky wanted to listen to the end, saying that he admired the work for its âpassionate writingâ and âsincerity throughout.â After this, Stravinsky invited Takemistu for lunch. Takemistu then received a commission for a new work from the Koussevitsky Foundation, which he assumed had come from Aaron Copland, via Stravinskyâs recommendation. For this commission he wrote Dorian Horizon (1966), which was premiered by the San Francisco Symphony Orchestra, conducted by Aaron Copland himself.
Throughout his rise to international fame, Takemistuâs style gradually developed. He began meeting some influential composers, which deeply affected his music, such as Karlheinz Stockhausen, John Cage and Peter Sculthorpe. More avant-garde compositions such as Waves (1976) and Quatrain (1977) highlight Takemistuâs shift in compositional style. It was around this time, in the 1970s, that Takemistu began incorporating traditional Japanese musical ideas into his compositions. Works such as In an Autumn Garden for gagaku (1973) and A Flock Descends into the Pentagonal Garden (1977) emphasise this effectively. His later works show the dichotomy between Eastern and Western traditions even more so, which is perhaps why Takemistu became such a tour-de-force in the twentieth century.
Towards the last years of his life, Takemistu began to collaborate on an opera with novelist Barry Gifford, and director Daniel Schmid. Whilst writing the plan for the musical structure between 1996-1996, Takemistu passed away in February 1996 due to contracting pneumonia, whilst undergoing treatment for bladder cancer â he was 65. Since his death, Takemistu has often been regarded as one of the most important composers that Japan has ever produced. He was the first Japanese composer to be fully recognised and accepted in the West, and still remains an important figure for younger generations of Japanese composers.
Composed as a tribute to his mentor, Fumio Hayasaka (also a composer), Requiem for String Orchestra highlights Takemistuâs avant-garde style of composition. There has been discussion on this piece and how it sounds very âWesternâ, rather than a mix between the two traditions. Although the tonality and orchestration is very reminiscent of Western culture, it is, perhaps, the atmosphere that is more reminiscent of Japanese culture. The sense of âstaticismâ and âspeechlessnessâ is very much in the lanes of Japanese aesthetics âmono no Awareâ.
Described in the novel, The Tale of Genji by Japanese philosopher, Motoori Noringa, âmono no awareâ exhibits what is seen as traditional Japanese aesthetic consciousness. âAwareâ portrays misery and sadness, âmono noâ thus shows the âawareâ to the world, usually in the abstract sense. This, in Japanese tradition, represents âfleeting beautyâ and signifies a sad, yet unwavering beauty.
Requiem is in an ABA structure (Lent-ModÃ©rÃ©-Lent). The structure adds to the intensity of the work. Starting out quietly, with muted strings, the dynamics gradually appear, and the ensemble sound both hollow and thick with homophonic texture â playing to the idea of âmono no aware.â The passages of crescendo and decrescendos mark the inhales and exhales of a singer, making the work even closer to the listener. Takemistu describes the use of monotonic change of a single note as a âRiver of Sound.â For Takemistu, the blending of all of these sounds creates a link between them, hence the idea of a âriver of sound.â
Requiem has a rich tonality throughout, which is accentuated through the largely-homophonic texture, and monotonic changes. The second section (ModÃ©rÃ©), is even tenser due to the shift into a slightly faster tempo. The luscious syncopated passages are said to represent the grievances of loved ones. This is emphasised by the changes in texture, with some passages utilising all parts, and others only some of the ensemble.
The final section recalls the opening of the work, however it is shortened somewhat. The recap to the first section is noted to be a reminder of the past, which brings the beauty of sadness. This perhaps represents Takemistuâs struggle for life against illness. The idea of âmono no awareâ also runs prominent here, with this quote summing up the work quite neatly:
âMono no Aware is a sentiment towards nature and life, that life is part of death, and death is a part of life.â
Therefore, one must recognise the truth of the soreness of life (which is momentary), if one may achieve a peaceful mind: a natural realm of eternity. Here is where I believe Takemistuâs Japanese heritage is placed in Requiem. Japanese aesthetics are complex, and yet, when listening to Requiem it all becomes so simple: when East meets West, an eternal beauty can be created.
â¸ Alex Burns
You might also enjoyâ¦ Samuel Barber: Adagio for Strings
The post Toru Takemitsu âRequiem for String Orchestraâ: Death is a Part of Life appeared first on Classicalexburns.
21 October 2020At the more intriguing end of the Icelandic contemporary music continuum is HĪBER, a new album of electroacoustic pieces by Bára Gísladóttir. When writing about Bára’s performance at this year’s Dark Music Days (with Skúli Sverrisson), i remarked how “what we heard in the first five minutes … was essentially…
21 October 2020
21 October 2020
21 October 2020
Terri Winston is the Founder and Executive Director of Women’s Audio Mission (WAM), a San Francisco/Oakland-based nonprofit organization that works..
The post 5 Questions to Terri Winston (Founder & Executive Director, Women’s Audio Mission) appeared first on I CARE IF YOU LISTEN.
21 October 2020
21 October 2020
A violin professor at the Conservatorio Superior of Asturias in Oviedo, Spain, stands accused of touching a 20 year-old violin student during the academic years 2015 to 18.
When she protested, he is alleged to have hit her with his violin bow and made disobliging personal comments.
The prosecutor is demanding his dismissal from the Conservatorio and five years jail.
The teacher is said to be Russian.
21 October 2020
âI gave birth during the final performance at The Met on 11 March, 2020. I had only just received tenure for my job in the spring of 2019 and for me the Met Orchestra is my dream job. I love playing opera and I am in constant awe of the talent of my colleagues. It felt like I had the career security to finally start a family and plan a future in New York City.
âMy husband, who is also a musician, and I were getting ready to purchase our first home, but were suddenly faced with leaving our apartment and moving in with my parents to sort out our plan going forward as a family. Weâre now renting a small place outside of the city and while we are lucky to have such a supportive family it is still difficult to suddenly be in this position.
âEmotionally the loss of identity has been as challenging as the loss of income. I expected new motherhood to be life altering, but being isolated with a baby and with no performances scheduled for the next year it has been hard to find balance. Iâm not sure what my future as a musician looks like right now.â
21 October 2020
Message from José Cura:
Happy and proud to announce the beginning of my collaboration with the legendary Austrian Publishing House, Doblinger Musikverlag. The prestigious Viennese based company will soon be publishing my work as a composer, so that everyone can access the scores of Ecce Homo, my Neruda Sonnets or my guitar concerto “Concierto para un Resurgir” (written during pandemic lockdown), among other works to come.
At this moment of international distress, it is an amazing feeling to be able to establish this cultural relationship that not only is a proof that there is light at the end of this covid tunnel, but also is a recognition to my resuming of my composer work , longly paused in benefit of my performing career. This doesn’t mean I will stop performing, don’t worry, but I cannot think of a better way of balancing my artistic life after having performed nearly 3000 times in the last 30 years…
World premiers of my “Te Deum” and my “Concierto para un resurgir” are planned for next year (covid allowing …), as well as the release of the recordings of “Ecce Homo” and “Si muero, sobrevíveme” (the Neruda Sonnets). Also, in 2022, my “Requiem Argentino” will be premiered, in coincidence with the 40 years of the South Atlantic War between Argentina and UK, back in 1982. Scores of these works will be added to Doblinger’s Musikverlag catalog soon.
Peace & Love!
21 October 2020Country Music Blogs
Stabal, the high-quality platform for live performance and on-demand content, is putting music fans in the room with the biggest country stars and best songwriters of our time with their For the Love of Country lineup.
From October through December, Stabal will feature an unmissable calendar of live events, from the redemptive sound of Drake White to the classic country of Rhett Akins. Part old school tent revival, part scorching southern rock festival, the For the Love of Country lineup includes:
· Oct 23 - John Driskell Hopkins, Mitch Rossell & Dave Turnbull (Songwriting Round)
· Oct 29 – Drake White
· Nov 23 – Rhett Akins, Randy Montana & Jessi Alexander (Songwriting Round) (On Sale TBC)
· Nov 28 – Zach Williams (On Sale TBC)
· Nov 28 - Tucker Beathard
· Dec 3 – Rhett Akins (On Sale TBC)
Tickets for all of these upcoming shows are currently available exclusively on Stabal.com. In addition, a recent performance from Texas Hill and a Songwriting Round with Cole Taylor, Ray Fulcher & Tyler Reeve are currently available on-demand.
With the absence of touring, Stabal is still delivering fans the euphoria of being front row for their favorite artists with intimate, high-definition online concerts and events from the stunning Dark Horse Studios in Nashville. Offering live, on-demand and subscription options, Stabal gives fans the flexibility to enjoy performances from their favorite artists in the way they prefer, all with unparalleled production quality.
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Bruce Springsteen – ‘Letter to You’ Review: The Boss delivers once again and we’ve never needed him more!
There’s no doubt about it, the dark seems to outweigh the light right now. A year of hardship, of fear, and of separation from the people and things we love has left us battered and bruised. It’s in these times that we don’t just want, but need our artists. After 9/11 New Yorkers shouted just that at him across the road, “we need you”, and that message now applies to people across the planet. To many, myself included, Bruce Springsteen is more than just an artist, he’s comfort, he’s inspiration, both he and his music are a reason to keep going. So, with the announcement that The Boss and his E Street Band had got together at his ranch and recorded a new album over a few days earlier this year, a glimmer of light was shone upon the world.
Let’s kick off by addressing a potential elephant in the room. This is a country, roots and Americana site. If you don’t think Bruce epitomises American music, I cannot help you. There, that’s been said, now to the music.
It’s a thoughtful and somber acoustic guitar and vocal that kicks off the record on One Minute You’re Here. Bruce evokes the Nebraska sound as he ponders the temporary nature of our existence and sets the tone for the record by reflecting on years gone by, including the potential reference to some of his previous works in the line “Red river running along the edge of town“. The song acts as a tone setter, a statement of Bruce’s frame of mind and puts the listener in a trance as he sings the refrain “one minute you’re hear, next minute you’re gone”…
That’s until the E Street Band slaps you right across the face with the unbridled joy of Letter to You. This is the first time the legendary band have ever recorded live like this and this song captures the energy, musicianship and happiness the band can conjure up like magic. Once again, it feels like Bruce is laying out to the listener what this record is all about as he sings “In my letter to you, I took all my fears and doubts, In my letter to you, All the hard things I found out”. The man who has played a thousand characters in his songs is about to open the door to his own self, what he’s learned from life and what makes him tick. This is post Springsteen on Broadway and autobiography Bruce, he’s found the rearview mirror.
Don’t expect a moment to breathe as an extended, organ-driven intro brings us pure E Street Band at their finest on Burnin’ Train. Close your eyes and you can see the crowd with their arms around each other, singing every word, a sight snatched away from us all, but a hope from Bruce that we’ll see it again. This is a love song, could it be to his wife Patti? His band? Whoever you think it’s aimed at, the driving rhythm of one of music’s finest ever bands makes you feel positivity from every note as Bruce sings “Sheets stained with sweat, Outside the endless rain, Darlin’ I’m blessed in your blood, And marked by Cain, Take me on your burnin’ train”.
Janey Needs a Shooter slows things down whilst the band sounds as big as ever. Swirling organs and jangling guitars complement Bruce’s rough-as-ever voice in a way that’s almost reminiscent to Backstreets.
Consider the band mates lost along the way, Clarence Clemmons, George Theiss, Danny Federici, Robbin Thompson, to pay tribute to a few, and Last Man Standing takes the deepest of meanings. Bruce flicks through “faded pictures in an old scrapbook… When you were hard and young and proud”, remembering his beginnings with the Castilles and others and the people who carried him along on his journey. As he ends the chorus with “I’m the last man standing now” you feel Bruce is a man left behind by his friends, but then something special happens, the sax of Clarence’s nephew, Jake Clemons, comes in, you remember Stevie and Nils by his side, Patti on the other, Max Weinberg keeping rhythm. Bruce is anything but alone, in fact, the show goes on as always as he sings “You count the names of the missing as you count off time”.
“Dreamy afternoon ‘neath the summer sun, We’d lie by the lake till the evening comes, I run my fingers through your sun-streaked hair”, the opening lines of The Power of Prayer transport you to a sepia tinged memory. Not about prayer in its literal sense, but how memories and the people that share life with us are what lifts us. Marked with more outstanding sax from Jake, it’s a song that’s sure to bring crowds together when it finally gets played live. Just as it will bring us all together in our own homes.
Bruce has never been afraid to speak his mind politically and, in such an important year for America and the World, its no surprise that he addresses the state of things. The House of a Thousand Guitars addresses the “criminal clown” who “stole the throne”. But this isn’t a Born in the USA style battle cry against the state of things. Instead, an older and wizened Bruce points to music and how it can bring us together. Maybe not as we sit “bitter and bored” but when we can go to “the stadiums and small town bars, we’ll light up the house of a thousand guitars”. It’s a hopeful song about working together to find the spark (Dancing in the Dark reference inbound) that lights up the house. It’s about how the unity of people, how art and music and joy is the only way we can “Wake in search of the lost chord, That’ll band us together for as long as there’s stars“.
Through the imagery of dry, accrid, rural America, where the people feel no hope, Bruce continues to decry the desperation that leads people to make bad decisions and rely on the wrong people (read as: Donald Trump). Bruce cries “Sometimes folks need to believe in something so bad, so bad, so bad, They’ll hire a rainmaker”. It’s almost a justification of why America got into its current position and a call to action for people to stand up and do the right things. It’s an unabashed rock song that doesn’t do much to detract from the message at its core.
Bruce carries over the ghost of Western Stars into If I Was the Priest. On the face of it, this song works as a great tale of a small town in the American West, but listen to lines like “Forget about the old friends and the old times, There’s just too many new boys tryin’ to work the same line“, and you could read it as Bruce passing the torch on to younger artists as he reflects on friends who’ve since passed on. “Things ain’t been the same in heaven since big bad Bobby came to town” provides a nod to the passing of time, perhaps how Bruce’s own heaven has changed forever. His voice stresses and strains throughout, it feels like a vulnerable moment for Bruce. He ends the song singing “Jesus is standin’ in the doorway, Six guns drawn and ready to fan, Said, “We need you son tonight up in Dodge City”.
The second song released from the record, Ghosts, is the song that we needed this year. Full to the brim with all the joy that Bruce and the E Street Band bring, just hearing it can give you goosebumps and provide you a reminder of the things that make life so great and the reasons we have to be hopefully. Right from the opening chords to the soaring chorus of “I’m alive, I can feel the blood sugar in my bones” this is a song built to remind you of the power of music. That’s just the face of it, beneath the surface is a story of those absent friends, how Bruce needs them by his side, he “makes my vows to those who’ve come before” every time he plays and declares “meet you brother and sister on the other side.” Once again, Bruce sings about being left “alone” but the very nature of this song is anything but alone. It’s joyous, it’s the love of friends, bandmates and fans coming together and it’s going to be one HELL of a show when this gets played for 80,000 people.
A touch of Dylan hits the lyrics and poetry of Song for Orphans, a song that chugs along. To try to tell you exactly what I think this song is about would be impossible. Springsteen wevaes the narratives of a series of characters, those trapped in the American ‘dream’. As the harmonica rips through, you’d be forgiven for thinking you’d stumbled on a war protest song from the 70s.
Letter to You is just that, a letter to us all, and it makes sense to sign it off with the thoughtful I’ll See You in my Dreams. On this record, Bruce has been more honest than ever. You’ve seen more of him that we’ve ever seen before. At 71 years old, he’s chosen to look back at all of the madness. He’s also reached an age where he’s lost enough to know pain, loved enough to know true love and felt enough highs and lows to understand the journey of life. The song opens with “The road is long, And seeming without end, Days go on, I remember you my friend“, and goes on to say “I’ll see you in my dreams, When all our summers have come to an end, I’ll see you in my dreams, We’ll meet and live and laugh again“. Bruce bares his soul throughout Letter to You but waits to the very end to hit you with this hammer blow. After all, he’s the man many of us look to in order to heal the hurt, so when he lays his own fears and heartbreaks on the table we feel them as if our own. It’s a stunning song to end this record on and truly another masterpiece in the works of Springsteen.
When Letter to You dropped as the lead song from this record, it felt like the reprieve we all needed. After all, the greats are signals of strength and almost make us feel invincible. Bruce has always stood tall as a man of the people and his reappearance alongside the E Street Band made everything feel OK for just a minute. As the album is now unleashed on the world, it feels like Bruce’s own chapter in life is crossing with so many of our own. If nothing else, this album will give you an hour away from real life, but on a deeper level, it’ll help empower you to feel. Many of us are scared, life seems more fragile now than ever, but Bruce reminds that it does go on, it will be OK and my god will the E Street band be ready to reopen the world for business when the day arrives.
1. One Minute You’re Here
2. Letter To You
3. Burnin’ Train
4. Janey Needs A Shooter
5. Last Man Standing
6. The Power Of Prayer
7. House Of A Thousand Guitars
9. If I Was The Priest
11. Song For Orphans
12. I’ll See You In My Dreams
Six Shooter Rating
10 out of 10
The post Bruce Springsteen â âLetter to Youâ Album Review appeared first on Six Shooter Country.
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Ryman Auditoriumunveiled the latest addition to its Icon Walk this morning with a statue honoring American music icon Loretta Lynn. The detailed bronze likeness was added to the permanent outdoor exhibition on the historic venueâs grounds ensuring the profound musical innovator and country music trailblazer will forever remain part of the Soul of
21 October 2020Indie Music Blogs
21 October 2020Men's Apparel has recently dropped his smooth new single "Two-Tone Lover", the latest release is the second song released from the singer-songwriter, following on from his debut single "In Your Dream Clouds".Based out of Pittsburgh in the USA the solo artist has already found his tunes being placed in some decent Spotify playlists such as 'Alternative Roadtrip', which has helped him generate a hype around himself. Furthermore he's well known on the local music scene as he's currently focusing on performing shows in and around his hometown as well as appearing on college radio stations - which is still a major way to discover new artists in the US.So, the new track - that's why we're here - the tune has a somewhat groovy come seductive tone to it, reminding me of Arctic Monkey's latest album mixed with some guitar tones from Nile Rodgers, not a bad mixture by any standard!There's some psychedelic nods to his influences such as Tame Impala and going as far back as David Bowie too with the grandness of it all, "Two-Tone Lover" really does sound like a classic track from the peak of the 80's.Based on this tune and his debut effort there's much much more to come from the Pittsburgh local, and by the sounds of it the songs he's crafting are certainly worth the wait. So head on down and check out "Two-Tone Lover" and delve into an artist that'll be setting his local scene on fire in the coming months.
21 October 2020
‘Stick to What You Know’ is the latest single from Northampton four-piece Sarpa Salpa.
It marks their third release of 2020, following on from the band’s ‘Say Something’ EP and single ‘Forwards Backwards.’ The latest cut is a bop-along alt-pop track full to the brim with catchy riffs and vocal hooks.
Frontman Marcus Marooth explains: “It’s about finding something that you love and pursuing it with everything you’ve got. There is a lot of pressure in society to find a job, settle down then rinse and repeat. This track is about not settling for that 9-5 job you hate for the rest of your life. Something that’s proved more than testing for everyone in 2020.”
The post Modern Age Music Song of the Day: Sarpa Salpa – ‘Stick To What You Know’ appeared first on IndieCentralMusic.
21 October 2020
21 October 2020
21 October 2020
Queens-based indie singer-songwriter ALANA returns with Baby Blue the first single off her debut five-song EP of the same name.
ALANA defines pop music. She always trying to be innovative. Creativity is in her soul.
The dream-pop track will transport you to a misty landscape filled with notes of mellow guitar, hypnotic mandolin sounds, vibrant lyrics, and alluring raw vocals.
ALANAsays she wrote the song when she was, âdaydreaming of a blue escape, a fantasy land where I could be someone new for a little.â
Need some music for your playlist? Just add Baby Blue. Listen to it on repeat. Thereâs so much calmness in ALANA words.
21 October 2020
Dia’s rose-colored glasses perspective on life and ability to see each of her “flaws” as a gift instills confidence in her audience by giving them permission to be beautiful, powerful, and imperfect.
Today, I write about Dia’s new single Under Over.
This song has something special about it. Dia’s Influences are varied. She creates a unique sound all of her own.
With a cheerful chorus, hysterically honest lyrics, & a drum & bass that gets you moving, Under Over is the empowerment song that reminds us that sometimes the best thing we can do is something “bad.”
After realizing she was crazy for having a secret catfish account to check in on her ex, Dia remembered: “the best way to get over someone is to get under someone new.”
Dia makes music with a message.Sheâs focused and thoughtful.
Check out Under Over below!
21 October 2020
Hollis Jordan’s penchant for shape-shifting will undoubtedly become his signature, as he points to the pursuit of R&B/Pop domination. His latest single, “Runaway” ft. Zaire Danae, is a vibrant banger built around classic warm keys, liquid polyrhythms and skittering hi-hats. It’s a track about love, lust and desire that easily brings listeners into a euphoric state. Hollis Jordan is an infinitely versatile and assured singer. He’s a great example of a true craftsman taking all his ideas, pulling them in, and turning them into top-shelf music.
“Runaway” ft. Zaire Danae shows Hollis Jordan’s growth as an artist, since his first national single “Live For The Moment” produced by older brother – well-known Detroit producer MoStaxx. With an impressive range, Hollis masters getting different sounds and nuances to jell together cohesively. He is an absolute professional. An artist who knows where to put the bridge, and the exact right moment to bust out his unearthly falsetto.
Hollis Jordanâs unyielding vocals paired with sultry sonics introduce a sexy record for those looking for a dancefloor groove to relax and unwind to. The song is both edgy and smooth, calling for an easy-listening experience. Featured guest Zaire Danae adds a dose of streetwise energy and mellifluous vocal spice to the recording. She hones in on juxtaposing Jordanâs power, offering a contrast throughout the sing. And incredibly enough, succeeds.
âRunawayâ ft. Zaire Danae is sure to expand Hollis Jordanâs presence to a large variety of listeners, as he provides us an authentic soulified R&B voice that many modern-day artists lack. Moreover, thereâs a lot going on musically in the song, but all the ideas meld perfectly, and it seems like they cohere mostly because Hollis Jordan has been watching his peers and taking careful note of what works, and what doesnât.
âRunawayâ ft. Zaire Danae is alternately flirty and intensely soulful, and it knows when to be one and when to be another. It runs on top of beat that is subtly infused with elegant Dancehall nuances, perfectly adapted to the sexiest twerking movements. âRunawayâ thrills come when Hollis Jordan lets loose, particularly when listened to on a pair of good headphones. But to truly savor all of its majesty, unleash it to a packed dancefloor.
Those whoâve already heard Hollis Jordan, will know that he was basically born to be a successful entertainer. Heâs too talented, too self-assured and probably too ambitious to do live doing anything else. Furthermore, his bloodline is set to heavily determine his future in some way or another.
Born into a musical family, Detroitâs Hollis Jordan is the second cousin to female rapper Bo$$ of Def Jam Records, and 6th cousin to legendary Jazz icon â American trumpeter, composer, and singer Louis Armstrong. Strangely enough, history always seems to find a way of repeating itself. Charting the croonerâs development, âRunawayâ ft. Zaire Danae sees Hollis Jordan proudly flying his own personal artistic flag.
21 October 2020To say Genesis Z has had an eventful career would be a huge understatement. Twenty years ago, the Filipino producer moved to California in pursuit of a life in the music industry. Since then, he has worked alongside some of the biggest names in RnB & Hip-Hop and lived through countless stories worth telling. From […]
21 October 2020Nashville indie rock luminary Beth Cameron’s (Forget Cassettes, Fair Verona) new projectBlack Bra embraces the darkness of past trauma to help process the present horror of the world around us.
21 October 2020
The Darcys is the ever-evolving duo formed by Wes Marskell & Jason Couse.
Glad their back. They recently released new single Too Late.
It’s groovy and catchy. The Darcys use a big disco chorus to capture the feeling of second chances and learning from mistakes. Get ready to vibe.
The visualizer – directed by Emma Higgins – is great. Very artistic work.
I like this song so much. Everything sounds just perfect.
Check out Too Latebelow!