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The global festival industry is forecasted to continue growing at an astonishing compounded rate of 28% through 2028, but with that growth comes a necessity to review the scalability of existing practices.
One such startup angling to revolutionize existing wristband technology is Rave Me Away. Recent festival tragedies have frequently tied back to failures with regard to crowd control and an inability for timely, life-saving aid to be rendered to attendees in distress. If widely adopted, Rave Me Away's chip-based RFID technology would directly mitigate those risks from occurring at large-scale events.
The company's "RaveMeAway Wristband" provides the wearer's location information to emergency services and allows for the visualization of location data while they're onsite at a festival. The wristband, which has been issued a provisional utility patent, also doubles as a "panic button" that enables attendees to communicate remotely when they are in distress.
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The team behind Rave Me Away believes the innovations will allow for emergency services to significantly cut their response times. The accuracy of the location data will allow for proper aid to be provided sooner and mitigate the risk of loss of life.
Rave Me Away's founder and CEO, Charles Hinnant, says the idea for the technology was born in the wake of the tragic Astroworld Festival crowd crush, which led to 10 fatalities.
"As someone who has always been an avid music festival-goer and had the unforgettable experience of attending Astroworld, I felt compelled to create this company," Hinnant said in a statement provided to EDM.com. "My goal is to raise awareness and elevate health and safety measures at festivals and live events."
You can find out more about Rave Me Away on the organization's website.
In the ever-evolving digital media landscape, data integrity remains paramount—even for musicians.
For producers looking to manage their unreleased music with added security, there's now [untitled]. Produced by Sin Titulo Inc., the app is designed to simplify the task of organizing and sharing unreleased music by introducing several features that set it apart from similar solutions of its kind. Those include high-quality lossless audio streaming, seamless recording capabilities for capturing creative inspiration and effortless uploading from various data sources.
One of the standout features that distinguishes [untitled] is its robust organizational system. Users have the ability to effortlessly categorize their music into project files and folders while syncing these arrangements seamlessly across multiple personal devices.
What truly gives the application its competitive edge, however, is its security underpinning. The encryption measures behind [untitled] are on par with industry leaders like Dropbox and SoundCloud, ensuring there's proper measures to safeguard unreleased music.
The team behind [untitled] is angling to position the application as a future go-to source for music producers who seek to prioritize security. The process of managing unreleased content is often tedious and unsecured, but Sin Titulo is well positioned to become a disruptor in the space.
You can download the [untitled] here.
Rome in Silver is embracing the growth that comes with change by virtue of his debut album, Dragonfly.
It's been over eight years since Rome in Silver first broke onto the scene with his remix of Flume's "Ezra," and there's been seemingly a lifetime of learned experience and reflection feeding into his debut longform project.
Culturally, the dragonfly is often considered a symbol of maturing through change and moving past prior personal limitations. The underlying meaning is emblematic of Rome in Silver's own personal journey documented throughout the project.Rome in Silver.
Tracks like "I Don't Wanna To Be Here" are reflective of the virtuosic producer's struggles with fitting into a conventional mold, while "Return of Love" marks a welcome contrast, embracing themes of growth and transformation.
Stylistically, Dragonfly spans a breadth of creative wavelengths and tones. Rome in Silver didn't hesitate to keep fans guessing while seamlessly flowing from the dreamy house sensibilities of tracks like "cloud9high" to the soulful vocals and trunk-thumping subs of the trap-inspired "Think About It."
Overall, the album represents a cohesive demonstration of Rome in Silver's versatility in a way that hasn't yet been captured previously, and there's no better time to get acquainted with than the present.
Take a listen to Dragonfly below and find the album on streaming platforms here.FOLLOW ROME IN SILVER:
German house music maestro Marten Hørger is showing no signs of slowing down with a brand-new single, "Love All Night."
Perfectly encapsulating his signature style, "Love All Night" begins with a sultry vocal croon atop a pulsating melody. Before long, Hørger ups the ante, transitioning to a deep, hypnotic bassline. With its undulating synths—which maintain the energy throughout the track's duration—this house heater grabs the dancefloor's attention from the start and never lets go.
"Love All Night" follows Hørger's "Ill Behavior," "Sent From Above" and the David Guetta-assisted "The Freaks," all out on Spinnin' Records, as well as "Get Real High" with Shift K3Y on Tomorrowland Music.
Listen to "Love All Night" below.
'''Love All Night'' is a track that holds a special place in my heart," Hørger said in a press release shared with EDM.com. "Normally, I write and produce all my songs fully on my own, but for this time I created this tune with a singer and songwriter and every time I perform it, the crowd's response is just electrifying. I'm so happy about this one!"
You can find "Love All Night" on streaming platforms here.FOLLOW MARTEN HØRGER:
"Krazy" is VASSY at her very best. The intoxicating track showcases her talents as a bona fide dance music hitmaker as the summertime-fueled, four-on-the-floor anthem leaves nothing to be desired. With beautifully layered synths and hypnotic percussion, the track creates an atmosphere befit for summer days in Ibiza.
Take a listen to "Krazy," out now on the iconic Spinnin' Records, below.
VASSY's career is star-studded with hits, from tracks like "Bad" (with David Guetta and Showtek) to "Secrets" (with Tiësto) and more recently "Pieces" alongside Bingo Players and Disco Fries. However, "Krazy" is an exciting step forward for the Australian powerhouse, allowing her brilliance to thrive away from the influence of male DJs.
With the new track, VASSY is proving that she "can deliver the same degree of hits while being a solo act," she said in a press release.
"Since blowing up from anthems like ‘Bad’ with David Guetta and ‘Secrets’ with Tiësto, I faced a lot of pressure from the industry to deliver a certain sound and maximize my collaborations," she explained. "However, I always stayed true to myself and did what was most authentic to who I am as an artist.”
Listen to "Krazy" on streaming platforms here.FOLLOW VASSY:
The long-awaited return of Germany's Blacklist Festival comes with the promise of much more than dark, obsidian bass music.
Returning on October 7th, the beloved bass music festival is the brainchild of the team behind Cologne's iconic Bootshaus club. That venue has long served as a seedbed for the country's thriving electronic music culture, and Blacklist has blossomed into one of its tallest trees.
Blacklist in 2015 debuted at Bootshaus as a renegade party before quickly emerging as a fan-favorite among Germany's electronic dance music faithful. Its proprietors then began to organize monthly branded events at the club, establishing a haven for fans of trap, dubstep and drum & bass.
The Blacklist brand ultimately grew into a powerhouse, landing high-profile stage takeovers at renowned festivals such as Electric Love and Parookaville, among many others. The success of those events ultimately led to the inception of the independent Blacklist Festival in 2019, hosting roughly 7,000 and becoming the largest indoor festival in Germany.
The festival is now heading back to Turbinenhalle, a music and cultural venue on Mülheimerstraße in Oberhausen, with a monster lineup in tow. Fans should ready their neck-braces for the heavy-hitting sounds of Borgore, Zomboy, Sullivan King, Hedex, Holy Goof and many more. They're poised to throw down across five stages through the wee hours of the morning.
Tickets to Blacklist Festival 2023 start at €60 plus fees. You can find out more and purchase passes here.
The global dance music community is gearing up to converge on the vibrant city of Amsterdam for ADE, the world’s leading electronic music conference.
This year, indie label Soave Records is set to take ADE by storm with a series of activations and events that promise to connect aspiring industry professionals at the very heart of the electronic music scene. Partnering with Generator Amsterdam, a trendy and lively hostel that perfectly complements the Soave vibe, this collaboration aims to be a hub for the future of the brand's ADE presence.
Offering a unique industry opportunity for the ADE faithful, Soave Academy is slated to kick off on Thursday, October 19th. Whether you're a songwriter, producer, DJ, manager or music marketer, this boutique conference features insightful panels, discussions and masterclasses led by industry luminaries. It's a chance to enhance your knowledge and network with professionals who could propel your career.
Guests include Stefan Blonk and Gwen Klein Bluemink representing entertainment law firm Blonk.NU, DJ School Amsterdam founder Olivier Meijs, Madeleine van Geuns, owner of 88 Music Management and manager of Phuture Noize, Madism and Anthony Dircson, Daily Playlists’ Product Lead Harry Sotnick and a number of Soave Records artists.
On Friday, October 20th, aspiring producers will also get their moment to shine during a special demo drop session. This event allows them to showcase their work, receive valuable feedback from label representatives and establish future collaborations. Reps from Soave Records and a roster of respected labels will be on hand to connect with fresh talent.
The Soave team's schedule during ADE is packed with performances, industry mixers and content creation opportunities, including DJ set recordings and photo shoots. Thursday evening also marks a significant milestone for Soave as they host their first-ever nightclub event in the famed Desmet Studios, positioned a stone's throw from the Generator hostel.
For more information and tickets, visit Soave Records' website.FOLLOW SOAVE RECORDS:
Steeped in the rapturous sound by which Garrix has glided to global superstardom, "Real Love" is a deliriously happy dance-pop track. Lyrically, it's a celestial map of the heart's journey, tracing the complex constellations of vulnerability and conveying the irresistible pull of love without descending into cliché.
Check out the official music video for "Real Love" below.
Garrix said he was "immediately blown away" by Lloyiso after stumbling across one of his covers online and eventually linked up with the South African singer-songwriter in a New York City studio, where they recorded three new demos.
"It took quite some time for us to finally meet in person, but we clicked instantly, both on a personal and creative level," Garrix said of the "Real Love" recording process. "Our studio sessions have been amazing, and I'm super excited to share the first outcome of those sessions with everyone."
You can stream "Real Love" here.
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The dinosaurs are once again coming out to play at Lost Lands.
The prehistoric-themed music festival, which doubles as a head-banging utopia for fans of dubstep, is back as of today, September 22nd. The biggest and baddest in bass music are poised to tear up Legend Valley, such as SVDDEN DEATH, Subtronics, Netsky, LSDREAM, Sub Focus, NGHTMRE, Dimsension, Ray Volpe and of course Lost Lands founder Excision.
Check out the official Lost Lands 2023 set times below as well as the schedule for the festival's official livestream, Couch Lands, which you can watch on Twitch or TikTok. For more on this year's fest, including shuttles, hotels and camping, read our comprehensive insider's guide.Lost Lands Day 1 Set Times Lost Lands Day 2 Set Times Lost Lands Day 3 Set Times Couch Lands Set Times
Floret Loret blazes a luminous trail through otherworldly soundscapes in his debut album, Tales From The Terrarium.
Cultivating a signature sound all his own through storytelling and stellar production techniques, Loret explores themes of adventure, introspection and revival throughout the experimental bass journey, which spans 11 tracks. Influenced by the nexus of nature and human emotion, each song in Tales From The Terrarium harnesses masterful sound design to unearth a striking contrast of light and darkness.
"This album revolves around the theme of rebirth and self-discovery in the face of challenges," Loret explained in a press release. "The inspiration for this concept came from a meaningful conversation I had with my dad during a health incident I experienced in 2020. He shared with me the idea of hitting the reset button after going treatment, and that conversation ignited the idea of embracing a brand new beginning in life."Floret Loret.
From its emotive melodies and glitchy foley to its ambient pads and swarming bass, the album stuns at every turn. With his fresh left-field approach, Loret has reached new heights, and his quirky perspective resonates deeply.
"I wrote this album centered around the journey of a character I created named 'Napo,'" he continued. "Each individual song takes on the role of a chapter, as he explores a new world and confronts the obstacles that lie within his adventure. I wrote this album in order to create a new world, encompassing the story that I wanted to tell."
Loret, who has major performances at EDC Orlando and Shambhala under his belt, is currently gearing up for a high-profile show with CloZee and Daily Bread at the Orlando Amphitheater on October 14th. This December, he'll go on tour with iconic glitch hop duo KOAN Sound.
Ternion Sound have revealed their debut album, and if its lead single is any indication, it'll be a bold statement exploring rebellion, authenticity and counterculture.
"Art isn't disposable, and neither is this album," the trio said in a press release about Digital Artifice, which is set to release on October 13th via Noisia's venerated Vision Recordings.
Layering emotions through curious contortions of ominous bass, "Artifice" provides a fresh sound and perspective for the group. The track challenges the norm of freeform bass with raw snares, sharp arpeggios and crisp drum patterns, encapsulating the trailblazing spirit of Ternion Sound and functioning as a promising invitation to seek out the full experience in their upcoming 26-song album.
"This album has been years in the making… and it’s the most challenging creative work we've ever put together," Ternion Sound said.
The advent of Ternion Sound first took form at Infrasound Music Festival in 2016, when Apparition, Johnny Foreplay and Nostalgia performed a B2B beach set, kickstarting a new collaborative era for the three producers. Since then, the Minneapolis-based group have made waves with their innovative releases. Digital Artifice is sure to showcase the evolution of their unique sound and their commitment to bold, sonic authenticity.
"The entire album is curated to be experienced as a continuous mix, urging listeners to immerse themselves in its deliberate flow," the group added.
Ternion Sound are now headed on tour with The Widdler this fall, making stops in Tampa, Brooklyn, Phoenix, San Diego, Miami, Minneapolis and many more.
Fans can now pre-save Digital Artifice here.FOLLOW TERNION SOUND:
After four years of silence, fans' waiting is "Over Now."
Released today was "Over Now," the long-awaited reunion of Seven Lions, Above & Beyond and Opposite The Other. The spiritual successor to 2019's "See The End," the new track blends the sounds of the trance and melodic bass heavyweights with some stunning vocals.
"We’ve always loved Seven Lions," Above & Beyond said in a press release. "Jeff's understanding of melody and songs is second to none. His remix of 'On My Way To Heaven' was incredible, so it was really only a matter of time before we'd make a record with him."
While we've seen Seven Lions on some diabolical collaborations with artists like Excision and Rezz, "Over Now" leans more into the sounds of Above & Beyond's vocal-driven festival anthems.
Opening up with a long build featuring dramatic keys and subdued vocals from Opposite The Other, the track takes its time before liftoff. After properly introducing us to its cinematic soundscapes, Seven Lions and Above & Beyond plunge headfirst into a pool of anthemic synths designed for the festival mainstage.
"Over Now" is out now on Anjunabeats. You can listen to the new collaboration below and stream it here.FOLLOW SEVEN LIONS:
The two were seen pushing buttons together earlier in the month at the mainstage of Imagine Music Festival, where Knock2 etched his debut headlining performance with a back-to-back set alongside Francis. In the wake of that highly visible appearance the two have dropped their dynamic collaboration, which aptly embodies their knack for bucking conventional wisdom.
"buttons!" exudes party-starting potential from open to close. Knock2's penchant for energizing house music with a club edge shines through as the EDM.com Class of 2023 star producer blows the doors off amid a flurry of memorable vocal hooks and ad libs. Stylistically the addition of funk and disco elements would ordinarily seem out of place in this context, though their inclusion proves seamless.
Knock2 said the track came about after Francis latched onto an early version of the demo late last year. Together, their big personalities fused to bring about one gangbusters release.
"When I saw Dillon followed me on Instagram it was surreal because he was one artist I had always looked up to. I admired how fun and creative his music was and it all matched his personality so well," Knock2 said in a press release. "I sent him a demo back in December and he ended up loving it, which is how the collaboration started. We got in the studio and he wrote the second drop which really completed the song. Buttons is a light hearted, fun track that represents both of our styles and weirdness."
You can find "buttons!" on streaming platforms here.FOLLOW DILLON FRANCIS:
Imagine Music Festival's second year at its sprawling, family-owned estate home in Kingston Downs, Georgia, brought with it not only the familiar beats of electronic music, but also a deepening sense of community.
Nestled roughly an hour away from the bustling heart of downtown Atlanta, Imagine's location felt like a world apart. The 5,000-acre property's rolling greens provided the perfect backdrop as tens of thousands of attendees descended upon its grounds, bringing with them tents, trunks filled with camping gear, and an appetite for music and camaraderie.
At Imagine, the action never stops. And this year, organizers went the extra mile in curating a diverse program that encouraged ravers to embrace every moment of their journey. From sunrise to sunset, and well into the night, there was always something happening.
One such highlight was the brand new Aqua Day Club & Pool, where festival-goers could escape the Georgia heat and dance the balmy days away. With performances by artists like Dombresky and Kai Waichi, it was the perfect daytime retreat for those in search of poolside beats and a refreshing dip. Upon entering the heart of the festival grounds, the landscape continued to be a canvas for vivid art installations, offering countless photogenic moments that added to the overall experience.
For those seeking to explore a more transformative journey, Imagine offered a plethora of workshops and activities that complemented the budding culture of wellness in the dance music space. From aerial yoga to permaculture, and from Meditation to Sacred Geometry, attendees had the opportunity to dive into various aspects of personal growth and exploration.
Beyond the scheduled programming, it was the spontaneous moments that truly defined the sense of community at Imagine. Campsites buzzed with pop-up afterparties, where friends and strangers alike came together to share music and create lasting memories. Outdoor tailgate games, crafts and impromptu gatherings added to the festival's overall communal spirit.
At the foundation of any great festival experience, however, is the lineup, and Imagine's was a treasure trove of unique bookings that set it apart from other festivals. The B2B set between DJ Diesel and NGHTMRE set the mainstage ablaze on the first day, but the world debut of Subtronics and Ganja White Night was quick to follow it up with equally incendiary action just 24 hours later.
Meanwhile, SLANDER's thunderous, techno-focused "After Dawn" offshoot was another highlight that provided festival-goers with a musical experience they would be hard-pressed to find elsewhere.
While Imagine Music Festival has primarily been a headbanger's paradise, this year again saw some savvy moves into the world of house and techno, featuring the genre's top talents of the moment, Dom Dolla and John Summit. Their performances added a groovy contrast for the festival's predominantly headbanging crowd, though the continuity of energy remained unabated throughout their performances as the audience raved well into the night.
Overall, Iris Presents' vision for Imagine has become more cohesive than ever, and there's a lingering sense of excitement as to what bold new chapter this promising events series will bring about next.FOLLOW IMAGINE FESTIVAL:
A Google-funded project aiming to collide music therapy with wearable technology has been launched to treat senior citizens with dementia.
Backed by the Medical Research Future Fund, "Music Attuned Technology - Care via eHealth," or MATCH, is developing an artificial intelligence-powered tool with the help of a $1.3 million grant.
It works by using sensors on a wearable, which indicate when a person with dementia is becoming agitated. The AI learns from the patient's behavior and helps soothe them by finding music that best fits their mood, either tapping into a curated list from a caregiver or shuffling between tracks on its own.
One of the most unique aspects of the MATCH tech, which was developed at the University of Melbourne in Australia, is its ability to continuously adapt to an individual's musical inclinations in order to "meet their needs at the time." A training program accompanies the wearables to help caregivers as well.
"By combining the known therapeutic benefits of the patients’ personally preferred music with wearable sensor technology and AI that creates a bespoke music adaptive system, we will be able to provide early detection and treatment of agitation," University of Melbourne Professor Felicity Baker, who is the principal investigator of the MATCH project, said in a statement.
Google has funded the project through its "AI for the Global Goals" program, which allocated $25 million to a bevy of organizations using AI to accelerate progress on sustainable innovation in tech. A pilot program for MATCH is reportedly launching in Australia with the ultimate goal of a global rollout.
"Many carers of people with dementia recognize music’s value in supporting the wellbeing of a loved one," Baker added. "We are working to create a better everyday life for people living with dementia, their families, and carers on the dementia journey using the proven therapeutic benefits of music, alongside wearable sensors and AI."
Head here to learn more about MATCH.
Nestled deep within the mystical jungles of Tulum, there's a party oasis like no other.
Deriving from the Mayan words for "smoke" and "water," Buuts' Ha' brings together two elemental forces to promise an extraordinary experience. The only cenote club of its kind, Buuts' Ha' offers the rare chance to dance under a starlit sky while surrounded by the enchanting beauty of Tulum's verdant nature.
Combining the most memorable elements of what defines the allure of Tulum, this one-of-a-kind, dazzling open-air venue provides a rare blend of sophisticated cuisine, relaxation and unforgettable parties all in one place.
The club offers various zones to explore, like the Restaurant Zone, where you can delight in international gastronomy, and the VIP Zone, which is nestled amongst the trees for an elevated view of the festivities.
However, it's the Mystic Zone that truly captures the essence of Buuts' Ha'. This serene space provides the perfect backdrop for R&R to unwind, unplug and connect with nature.
Each weekend, Buuts' Ha' hosts shows featuring some of the best local DJ talents Mexico has to offer, in addition to regularly booking acclaimed artists from around the globe. All said and done, it's a haven for electronic music enthusiasts visiting Tulum, which has emerged as one of the world's hottest seedbeds for the genre.
If you're looking for an adventure that places your love of dance music amongst the backdrop of Tulum's natural wonders, Buuts' Ha' is the place to be. At the intersection of partying and wellness, this breathtaking cenote club is worth any travel bucket list.
You can find out more about Buuts' Ha' via the club's website.
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The electronic music community is constantly evolving with new sounds every week as artists become more innovative with their compositions. EDM.com's weekly Fresh Picks series is helping uncover the latest and greatest tracks from the underground dance scene.EDM.com Fresh Picksjabeau - dophins aren't greenDJ Seinfeld - Home CallingCharles the Emperor - CLIFF JUMPKrishna canning, Slo Loris - sleepatsunrisesalute, Sammy Virji - Peach (Thys Remix)San Holo - LIGHT ONLY (feat. Bipolar Sunshine)Drew North - I'll Be OkayMayFlwr - High and LowDanger Incorporated - BodyMidtro - Presence, Pt. 8
It's not a stretch to say that the future of electronic dance music is annually channeled through the iconic Tomorrowland festival, which once again served as a seedbed of the culture in 2023.
The unbridled euphoria of this year's festival has now been crystallized for fans by virtue of a new documentary, We Are Tomorrow. Out now via Amazon Music, the short film "provides an in-depth look into the magic, music and global community that defines Tomorrowland," per a press release shared with EDM.com.
Tomorrowland's organizers hosted 400,000 fans from over 200 different countries in 2023. We Are Tomorrow zeroes in on just a handful of those people, including Brazilian dance music superstar Alok and two Ukrainian refugees attending the festival.Veronika, a Ukrainian refugee who attended Belgium's iconic Tomorrowland festival in 2023.
One of those refugees, Veronika, was forced to flee her home of Kharkiv after the city was bombed by Russian military forces, leading to the deaths of hundreds of civilians. She's now living with a host family in Belgium as the Russo-Ukrainian war rages on, rebuilding her life alongside a fellow escapee and EDM admirer, Mykola, according to Tomorrowland.
"Music for me, it's energy. It's freedom," Veronika said. "It’s something that gives you strength to move on. Tomorrowland is like a fairytale. It’s like another world where I can forget about all problems and recharge my energy and strength to move on."
We Are Tomorrow was directed by Wim Bonte. You can watch the full documentary below.FOLLOW TOMORROWLAND:
A new study conducted by Word List Finder has revealed the electronic dance music songs that garner the most lyric searches.
The study examined Google search results from January 2019 to July 2023 and broke down which tracks had the most searches for their lyrics across a number of genres. With regards to the EDM category, David Guetta and Sia's 2011 generational dance hit "Titanium" came out on top.
The rest of the top five consists of "We Found Love" by Calvin Harris and Rihanna; "Closer" by The Chainsmokers and Halsey; "Lean On" by Major Lazer, DJ Snake and MØ; and "Pursuit of Happiness" by Kid Cudi, Ratatat and MGMT.
The study also broke down the "most associated genre searches by state" and found that 13 states—including Colorado, Hawaii, Nevada, New Mexico and Oregon—were the leaders for EDM lyric searches.
The study also researched the top lyric searches for songs from many other genres. Dolly Parton "Jolene" led the country realm while Eminem's "Lose Yourself" was named the most-searched hip-hop track. Meanwhie, Metallica's "Enter Sandman" was the metal leader and alt-J's "Breezeblocks" topped the indie category.
The most-searched track across all genres? That distinction went to Queen's "Bohemian Rhapsody," with the Eagles' "Hotel California" finishing in second.
You can check out the complete study from Word List Finder here.
GRiZ is EDM's gift that keeps on giving.
The beloved funk and bass music producer has released a behemoth bundle of new tracks to tide fans over ahead of an indefinite hiatus starting in October. GRiZ released a statement this summer to announce his impending break from touring, citing a desire to spend more time with friends and family.
Dubbed "ID Bible," the new collection features 24 tracks, all of which are remixes or edits from GRiZ's live sets. His ingenuity is crystal-clear right off the rip with "Supersonic," a searing song that interpolates samples from Ciara's "1, 2 Step" and Lana Del Rey's "Jealous Girl."
What follows is a remarkable showcase of one of the most gifted selectors in bass music. Highlights in the relentless song-cycle include the filthy riddim cut "Who TF Is GRiZ" and a pair of squelching dubstep bangers, "Let Him Cook" and "Interdimensional."
Elsewhere, GRiZ returns to his funkstep roots with the effervescent "Infinite Bloom," weaving a stunning latticework of RÜFÜS DU SOL's aching "Innerbloom" vocals and his signature sax patterns. Fans itching for a bit more swing should look no further than the wonky "Glitch Hop Is Dead" and "Zoom," a toe-tapping tech house track sampling the ageless horns of Jay-Z's "Show Me What You Got."
The best part? Considering GRiZ notated the playlist's folder with a "1," fans are safe to expect more to follow. Check out GRiZ's first "ID Bible" in-full below.
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CMU’s Andy Malt and Chris Cooke review key events in music and the music business from the last week. On this edition, the call for "consent, respect and remuneration" to be central to the development of music AI platforms and tools, and the RIAA’s latest stats on the US recorded music retail revenues.Stories discussed this week “Consent, respect and remuneration” crucial as music AI evolves, say UK music-makersThe UK’s Council Of Music Makers has called on technology companies and the music industry at large to meet five fundamental objectives as they develop music-making generative AI models.CMUChris Cooke BPI boss responds to the five AI fundamentals published by the Council Of Music MakersThe boss of record label trade group BPI has responded to the five AI fundamentals published yesterday by the UK’s Council Of Music MakersCMUChris Cooke Premium streaming and vinyl continue to power growth in US recorded music marketThe RIAA has published stats for the US recorded music market in the first half of 2023 - retail revenues grew 9.3% to $8.4 billion, in no small part powered by ongoing growth in premium streaming and vinylCMUChris Cooke AMG allowed to re-open Brixton Academy subject to meeting 77 conditionsFollowing a two-day hearing last week, Lambeth Council’s licensing sub-committee has said that Academy Music Group can re-open the Brixton Academy, but only once 77 conditions are met to ensure the safety of concert-goers and employees after last year’s fatal crowd crushCMUChris Cooke Transcript 🎙️CMU Members can listen to the show, see section times, story links and read the full transcript of this podcast.
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Lizzo and her Big Grrrl Big Touring company have been sued by another former employee in a lawsuit that alleges, among other things, racial and sexual harassment, assault and illegal retaliatory termination.
The plaintiff this time is Asha Daniels, a clothing designer who worked on Lizzo's recent tour. Her lawsuit principally targets the wardrobe manager on that tour, Amanda Nomura, but also makes more general allegations about the working practices put in place by Lizzo and her management team.
This follows the lawsuit filed last month by three former member's of Lizzo's dance team, which also made allegations of sexual harassment, and which claimed that the three dancers were forced to endure a hostile work environment
In the new lawsuit, Daniels says that - given how Lizzo talks about diversity and positivity in public - she was expecting to be working in a “healthy, diverse environment with virtues of respect and empowerment of women. Unfortunately, the opposite turned out to be true".
Daniels, a black woman, claims that she was forced to hear “racist and fatphobic comments from Nomura”, while witnessing her “mock both Lizzo and Lizzo’s background dancers on multiple occasions".
Honing in on one specific incident, Daniels describes how - in February - Nomura rolled a heavy rack of clothing over the plaintiff's foot, causing considerable pain.
When Daniels tried to sit down to deal with that pain, Nomura "proceeded to shove plaintiff into the rack of clothing". And then, the next day, Daniels was told that she wasn't allowed to wear more comfortable shoes that would minimise the pain from the previous day's injury.
Echoing complaints made in the earlier lawsuit filed by Lizzo's dancers, Daniels also says that those working on the tour were pressured to attend social gatherings where nudity and sexuality were a focal point. Plus, on one occasion, images of male genitalia were inappropriately shared on a group text sent to the tour crew, but "Lizzo's management found the image to be comical".
Daniels says she ultimately made a formal complaint to tour manager Carlina Gugliotta, who was apologetic and confirmed that everyone knew "Nomura is crazy". But, Gugliotta added, Nomura was too hard to replace, and now wanted Daniels to be removed from the tour for "speaking up". Daniels was then fired.
Lizzo has strongly denied all the allegations made in the first lawsuit. But lawyers working on both cases say that "we’ve heard from more than two dozen former Lizzo employees sharing similar stories of abuse and harassment".
And while many of the complaints are specifically made against senior staff on the musician's tour, "Lizzo certainly knows what’s going on but chooses not to put an end to this disgusting and illegal conduct and participates herself".
Another price increase, already? Yep, Deezer has announced it is increasing the cost of a premium subscription in some key European markets - including Spain, France, Italy and the Netherlands - to €11.99. Family plan pricing will also increase, including in the UK, from 17.99 to 19.99.
Confirming the next round of price rises, Deezer said yesterday: "Since the creation of Deezer more than a decade and a half ago, we have been fully committed to recognising the true value of music created by artists. As a result, and to support continuous investment in innovation to deliver valuable support for artists and enhance fan experiences, Deezer has decided to adjust its prices".
The changes will go into effect immediately for new subscriptions, and will apply to existing subscribers from next month.
Deezer was the first streaming service to start pushing the baseline price of a premium subscription above the 9.99 price point that had been standard in Western Europe and North America ever since the music streaming services first launched in the late 2000s and early 2010s.
The music industry, which has revenue share deals with the streaming services, had been calling for price increases for some time, given that - when inflation is factored in - the cost of a subscription had been declining each year.
Apple, Amazon, YouTube and then Spotify all ultimately followed Deezer's lead, pushing the price in key markets from 9.99 to 10.99.
In a recent call with investors, Deezer boss Jeronimo Folgueira confirmed that the initial price increase hadn't resulted in any major uplift in churn, ie subscribers didn't cancel when the price went up. Which possibly motivated the decision to apply a second price increase quite so quickly.
Many in the industry hope that now a first price increase has been applied across the sector, we will see semi-regular price increases in line with inflation.
But could some extra price increases also be applied to reclaim some of the value lost during the fifteen years when the baseline was fixed at 9.99? Well, although inflation is generally high at the moment, Deezer going from 10.99 to 11.99 is more than an inflationary increase. So, maybe.
RELEASES🔥Tom Walker has released new single ‘Burn’. The song was written after his label, Sony’s Relentless, was less than complimentary about the demos he’d recorded for his second album last year. “I had just done seven days of rehearsal in a row, straight into a UK tour, then into two weeks of writing, worked my arse off every hour of every day for months”, he says. “When the powers that be came back having a dig at the songs I'd poured my heart and my soul into, I absolutely lost it. I honestly thought ‘I’m going to have to call it a day with music’, it was making me miserable. I was angry, and you can hear that in ‘Burn’. In many lines of work, music included, you give it everything and sacrifice every other aspect of your life and it's never enough”. 🐈⬛Tom Odell has released new single ‘Black Friday’. “I wrote this song on my birthday last year, which happened to be the day before ‘Black Friday’”, he says. “The song is inspired by my admiration and love for the people in my life, but also my proclivity to be unkind to myself. It’s a love song, I think, and I’m very proud of it, and I hope people like it”. 🛏️Holly Humberstone has released new single ‘Into Your Room’. Her new album ‘Paint My Bedroom Black’ is out on 13 Oct. 🔌Dhani Harrison has released new single ‘Damn That Frequency’, featuring Graham Coxon off of Blur. He is also set to play two nights at Omega in London on 18-19 Oct. 👑Girli has released new single ‘Matriarchy’. “I wrote ‘Matriarchy’ about sapphic relationships and how they feel like an act of rebellion towards the patriarchy”, she says. “Women are taught that they exist for the male gaze, so when women love women, it's like putting a massive middle finger up to the society we live in. Existing in the female gaze feels so liberating”. 🐅Balming Tiger have released new single ‘Kamehameha’. The South Korean group explain that the song “expresses the psychology of a heavily drunk character and is inspired by a Korean alcohol game song that any Korean adult can sympathise with. This track also contains the meaning of satire that the momentary bravado after drinking alcohol is not the real self”. They will release their debut album ‘January Never Dies’ on 19 Oct. 🦖Tebi Rex have released new single ‘Main Character’. The track is taken from new EP ‘Sitcom’, which is out today. "We don't know if this is the best thing we've ever made”, say the duo. “Whoever is kind enough to listen gets to make that call. It's definitely the funniest though”.
Abbey Road Studios in London has confirmed the winners of its Music Photography Awards for 2023.
Commenting on the winners, Abbey Road’s Managing Director Sally Davies says: "The standard of all the images submitted for this year’s MPAs was incredibly high across the board and we are particularly proud of this year’s winners".
Organisers also revealed that there was a 480% increase in entries for this year's awards compared to last year's first edition, with over 14,000 images from 30 countries being submitted for consideration across the open categories.
"The growth that the MPAs has already achieved in only its second year is testament to the overall quality of the awards and the way in which it has been embraced and celebrated across the artistic landscape", Davies continues. "Recognising and promoting talent in this important field is something that we at Abbey Road are committed to and we are already looking forward to 2024!"
And now a list of winners, with the subjects of each photographer’s images in brackets...
OPEN CATEGORIESUndiscovered Photographer Of The Year: Chris Allmeid (Lil Uzi Vert) Music Moment Of The Year: Anthony Pham (Harry Styles) Underground Scenes: Alex Amorós (Margate Mod Weekender) Live Music: Carlo Cavaluzzi (Jpegmafia) In The Studio: Victoria Sanders (Benjamin Earl Turner) Hip Hop 50: Clay Patrick McBride (Jay-Z and Kanye West, 2005)
INVITED CATEGORIESEditorial: Aidan Zamiri (Caroline Polachek) Portrait: Samuel Ibram (Shygirl) Artist At Work: Tom Pallant (Yungblud) Icon Award: Henry Diltz
Ezra Furman has released three songs that she wrote for the new (and final) series of Netflix show ‘Sex Education’.
“What a songwriter craves is an outlet for her songs”, says Furman. “Somewhere to put them, something to do with her passion for arranging words into melody and maximising their impact. And, of course, an audience”.
“In this regard, the job of writing and recording music for ‘Sex Education’ was all that I craved and more”, she goes on. “Here was a whole world of empathetic characters and a compelling plot that had space for my voice and my band’s music to punctuate it”.
“I have loved the task of making music for this brightly-coloured landscape and its tales of teenagers finding their way to better and healthier sex lives”.
“Being asked to write songs that match the tone of the show, I was surprised by how deeply I engaged with the characters’ emotions”, she continues. “Effective music has to come from an emotional place, and at first I wasn’t sure I could do it”.
“It is a testament to the show’s writing, acting and direction that it wasn’t hard at all for me to connect to the characters’ inner lives. They awakened genuine feelings about my own life, and allowed me to create with sincerity and heart”.
Furman has contributed new and existing songs to all four series of ‘Sex Education’, and she and her band also appeared in an episode of the first series.
The release of new songs ‘Tether’, ‘You Like Me’ and ‘Honeycomb’ coincides with the launch of the fourth series of the show on Netflix. Listen to all three songs below.
Zayn Malik is the latest artist on the receiving end of a song theft lawsuit. He is accused of ripping off a 2018 song written by Patrick Simmons, who performs as Havyn, on his 2020 track 'Better'. Maybe because stealing from the earlier work made Malik’s song, well, better.
Simmons' song is called 'Somebody Tonight', and his lawsuit doesn't go into any great detail about the similarities between his track and Malik’s. But it does say that the two songs "contain essential compositional elements so similar as to evidence the conscious copying of one in pursuit of the creation of the other".
"Resulting from this unlawful copying", it adds, "are two songs so similar that the ordinary observer can only conclude that 'Better' would not exist but for the copying of 'Somebody Tonight'".
The lawsuit does provide a more detailed theory for how Malik and his collaborators on 'Better' might have heard 'Somebody Tonight' before writing their song.
Simmons says that, in April 2020, he hired the services of Modern Music Marketing to promote one of his songs called 'People Change’. His contact at the marketing agency, Jonah Rinder, subsequently took a particular interest in 'Somebody Tonight' - the lawsuit alleges - and he asked for permission to send the track to his industry contacts.
Rinder said he'd promote the song, including within the industry, for free, on the basis that he would get a finder's fee should a label sign the track or another artist seek to record a version of it. Simmons and Rinder then corresponded about the latter's promotional efforts through to October 2020.
Then Simmons heard 'Better'. Noting the similarities, he asked Rinder about Malik’s track, which Rinder confirmed he had “worked”. When Simmons asked Rinder whether 'Better' sounded familiar, he replied "kind of". When more specifically asked whether Malik and his team might have actually based 'Better' on 'Somebody Tonight,' Rinder replied: "How would I know?"
So, the theory goes in the lawsuit, Team Malik got a copy of Simmons' track via Rinder and his marketing agency, and then the process of song theft began.
Does this kind of song theft allegation sound familiar? Kind of. Does Simmons have a viable case? How would I know?
Steve Lamacq has been announced as the new Chair of UK live music trade body LIVE. The news comes after he announced earlier this month that he is to cut back his radio presenting work.
“I am absolutely THRILLED to have been offered the chance to work with an organisation which is right at the centre of live music in the UK”, says Lamacq.
“As someone whose life has been indelibly shaped by the gigs that I’ve seen, it is a terrific opportunity to be a part of the future of live music in this country and to be given the responsibility for helping promote, support and define it for generations to come”, he adds.
Lamacq announced earlier this month that he would be stepping down from his weekday show on BBC Radio 6 Music next month, after eighteen years. He will continue to present a show for the station on Monday afternoons.
At the time, he said that - as well as needing “a breather” from radio and some more family time - he also planned to see “if there's a more practical role I can play in supporting the live music circuit and the venues across the country that I owe so much to”. Apparently there is.
As Lamacq takes on the Chair role, there will also be a number of new directors on the LIVE Board. They include Charisse Beaumont of Black Lives In Music, Christine Osazuwa of Shoobs, and Lucy Noble of AEG Presents.
The Musicians’ Union has also been announced as the sixteenth member of LIVE, which is basically a trade body of trade bodies. The union’s National Organiser For Live Performance, Kelly Wood, is another new addition to the board.
“We are proud to support the entirety of the live music ecosystem and represent their interests and the appointment of music legend Steve Lamacq, the MU’s Kelly Wood, Charisse Beaumont, Christine Osazuwa and Lucy Noble to LIVE’s board will enable us to further extend the work we’re doing”, says CEO Jon Collins.
“Steve will bring to LIVE unrivalled recognition of the power of the UK’s live music industry along with the challenges it faces. We are honoured to have such notable industry figures sitting on our board who will be key to enabling our enviable live music industry to thrive”.
BTS member Suga has begun his three weeks of military training as he becomes the third member of the group to enter two years of mandatory military service. As he did so, he sent a farewell message to fans, telling them to wrap up warm as the seasons change. So thoughtful.
“I am here safe and sound, thanks to Army”, he wrote on Weverse, referring to the band’s fanbase - known as Army - rather than the actual South Korean army, which was presumably actually responsible for his safe transport to the training centre.
“The time has come”, he went on. “I will return after diligently serving my mandatory service. Please be mindful of the change of seasons as we transition to a chilly season of fall. Stay healthy, and see you all in 2025. Army, I always thank you so much, and I love you”.
And with that, he was gone. Although he still has to complete the initial round of military training, Suga will not then join his bandmates Jin and J-Hope in the army once that is completed.
As confirmed last year, he is set to take up a role as a “social service agent” instead, due to a shoulder injury sustained in 2020.
Suga’s plans to enlist were announced last week, with BTS’s record label BigHit urging fans “to refrain from visiting Suga at his workplace during the period of his service”, and instead convey “your warm regards and encouragement in your hearts only”.
It was then announced this week that the seven members of BTS have all renewed their contracts with BigHit, ready for their post-military return in 2025.
The boss of record label trade body BPI has responded to the statement published yesterday by the UK's Council Of Music Makers regarding music and AI.
She stresses that record labels are busy exploring the opportunities presented by artificial intelligence while seeking to ensure that the technology companies respect copyright, insisting that "safeguarding human artistry and the interests of creators is front and centre" in all that work.
The CMM brings together UK organisations representing artists, musicians, songwriters, studio producers and music managers, and yesterday it published five fundamentals that it said should be met as music AI tools and platforms are developed. The key demand is that music-maker consent is sought before any recording or song is used to train an AI model.
When it comes to the obligations of AI companies, the wider music community is pretty much aligned. Those companies must secure licences before making use of existing music and should be fully transparent about what music they have used. The Human Artistry Campaign, which makes those demands, is backed by both music companies and music-makers.
However, the music-maker community is also seeking reassurance from their business partners in the music industry that each artist and songwriter will have control over whether or not their music is used by AI companies, even when they do not own the copyright in their works.
Some music companies have made that commitment or at least implied it. But in many cases, it remains unclear how music companies intend to manage the licensing of AI platforms.
Many labels point out that - although generative AI technologies are evolving fast - it is still early days, and it's not yet clear where the commercial opportunities really lie in AI. While that is true, it's likely that the CMM organisations would argue that that doesn't stop music companies from making commitments regarding music-maker consent.
Responding to the CMM's AI fundamentals, BPI CEO Jo Twist says: “Music and tech innovation have always worked hand in hand. AI is no different and offers exciting opportunities, as well as new challenges that could adversely impact creators and rightsholders if the right balance is not struck".
"That is why", she goes on, "with AI developing at pace, record labels are focused on exploring opportunities to harness this technology and enable further innovation, growth and support for artists, without undermining the strong rights framework that underpins the global success achieved by British music".
"Safeguarding human artistry and the interests of creators is front and centre in all of this", she concludes, "and the BPI and its members look forward to maintaining open discussions with our colleagues across the music sector as we navigate the dynamic landscape of AI opportunities".
The boss of Adidas has spoken about the sportswear firm's former business partner Kanye West, musing that he doesn't believe the rapper is a "bad person", nor that he really meant what he said last year in those controversial anti-Semitic statements that led to the collapse of the Yeezy alliance.
Bjørn Gulden joined Adidas from rival Puma back in January, just over two months after his new employer confirmed it was cutting its ties with West in response to the rapper's increasingly controversial statements. The firm's partnership with the rapper and his Yeezy brand was incredibly lucrative, making the premature cancellation of the partnership very costly indeed for Adidas.
Gulden was asked about West during an edition of the In Good Company podcast earlier this month. He said that he considers the rapper to be "one of the most creative people in the world - both in music and what I call street culture". And by employing that creativity, he created a Yeezy line with Adidas which was "very successful".
But then, of course, he made some statements, "which wasn't that good. And that caused Adidas to break the contract and withdraw the product. [It was] very unfortunate, because I don’t think he meant what he said and I don’t think he’s a bad person - it just came across that way".
“That meant we lost that business", he confirmed. "One of the most successful collabs in history - [it was] very sad. But again, when you work with third parties, that could happen. It’s part of the game. That can happen with an athlete, it can happen with an entertainer. It’s part of the business".Bjørn Gulden CEO of Adidas: shoes, leadership, and fast decisions | Norges Bank Investment ManagementNorges Bank Investment Management
Meta has responded to the copyright lawsuit filed by three authors in relation to its generative AI model LLaMA.
Although not a music case, lawsuits like that filed by writers Sarah Silverman, Christopher Golden and Richard Kadrey are testing the copyright liabilities of AI companies that train their models using existing copyright protected works. In its response, Meta confirms that it believes that such usage of existing works constitutes 'fair use' under US copyright law.
The music industry - alongside all the other copyright industries - is adamant that if a technology company copies existing works onto a server in order to train an AI model, it needs to first get a licence from whoever controls the copyright in those works. However, some in the tech space reckon that such activity is allowed without licence, at least in some countries.
In the US, that relies on the concept of fair use, which allows the use of copyright-protected works without licence in certain scenarios. Exactly when fair use applies is always up for debate and, in the context of AI, that debate will likely happen through litigation like that filed by Silverman, Golden and Kadrey.
Meta states that its LLaMA model was developed by being exposed to "massive amounts of text from various sources, such as code, webpages and books ... this process involved dissecting text into trillions of word snippets or letter combinations (called 'tokens') and extracting a vast, complex set of statistical correlations as to how tokens are most likely to be arranged coherently".
"Copyright law does not protect facts or the syntactical, structural and linguistic information that may have been extracted from books like plaintiffs’ during training", it adds. "Use of texts to train LLaMA to statistically model language and generate original expression is transformative by nature and quintessential fair use - much like Google’s wholesale copying of books to create an internet search tool was found to be fair use in Authors Guild v Google Inc".
So there you go. Despite presenting a pretty forceful fair use defence in its legal filing, Meta actually reckons there are grounds for dismissing much of the authors' complaint for failure to properly state a claim. Either way, it seems likely that one of these AI copyright lawsuits will ultimately result in a big fair use debate in court.
Silverman, Golden and Kadrey have also sued Chat GPT maker Open AI, which also responded by citing fair use, before arguing that elements of the lawsuit should be dismissed for other technical reasons. But that hasn’t stopped another group of writers - including John Grisham, Jonathan Franzen, Mary Bly, Jodi Picoult, David Baldacci and George RR Martin - from filing a similar lawsuit against Open AI earlier this week.
DEALS🇰🇷They may officially be on hiatus, but BTS have renewed their contract with their record label, Hybe’s BigHit Music. “The board of directors has completed on renewing the exclusive contracts of all seven members of BigHit Music's artist BTS”, the company said in a statement yesterday.
APPOINTMENTS💡Production music company FreshTracks Music recently confirmed some new appointments at its newish UK division, with Tayo Kazzim as Head Of Sales, Josie Kiely as Senior Client Account Manager and Charley Dunlop as Client Account Manager. The appointments come alongside the launch of the firm’s Smart Search tech, which, we are told, is "revolutionising music search by harnessing the power of AI prompts and combatting the challenge of describing music when searching for a match for your media projects".
RELEASES⚡Troye Sivan has released new single ‘Got Me Started’. His new album ‘Something To Give Each Other’ will be out on 13 Oct. 🌒Duran Duran have released new single ‘Black Moonlight’, taken from their halloween-themed new album ‘Danse Macabre’, which is out on 27 Oct. The track features Nile Rogers and the band’s former guitarist Andy Taylor. 🎙️Emeli Sandé has released new single ‘How Were We To Know’. Her new album of the same name is set for release on 17 Nov. 🧥Jack Antonoff’s Bleachers have released new single ‘Modern Girl’. It’s their first release for new label Dirty Hit. 💊Sleaford Mods will release an EP of off-cuts from their latest album ‘UK Grim’ - titled ‘More UK Grim’ - on 20 Oct. Out now is new single ‘Big Pharma’. ✋HAAi will curate the next DJ-Kicks mix, which will include a new track from the producer herself, called ‘Ziggy’. The compilation is set for release on 10 Nov. 🍇Black Grape have released new single ‘Pimp Wars’. They will release their new album ‘Orange Head’ on 19 Jan. “If you enjoyed the last album, wait till you hear this one”, says Shaun Ryder. ⛑️Helmet have released new single ‘Gun Fluf’. Their new album ‘Left’ is out on 10 Nov. 🎲Chai have released new single ‘Game’, taken from their eponymous new album, which is out this Friday. 🌆Chelsea Wolfe is back with new single ‘Dusk’ - her first under a new deal with Loma Vista Recordings. 🕯️Hilary Woods has announced that she will release new album ‘Acts Of Light’ on 3 Nov. Out now is new single ‘Where The Bough Has Broken’. 🦪Lush co-founder Emma Anderson has released new single ‘Clusters’, taken from her debut solo album ‘Pearlies’, which is out on 20 Oct. 🌥️Rachael Lavelle has announced that she will release her debut album ‘Big Dreams’ on 10 Nov. The title track is out now, and she is also set to head out on a tour of Ireland in November and December.
GIGS & TOURS🇬🇧Poppy has announced UK shows in February next year, including two nights at Koko in London.
AWARDS🍀Debby Friday has won this year’s Polaris Music Prize - Canada’s version of the Mercury Prize - with her debut album ‘Good Luck’. Other nominated artists included Feist, Alvvays and Daniel Caesar.
Formerly of post-metal band Giant Squid, Aurielle Zeitler is set to release the latest album from her slowcore solo project Ghost Marrow later this year. Originally a means to channel her feelings of living with a rare bone marrow disease, new album ‘Earth + Death’ is an exercise in musical freedom.
Created from a series of synth improvisations, Zeitler - converse to the pace of the songs themselves - worked quickly without agonising over details. It “was about liberation of my heart, for lack of a better term, and seeing if something musical would arrive without my intellect complicating the process”, she says.
The result, she goes on, was a “transformation of grief and despair into acceptance and courage” and an album that became a reflection on “the elegance and brutality of things that are alive”.
‘Earth + Death’ is set for release on 1 Dec. Listen to first single ‘Mother Of The End’ below.earth + death by Ghost Marrow
Universal Music's label services company Virgin Music has formally announced a partnership with Californian label, publisher and management firm Position Music.
The two companies are "already in full swing together", an official statement declares, "with recent releases from frontline artists such as Kid Bloom, Ryan Oakes, Kyle Dion, Layto, 2WEI and Blackway".
Position Music founder and CEO Tyler Bacon is understandably "THRILLED to partner with Virgin Music. We have admired what Jacqueline, Matt and crew have built for a while now, and are excited to team with them. Virgin has worldwide reach and we are confident this relationship will be beneficial in continuing to grow our frontline label".
Matt, we assume, is Virgin Music US General Manager Matt Sawin. Jacqueline, we know, is Virgin Music US President Jacqueline Saturn, who adds: “Position Music is at the centre of the creative community and is connected with some of the best creative minds in the business. They have an enormous sync business and, along with that, they are signing and developing some truly incredible artists. We are so excited to work with their artists and expect big things to come".
Carrie Underwood’s The Denim & Rhinestones Tour is wrapping up this week after sparkling from state to state since fall of 2022. We caught the second to last show of the tour in Portland, OR, and it was beyond fantastic. The production was incredible, outfits were stunning, the stage transformed repeatedly to incorporate the story of the songs, and of course Carrie absolutely radiated from start to finish. Her vocals are without a doubt one of the absolute best in the music industry, and the way she captures tens of thousands of fans is truly special.
Underwood highlighted tracks from all of her albums throughout her impressive career, including Some Hearts, Play On, Blown Away, Cry Pretty, and more. The crowd was treated to a beautiful performance of “Jesus Take The Wheel” which then flowed into her moving rendition of “How Great Thou Art” that no doubt touched the hearts and souls of many as it did ours. Carrie undoubtedly enjoys her time on the stage, but also in the air, giving fans at all levels the opportunity to see her closer than ever.
The Denim & Rhinestones Tour is more than just a concert, it is an incredible experience filled with magical moments throughout leaving lasting memories for fans to enjoy.
While The Denim & Rhinestones Tour is coming to an end, Underwood will be still be busy performing throughout the year at various festivals, as well as returning to Vegas for her “Reflection Residency Shows” in Las Vegas at Resorts World. Additionally, Carrie is currently showcasing her latest single, “Out of That Truck”, which can be found on her latest album Denim & Rhinestones – available here.
Keep up with Carrie Underwood by visiting her Official Website, and following her on socials @carrieunderwood.The post Carrie Underwood Radiates on Stage on The Denim & Rhinestones Tour first appeared on Country Music Rocks.
Three-time GRAMMY Award winner Darius Rucker returns to the road this summer with 21 dates across the U.S. and Canada on his Starting Fires Tour, kicking off June 15 in Virginia. Joining the multi-time Diamond-certified star as direct support across most dates is popular Americana band Drew Holcomb & The Neighbors, with rising star Drew Green as direct support on select dates.
Tickets go on sale to the general public beginning this Friday, March 17. For more information and a listing of all dates, please see below or visit DariusRucker.com.
Fans can also purchase VIP Packages for select dates, which may include premium tickets, exclusive Meet & Greet and individual photo opportunity with Darius Rucker, guided backstage tour, group photo on the stage, autographed item & more. For more information, visit vipnation.com.
The news of the tour comes as Rucker puts the finishing touches on his forthcoming seventh solo album, which he recently revealed will be called Carolyn’s Boy in honor of his late mother. Fans have gotten an early preview of the music via recent releases songs “Same Beer Different Problem” and “Ol’ Church Hymn” (featuring Chapel Hart), with additional new music expected soon.
The 2023 lineup for the October 7-8 return of Rucker’s Riverfront Revival Music Festival in his hometown of Charleston, S.C. is also expected in the coming weeks, with early access presale tickets are available now via RiverfrontRevival.com.
Additionally, Rucker will return to the stage this spring with his Hootie & the Blowfish bandmates, taking over the picturesque stretch of white sand beach at Moon Palace Cancún for the second annual HootieFest: The Big Splash, a four-day celebration of all things rock. Set for April 26-29, the destination event will feature three headlining performances on the beach by the GRAMMY Award-winning band, plus daily pool parties, intimate oceanfront performances from Goo Goo Dolls, Barenaked Ladies, Collective Soul, Gin Blossoms, Everclear, Edwin McCain, Lit and Cowboy Mouth, as well as a special Hootie & the Blowfish sunset show. Limited ticket/travel packages remain via HootieFest.com.
For more information on all things Darius Rucker, visit DariusRucker.com and follow on social media @DariusRucker.
Starting Fires Tour Dates
* denotes Drew Green as support / # denotes no support (all other dates feature Drew Holcomb & The Neighbors)
^ denotes dates on sale Monday, March 20
June 15 Roanoke, Va. || Elmwood Park Amphitheatre *
June 22 Washington, D.C. || The Anthem
June 24 Canandaigua, N.Y. || Constellation Brands-Marvin Sands Performing Arts Center
July 13 Dubuque, Iowa || Q Casino – Back Waters Stage *
July 20 Jacksonville, Fla. || Daily’s Place
July 21 Wilmington, N.C. || Live Oak Bank Pavilion
July 22 Alpharetta, Ga. || Ameris Bank Amphitheatre
Aug. 3 Niagara Falls, Ontario || Fallsview Casino
Aug. 4 Bridgeport, Conn. || Hartford HealthCare Amphitheater
Aug. 5 Farmingville, N.Y. || Catholic Health Amphitheater at Bald Hill ^
Aug. 10 Sterling Heights, Mich. || Michigan Lottery Amphitheatre
Aug. 11 Milwaukee, Wis. || BMO Pavilion
Aug. 12 Maryland Heights, Mo. || Saint Louis Music Park
Aug. 18 Irvine, Calif. || FivePoint Amphitheatre
Aug. 19 Stateline, Nev. || Lake Tahoe Harveys Outdoor Arena
Aug. 23 Los Angeles, Calif. || The Greek Theatre
Aug. 25 San Diego, Calif. || Gallagher Square at Petco Park
Aug. 26 Highland, Calif. || Yaamava’ Resort & Casino ^#
Sept. 8 Durant, Okla. || Choctaw Casino & Resort – Grand Theater #
Sept. 9 Durant, Okla. || Choctaw Casino & Resort – Grand Theater #
Oct. 14 Nashville, Tenn. || Ascend Amphitheater
For more information and to purchase tickets, visit DariusRucker.com.The post Darius Rucker To Embark on Starting Fires Tour first appeared on Country Music Rocks.
Multi-PLATINUM singer/songwriter Kip Moore announced a string of headlining shows in The U.K. and Europe slated for 2023 today. Moore whose electric live show “draws sold-out audiences around the world” (CMT) will return to major cities across the pond, as well as play some cities for the first time, kicking off in Hamburg, DE on 5/13. Tickets go on sale on Friday, December 9 at 10am GMT at kipmoore.net.
As part of the international trek Moore will also headline the inaugural Country and Americana festival, Highways, taking place at London’s historic and iconic Royal Albert Hall on Saturday, May 20. The evening’s stacked lineup also includes Morgan Wade who Moore recently collaborated with on his track “If I Was Your Lover,” as well as Jackson Dean and Stephen Wilson Jr.. Tickets go on sale 10am GMT on Friday, December 9 at LiveNation.co.uk and RoyalAlbertHall.com.
“We’ve made it a big priority of ours to keep coming back to The U.K. and Europe over the years. We feel a very genuine connection with the fans there and I’m looking forward to playing some new cities for the first time too,” shared Moore. “To get to headline Royal Albert Hall and launch Highways festival is a true bucket list moment for me. Royal Albert Hall is so legendary, I feel very grateful to get to play there.”
KIP MOORE LIVE: OFFICIAL 2023 UK AND EUROPEAN DATES:
5/13 Hamburg, DE – Grosse Freiheit 36
5/14 Cologne, DE – Die Kantine
5/17 Amsterdam, NL – Melkweg/ The Max
5/19 Birmingham, UK – O2 Institute Birmingham
5/20 London, UK – Royal Albert Hall
5/21 Leeds, UK – O2 Leeds Academy
5/24 Gateshead, UK – Sage-Gateshead
5/25 Manchester, UK – O2 Ritz Manchester
5/26 Glasgow, UK – O2 Academy Glasgow
5/27 Belfast, UK – Botanic Gardens
Multi-Platinum-selling Country music group Parmalee took the #1 spot on Billboard’s Year-End Country Airplay Chart for their hit single “Take My Name.” The beloved track, co-written by the band’s lead singer, Matt Thomas, alongside Ashley Gorley, Ben Johnson and David Fanning, has been described as a “musical marriage proposal” (Taste of Country) and captures the palpably affirming emotion of finding the person you want to spend forever with.
“Take My Name” (which has amassed 259 million on-demand streams to date) remained in the Top 10 for 21 weeks – the fourth longest run in the list’s upper tier in the almost 23-year history of the Billboard Country Chart. The song is currently positioned at #22 on Mediabase Hot AC Chart and is #23 on the Billboard Adult Pop Airplay Chart.
“Take My Name” proceeds the band’s current single “Girl In Mine,” which has hit the Top 40 on both the Mediabase and Billboard charts. The song perfectly follows the thematic tone of “Take My Name” by doubling-down on the idea of finding true love – a love that is undeniable and committed.
Up next, Parmalee will open for multi-genre phenomenon Jelly Roll for his sold-out hometown show at Nashville’s Bridgestone Arena next Friday, December 9.
For additional information on Parmalee, including upcoming show dates, please visit ParmaleeMusic.com.The post Parmalee Celebrates #1 Spot on Billboard’s Year-End Country Airplay Chart with “Take My Name” first appeared on Country Music Rocks.
Multi-platinum Triple Tigers Records recording artist Russell Dickerson’s third studio album, RUSSELL DICKERSON, is available now. The 15 track self-titled album features the already PLATINUM certified hit “She Likes It” ft. Jake Scott, serving as the fastest rising song of his career to date.
Billboard notes that “Dickerson is also building upon a unique career moment — an intersection that highlights his range of musical abilities.”
“An ace songwriter who can hold his own in the writing room” (Billboard), Dickerson had a hands-on approach when creating his new album as a co-writer on all 15 tracks as well as co-producer alongside Dann Huff, Zach Crowell, Casey Brown, Josh Kerr, Ben Johnson and Alysa Vanderheym.
Chest-thumping tracks like “I Remember,” “Blame It On Being Young,” “All the Same Friends” and “Beers to the Summer” capture forever-young fun like a country-pop polaroid, while “Big Wheels” revs up a gravel road guarantee that he’ll never get beyond his raising. Likewise, passion still courses through the veins of Dickerson’s love songs, feeling just as tactile and adventurous as ever. “She’s Why” captures the playful side of a mature relationship, and with “18,” Dickerson taps into pulsating ‘80s pop, using the throwback energy to imagine going back in romantic time. But for as much fun as Dickerson has, his straightforward honesty shines brightest in tracks like “God Gave Me a Girl” follow the same blood-rushing arteries as his heart-pounding breakout hits.
Now three albums in, it’s proof positive that Dickerson has found his mark, and hearts-on-fire authenticity is the name of his game.
The full track list for RUSSELL DICKERSON includes:
1. Blame It On Being Young – Russell Dickerson, Josh Kerr, Parker Welling
2. Sorry – Russell Dickerson, Hunter Phelps, Ashley Gorley, Ben Johnson
3. She Likes It (Feat. Jake Scott) – Russell Dickerson, Jake Scott, Josh Kerr
4. I Still Believe – Russell Dickerson, Parker Welling, Matt Jenkins, Zach Crowell
5. Big Wheels – Russell Dickerson, Ashley Gorley, Hunter Phelps, Ben Johnson
6. I Remember – Russell Dickerson, Alysa Vanderheym, Chris Ryan, Logan Turner, Matt McGinn
7. I Wonder – Russell Dickerson, Jon Nite, Casey Brown
8. God Gave Me A Girl – Russell Dickerson, Ashley Gorley, Chase McGill, Zach Crowell
9. All The Same Friends – Russell Dickerson, Ashley Gorley, Chase McGill, Zach Crowell
10. Beers To The Summer – Russell Dickerson, Matt Jenkins, Mark Holman
11. She’s Why – Russell Dickerson, Josh Kerr, Sean Douglas
12. 18 – Russell Dickerson, Josh Kerr, Illsey Juber, Ashley Gorley
13. Over And Over – Russell Dickerson, Josh Kerr, Parker Welling, Jordan Reynolds
14. Drink To This – Russell Dickerson, Zach Crowell, Ashley Gorley, Parker Welling
15. Just Like Your Mama – Russell Dickerson, Lori McKenna, Casey Brown
Having sold over 298,000-and-counting tickets year to date, with recent milestones including a single-day sellout of their Red Rocks Amphitheatre debut and back-to-back nights at the Ryman Auditorium (with the second show added after night one sold out in just 30 minutes), plus a headlining arena show in front of more than 10,000 fans at Fort Worth’s Dickies Arena last month, multi-Platinum independent band Whiskey Myers are ready to continue that momentum into the new year with today’s announcement of their Whiskey Myers 2023 Tour.
With 12 dates spanning the country throughout the months of February and March on sale to the general public beginning this Thursday, Nov. 11, via WhiskeyMyers.com, the tour serves as a launching pad for a full year to follow, with major festivals including Carolina Country Music Fest, Hwy 30 Music Fest, Country Jam Colorado and Country Jam USA already on the books, plus more tour dates to be announced in the coming months. Joining the genre-bending band for the run are Giovannie & The Hired Guns, Rival Sons and The Weathered Souls.
“An outlier of alt-country with more thrust, Southern cousin of the Black Keys or spiritual grandchild of Waylon and Willie’s Outlaw Country, Whiskey Myers is currently taking a regional movement global,” noted POLLSTAR in their recent cover story on the band, adding “Whiskey Myers offers sobering pieces of broken lives that go unseen.”
Fans will have a chance to see that authentic musical storytelling live on the upcoming tour, including songs off the band’s latest critically acclaimed album, Tornillo, recorded during a 21-day period of isolation at the Sonic Ranch studio just miles from the U.S./Mexico border and praised by American Songwriter for putting Whiskey Myers “in a league of their own with their signature hard-rocking sound on full display” with Nashville Lifestyles declaring, “Southern rock is alive and well on Whiskey Myers’ Tornillo – and it comes with a brassy border-town swagger… Equal parts train songs, tenacious energy, and Tabasco… their lawless musicality burns like the sun.”
For more information and to purchase tickets to upcoming shows, visit WhiskeyMyers.com and follow on social media @WhiskeyMyers.
Remaining Tornillo Tour Dates
November 11 San Francisco, Calif. | The Warfield
November 12 San Jose, Calif. | San Jose Civic
November 13 Santa Barbara, Calif. | Arlington Theatre
November 15 Pomona, Calif. | The Fox Theater Pomona
November 17 Los Angeles, Calif. | The Novo
November 18 San Diego, Calif. | Humphreys Concerts by the Bay
November 19 Las Vegas, Nev. | The Theater at Virgin Hotels Las Vegas
December 8 Jonesboro, Ark. | First National Bank Arena
December 9 Tupelo, Miss. | Cadence Bank Arena
December 10 Huntsville, Ala. | Von Braun Center Arena
December 11 Macon, Ga. | Macon Coliseum
Whiskey Myers 2023 Tour Dates
*Toledo date on sale Nov. 14; all others on sale Nov. 11
February 16 Knoxville, Tenn. | Knoxville Civic Coliseum
February 17 Tallahassee, Fla. | Donald L. Tucker Civic Center
February 18 Augusta, Ga. | James Brown Arena
February 19 Savannah, Ga. | Enmarket Arena
February 22 Kalamazoo, Mich. | Wings Event Center
February 24* Toledo, Ohio | Huntington Center
February 25 Johnstown, Pa. | 1st Summit Arena
February 26 Saginaw, Mich. | Dow Event Center Arena
March 16 Albuquerque, N.M. | Revel
March 17 Phoenix, Ariz. | Arizona Financial Theatre
March 18 Laughlin, Nev. | Rio Vista Outdoor Amphitheater at Harrah’s
March 31 Midland, Texas | Midland County Horseshoe Amphitheater
“The 56th Annual CMA Awards” made its grand return to Nashville’s Bridgestone Arena last night, honoring musical legends, showcasing emerging artists, and highlighting unforgettable collaborations, all while celebrating excellence within Country Music. Hosted by Luke Bryan and Peyton Manning, Country Music’s Biggest Night delivered extraordinary performances and heartwarming moments, shining a light on a community like no other.
With a touching tribute to the iconic Loretta Lynn, Country Music superstars Miranda Lambert, Reba McEntire and Carrie Underwood opened “The 56th Annual CMA Awards,” performing a medley of Lynn’s classics that included “You Ain’t Woman Enough,” “Don’t Come Home A-Drinkin’ (With Lovin’ on Your Mind),” and “You’re Looking At Country,” before concluding with all three artists coming together to perform “Coal Miner’s Daughter.” Carly Pearce later took the stage, first speaking to how Lynn inspired and mirrored her own musical journey before being joined by Musician of the Year winner Jenee Fleenor, Sonya Isaacs, and Ricky Skaggs to perform Pearce’s original song, “Dear Miss Loretta.”
A thunderous roar echoed throughout Bridgestone Arena the moment Country Music legend Alan Jackson surprised the crowd by performing his hit “Don’t Rock the Jukebox.” Dierks Bentley, Jon Pardi, Lainey Wilson and Underwood were on hand to honor the 2022 CMA Willie Nelson Lifetime Achievement Award recipient with exceptional performances of Jackson’s greatest hits including “Remember When,” “Chattahoochee,” “Drive (For Daddy Gene),” and “Chasin’ That Neon Rainbow.”
Known for its once-in-a-lifetime collaborations, the CMA Awards also brought Brothers Osborne together with The War And Treaty for a show-stopping performance of the Rolling Stones’ “It’s Only Rock & Roll (But I Like It),” while Chris Stapleton and Patty Loveless performed a stirring rendition of “You’ll Never Leave Harlan Alive.” Ashley McBryde welcomed friends Brandy Clark, Caylee Hammack, Pillbox Patti, and John Osborne to the stage for a powerhouse performance of Linda Ronstadt’s classic “When Will I Be Loved,” while Kelsea Ballerini was joined by friends Kelly Clarkson and Pearce for a cheeky performance of their new song “YOU’RE DRUNK, GO HOME.” Thomas Rhett and Katy Perry came together to perform their heartfelt new single, “Where We Started,” while HARDY and Wilson performed a deeply powerful version of their collaboration “wait in the truck.”
For a second consecutive year, Luke Combs took home Entertainer of the Year. First-time winner tonight, Wilson took home New Artist of the Year and Female Vocalist of the Year, joining Alison Krauss and Underwood as the only other artist to win both Female Vocalist and New Artist in a single year. Stapleton becomes the fifth most-winning artist in CMA Awards history with tonight’s Male Vocalist of the Year win, behind Brooks & Dunn, Vince Gill, Jackson and George Strait. Stapleton also becomes the most-winning artist in the Male Vocalist category.
Additional artists taking the CMA Awards stage tonight included Bryan, Combs, Cody Johnson, Elle King, Marcus King, Jo Dee Messina, Cole Swindell, The Black Keys, Morgan Wallen, and Zac Brown Band. Watch the evening’s biggest performances now at YouTube. Starting later tonight, catch the full show on Hulu.
See below for the complete list of winners from “The 56th Annual CMA Awards.”
ENTERTAINER OF THE YEAR
SINGLE OF THE YEAR
Award goes to Artist, Producer and Mix Engineer
“’Til You Can’t” – Cody Johnson
Producer: Trent Willmon
Mix Engineer: Jack Clarke
ALBUM OF THE YEAR
Award goes to Artist, Producer(s) and Mix Engineer(s)
Growin’ Up – Luke Combs
Producers: Luke Combs, Chip Matthews, Jonathan Singleton
Mix Engineers: Jim Cooley, Chip Matthews
SONG OF THE YEAR
Award goes to Songwriter(s)
Songwriters: Jacob Davis, Jordan Davis, Josh Jenkins and Matt Jenkins
FEMALE VOCALIST OF THE YEAR
MALE VOCALIST OF THE YEAR
VOCAL GROUP OF THE YEAR
VOCAL DUO OF THE YEAR
MUSICAL EVENT OF THE YEAR
Award goes to Artist(s) and Producer(s)
“Never Wanted To Be That Girl” – Carly Pearce and Ashley McBryde
Producers: Shane McAnally and Josh Osborne
MUSICIAN OF THE YEAR
Jenee Fleenor, Fiddle
MUSIC VIDEO OF THE YEAR
Award goes to Artist and Director
“’Til You Can’t” – Cody Johnson
Director: Dustin Haney
NEW ARTIST OF THE YEAR
Multi-Platinum entertainer Thomas Rhett will join the Home Teams of 40 cities next summer, today revealing US tour dates for his HOME TEAM TOUR 23, produced by Live Nation, presented by Dos Primos Tequila and Fueled by Marathon. Known for his “bombastic, good time energy” (Esquire), after kicking off 2023 in Canada, the summer tour will begin May 4 in Des Moines, IA at Wells Fargo Arena with Cole Swindell and Nate Smith, and end at Thomas Rhett’s hometown Nashville, TN, at Bridgestone Arena on September 23, 2023.
Pre-sale tickets first go on sale to Home Team Members and Citi cardmembers on Tuesday, November 8th. Citi is the official card of the tour. Citi cardmembers will have access to presale tickets beginning Tuesday at 12pm local time until Thursday, November 10th at 10pm local time through the Citi Entertainment program at www.citientertainment.com. The general public will have access to tickets beginning Friday, November 11th at 10am local time at ThomasRhett.com.
“Being on the road is one of my favorite places to be,” said Thomas Rhett. “I can’t wait to see the joy on y’alls faces next year and with my buddies Cole Swindell and Nate Smith. We’re definitely gonna have a good time.”
For the announcement, Thomas Rhett shared a light-hearted video revealing jerseys to celebrate the many tour destinations during a mock press conference. To watch, click HERE.
HOME TEAM TOUR 23 Dates Include:
5/4/2023 – Des Moines, IA – Wells Fargo Arena
5/5/2023 – Peoria, IL – Peoria Civic Center Arena
5/6/2023 – Indianapolis, IN – Gainbridge Fieldhouse
5/18/2023 – Omaha, NE – CHI Health Center
5/19/2023 – Kansas City, MO – T-Mobile Center
5/20/2023 – St. Louis, MO – Enterprise Center
6/8/2023 – Albany, NY – MVP Arena
6/9/2023 – Uncasville, CT – Mohegan Sun Arena
6/10/2023 – Uncasville, CT – Mohegan Sun Arena
6/15/2023 – Tupelo, MS – Cadence Bank Arena
6/16/2023 – Lafayette, LA – CAJUNDOME
6/17/2023 – Bossier City, LA – Brookshire Grocery Arena
6/22/2023 -Lexington, KY – Rupp Arena
6/23/2023 – Charleston, WV – Charleston Coliseum
7/6/2023 – Buffalo, NY – KeyBank Center
7/7/2023 – Wilkes-Barre, PA – Mohegan Sun Arena
7/8/2023 – Boston, MA – TD Garden
7/13/2023 – Biloxi, MS – Mississippi Coast Coliseum
7/14/2023 – Greenville, SC – Bon Secours Wellness Arena
7/15/2023 – Knoxville, TN – Thompson-Boling Arena
7/20/2023 – Greensboro, NC – Greensboro Coliseum
7/21/2023 – Baltimore, MD – CFG Bank Arena
7/22/2023 – Belmont Park, NY – UBS Arena
7/27/2023 – St. Paul, MN – Xcel Energy Center
7/28/2023 – Chicago, IL – United Center
7/29/2023 – Grand Rapids, MI – Van Andel Arena
8/3/2023 – Dallas, TX – American Airlines Center
8/4/2023 – Houston, TX – Toyota Center
8/5/2023 – Austin, TX – Moody Center
8/17/2023 – Oklahoma City, OK – Paycom Center
8/18/2023 – Wichita, KS – INTRUST Bank Arena
8/19/2023 – Denver, CO – Ball Arena
9/14/2023 – Estero, FL – Hertz Arena
9/15/2023 – Jacksonville, FL – VyStar Veterans Memorial Arena
9/16/2023 – Orlando, FL – Amway Center
9/21/2023 – Charlottesville, VA – John Paul Jones Arena
9/22/2023 – State College, PA – Bryce Jordan Center
9/23/2023 – Toledo, OH – Huntington Center
9/28/2023 – Birmingham, AL – The Legacy Arena at The BJCC
9/29/2023 – Nashville, TN – Bridgestone Arena
Multi-Platinum country star Brantley Gilbert is the first to admit he’s meticulous when it comes to writing and releasing new music, tinkering and tweaking things until he feels he’s found the best way to serve the song and the project.
“I’ve always taken a little longer than most artists, especially in this genre, to put an album out and that’s partly to do with me being a perfectionist,” Gilbert prefaces. “But we’ve been looking forward to getting this album out for a long time. I’ve been blessed to sit down with some of the best writers in the country, and I feel like we’ve written some wonderful stuff.”
Armed with a 10-track collection that meets the Georgia-native’s standards, Gilbert announces his long-awaited new album So Help Me God via The Valory Music Co., set for digital release Thursday, November 10. Pre-save the album HERE.
“In the past, my albums were almost direct reflections, direct chapters of my life,” shares Gilbert. “Whatever I’d gone through since I wrote the last record would make its way onto the new album. There’s still some of that with So Help Me God since I’m a co-writer on all the songs – it’s been three years since the last release and a lot of life lived. But I feel like this album is more of a mixtape of great songs.
“We wanted to put songs that sounded good together, but also songs that covered a wide variety of genre influences,” Gilbert elaborates. “There’s a lot of different songwriting styles on the album. We’re super excited about it, and I can’t wait for BG Nation to hear what we’ve been working on.”
With the release of So Help Me God also comes Gilbert’s newest single headed to Country radio on November 14, “Heaven By Then” with Blake Shelton featuring Vince Gill. Co-written with Brock Berryhill, Michael Hardy, Jake Mitchell, Randy Montana, Hunger Phelps and Taylor Phillips, the album opener highlights a way of life that can often feel like it’s disappearing, as the pace of everyday life continues to speed up.
When they pave all the dirt roads
And John Deeres are dinosaurs
When the last back 40 gets sold
And young boys don’t open doors
When you can’t hunt a white tail
And keep what you reel in
Well, I hope I’m in heaven by then
No, I don’t wanna go today but I don’t wanna live
Down here at a place that thinks that that place don’t exist
There comes a day this country’s somewhere country don’t fit in
Hell, I hope I’m in heaven by then
“We were on a writing retreat in Texas that we do every year, and everybody was out on the porch. I don’t remember who threw a word in here or there and who didn’t, so we ended up with a bunch of writers on ‘Heaven By Then,’” Gilbert notes. “And I love songs like that. It came out of a conversation. A guitar ended up in HARDY’s lap, which is usually a good sign that it’s about to turn into something special. I think we all knew that as it was being written. It came to life that night.
“To have Blake Shelton and Vince Gill on the song meant so much to me. Those two brought so much to the table and gave it a voice I didn’t have. We were all in separate places when we recorded, but it was a cool way for everyone to put their spin on it. They just did what felt natural and sonically you hear that,” he concludes.
As the Son Of The Dirty South Tour with “Son Of The Dirty South” collaborator Jelly Roll continues tonight, Gilbert’s co-headlining tour with Five Finger Death Punch kicks off November 9 in Grand Rapids, Michigan and continues through December 17, wrapping in Las Vegas, Nevada. For tickets and more information, visit BrantleyGilbert.com.
As a longtime supporter and advocate for service men and women, Gilbert continues championing veterans through his latest partnership with Nine Line Apparel for an exclusive shirt design, which will benefit Nine Line Foundation.
Nine Line Foundation is a charitable organization dedicated to meeting the financial and specialized needs of severely injured soldiers and their families. In combat, Nine Line is an emergency medevac request and is often the difference between life and death for the most severely wounded soldiers. Since 2013, Nine Line Foundation’s mission has been to serve in a similar manner, offering a lifeline once wounded veterans return stateside.
The exclusive design can be purchased on a t-shirt for $25.99, long sleeve for $29.99 or hoodie for $42.99. For more information, visit NineLineApparel.com.
The post Brantley Gilbert Set To Release New Album ‘So Help Me God’ first appeared on Country Music Rocks.
So Help Me God Track List:
Heaven By Then with Blake Shelton featuring Vince Gill (Brantley Gilbert, Brock Berryhill, Michael Hardy, Jake Mitchell, Randy Montana, Hunger Phelps, Taylor Phillips)
Rolex® On A Redneck featuring Jason Aldean (Brantley Gilbert, Brock Berryhill, Michael Hardy, Randy Montana, Taylor Phillips)
Miles of Memories (Brantley Gilbert, Brock Berryhill, Josh Phillips)
She’s The One (Brantley Gilbert, Brock Berryhill, Taylor Phillips)
The Worst Country Song Of All Time featuring Toby Keith and HARDY (Brantley Gilbert, Michael Hardy, Hunter Phelps, Will Weatherly)
Son Of The Dirty South featuring Jelly Roll (Brantley Gilbert, Andrew Baylis, Jason Bradley DeFord)
How To Talk To Girls (Brantley Gilbert, Brock Berryhill, Brian Wayne Davis, Brandon Day, Chase McGill, Josh Phillips, Taylor Phillips, Michael Ray)
Little Piece of Heaven (Brantley Gilbert, Brock Berryhill, Greylan James, Taylor Phillips, Cole Taylor)
Gone But Not Forgotten (Brantley Gilbert, Brock Berryhill, Jason Blaine, Jay Brunswick)
So Help Me God (Brantley Gilbert, Michael Hardy, Hunter Phelps, Will Weatherly)
The Joseph Family Foundation, a nonprofit organization rooted in authenticity, compassion, optimism, and morality in seeking opportunities to enrich and encourage the prosperity of people, places, and ultimately those in need across the United States and globally, has proudly announced the launch of their 2nd Annual ‘Kiss Breast Cancer Goodbye (KBCG) Benefit Gala’ to be held in Nashville, Tennessee.
Proceeds from the Gala will again this year support the Susan G. Komen Foundation, notably the only organization that addresses breast cancer on multiple fronts such as through research, community health, global outreach, and public policy initiatives, in order to make the biggest impact against the disease.
The 2nd Annual ‘Kiss Breast Cancer Goodbye (KBCG) Benefit Gala’ will take place on Sunday, October 23rd at 6:00pm (Central) at the prestigious Country Music Hall of Fame; an event held in memory of those we have lost, in support of those still fighting, and in honor of those who have survived.
Headlined by American country music duo LOCASH, attendees can also expect to hear performances from Award-winning country music sensations such as Victoria Shaw, the sensational Cooper Alan and trio Runaway June; just a few of the celebrity performers and guests to appear at the 2nd Annual ‘Kiss Breast Cancer Goodbye (KBCG)’ Benefit Gala. Attendees will also participate in an elite silent auction taking place throughout the event, while hearing in first person from breast cancer survivors, thrivers, and caretakers, experiencing love and healing through the art of music.
Tara Joseph, Co-CEO and Co-Founder of Big Plan Holdings (BPH) and The Joseph Family Foundation, stated that, “On behalf of all of us at The Joseph Family Foundation, I could not be more excited to host this event, working alongside a team of incredible women, two of whom are breast cancer survivors, as we put on yet another stellar event in support of such a great cause and such an acclaimed organization – The Susan G. Komen Foundation. Last year’s event was headlined by Dolly Parton and was simply phenomenal. We look forward to carrying on that tradition annually.”
“With unrivaled energy, excitement and today a cosmopolitan hub and travel destination renowned the world over, what is also undeniable is the serious heart and soul of Nashville – We are excited to make this city home to such an impactful cause moving forward.”
What started with $200 and a shoebox full of potential donor names, The Susan G. Komen Foundation has today grown into the world’s largest nonprofit source of funding for the fight against breast cancer. To date, the organization has invested more than $3.3 billion in groundbreaking research, community health outreach, advocacy, and programs in more than sixty countries.
Joshua Daniel, a Development Director at the Susan G. Komen Foundation, stated that, “The Kiss Breast Cancer Goodbye Gala showcases some of Nashville’s greatest upcoming talent and world-renowned headliners. I look forward to this night all year long and encourage anyone interested in attending to get their tickets now before it sells out.”
To learn more about the 2nd Annual Kiss Breast Cancer Goodbye Benefit Gala or to donate, please visit https://www.kissbreastcancergoodbye.org/.The post LoCash, Copper Alan and Runaway June Among Performers for the 2nd Annual ‘Kiss Breast Cancer Goodbye’ Benefit Gala first appeared on Country Music Rocks.
Pop sensation GAYLE has just received her first Grammy nod courtesy of her viral hit, “abcdefu“. That record was nominated in the Song of the Year category.
Well, it’s a great time to share her recently released sophomore EP, a study of the human experience volume two. Her debut EP was released earlier this year.
This new EP was released together with the music video for “ALEX” which is one of the six tracks on the project.
Watch “Alex” video, stream the whole EP and follow GAYLE on Instagram.
The last couple of years has seen Alexa Cappelli evolve from a talented singer-songwriter to a princess in the pop scene. The 22-year-old recently signed to Sony Music’s Arista Records, the label on which her latest single was released.
The song is called “Could’ve Just Left Me Alone”.
It delves into toxic relationships, with the artist saying, “‘Could’ve Just Left Me Alone’ is a song about realizing how much energy was spent on the ways you were treated in a relationship, friendship, or anything like it, when that person really could’ve just not.”
Despite the moody lyrics, the track sounds enjoyably bouncy.
Listen and follow Alexa Cappelli on Instagram.
NGAIIRE has today released her third album which is aptly titled 3 via Majestic Casual Records. Ten tracks long, the LP arrives with “Moonshine”, an upbeat song which still still retains the album’s overall emotional feel.
“I wrote this (‘Moonshine’) while I was high on Opioids. I just desperately wanted to feel like a whole human again. Most days I’d be writhing in pain on the floor screaming, or throwing whatever I could find near me at the walls because I was just so frustrated at how I felt. The neighbours must have worried. The painkillers helped sometimes but mostly never even touched the sides as my body had grown immune to the drugs. As a result I was mostly just in a constant state of stupor on top of the excruciating pain…,” NGAIIRE explains in unsettling detail.
3 was preceded by singles like “Him“, “Closer” and “Boom“. Alongside the album’s release, the Papa New Guinea-born, Sydney-based future-soul artist has also announced her signing to Wise Music Australia (a publishing deal).
Stream the album and keep up with NGAIIRE on Instagram.
Los Angeles emcee Born Allah enlisted German producer Zpu Zilla for a new EP, Analog Baby. Carrying 6 tracks of hardcore hip-hop, the project drops January 7.
The first single “Jabril (Let the Horns Blow)” is already out (listen above). The boom-bap cut features fellow LA veteran Rakaa (of Dilated Peoples). It captures both rappers in their elements as the deliver heavy-hitting bars.
Analog Baby will be released via The Church of Hip Hop & Financial Prosperity. You can pre-order the EP here.
Find Born Allah on Instagram.
New York hip-hop duo made up of emcee Darkim Be Allah and producer Endemic Emerald recently shared their new song “God of the Universe” featuring rapper Planet Asia. It was billed as the first single off of their planned new album titled Antediluvian King.
The song is packed with raw, intelligent lyricism and is delivered over a beat that Emerald crafted specially to activate Darkim and Planet Asia’s knack for storytelling. The rappers paint vivid pictures with their rhymes, easily complementing each other.
Musically, “God of the Universe” is a boom-bap piece packed with beautiful samples and bluesy strings and melodies.
Find the three artists on Instagram:
Here’s “The 757”, a new single from Virginia rapper J.R.Clark. It’s characterized by a lovely blend of melodic rap and boombap hip-hop, with hard-hitting lyricism to boot.
Featuring Budda, it’s the first third track on the artist’s 11-track, upcoming album, When Muzik Was Good (due January 15). J.R.Clark paired it with a nice black-and-white visuals directed by Tommy Trill. The clip captures the gritty streets of Tidewater region of Virginia.
J.R.’s full names is Jerry Clark Juneau. He started out as a studio engineer. Connect with him on Instagram.
Canadian pop artist Peter Katz is getting ready to unveil his new album City Of Our Lives on November 25. His two new singles “KMOTM” and “Everything Is Different” are, therefore, just hints of what to expect.
Interestingly, City Of Our Lives has bits of misfortune to it; Peter’s accidental drop off a cliff got him tied to a hospital bed for six months. Against the odds, he survived but ended up losing his house and partner. The album therefore finds in an honest frame, putting things into perspective.
“KMOTM”, for example, is a dark and moody expression of the desperation and solitude Katz experienced.
Connect with Peter Katz on Instagram.
Norwegian pop singer-songwriter Dagny has just announced the release date for her much-anticipated, two-part debut album, Strangers / Lovers. It will arrive on October 2 via her own label Little Daggers Records. Alongside the announcement, the artist has shared a new single, “It’s Only A Heartbreak”, which is the first single on the album’s Side-B (its Side-A arrived back in May, led by the singles “Somebody” and “Come Over”).
About the dynamic, synth-driven pop song, Dagny says: “‘It’s Only A Heartbreak is actually partly inspired by the classic movie ‘Casablanca’ from 1942, and Humphrey Bogart’s famous quote: ‘Here’s looking at you, kid’. Like the movie, the song is about knowing that you will never get someone back, but you can secretly still look at, and admire, that certain someone. The song carries a nonchalant expression, but the undertone makes it pretty obvious that you’re not over that person yet.”
Find Dagny on Instagram.
Jamaican reggae primer mover Chronixx storms into 2020 with a raging new single “Dela Move”. The song which finds him professing his love for his hometown (De La Vega in Spanish Town) is accompanied by an equally cinematic clip directed by Nabil Elderkin. It’s the first single from the “Skankin’ Sweet” singer’s forthcoming second album Dela Splash.
“Dela Move” takes Chronixx into new territory musically as it incorporates elements of trap. His delivery also edges closer to contemporary rap.
The musician recently disclosed that he’ll be headlining a concert at London’s Eventim Apollo on 12th October 2020.
Nairobi-based Kenyan rapper Boutross‘ forthcoming double-CD mixtape, 6ixviewsii8k, has been scheduled for a November 8 release. The project’s corresponding launch party will go down the next day, 9th Nov, at Nairobi’s Deepwest Lounge, with artists such as Karun, Nviiri The Storyteller, TNT, EA Wave, Xenia Manasseh, Barak Jacuzzi, among others, slated to grace the stage. 6ixviewsii8k is the latest compilation project from the fast-rising musician, who identifies himself prominently with the shrap movement, a sub-genre of rap emerging out of Nairobi.
“I am bringing together my friends in music and some of your favorite Kenyan artists who I have also collaborated with on the mixtape for the event. I can’t wait to see all my fans at the launch, we have prepared a musical performance like no other.”Boutross says about the launch concert
Being a member of Homeboyz Radio’s 2015 Jumpoff Freshmen class, Boutross has been experiencing a meteoric rise. This tape will help him further etch his name within the country’s urban music scene.
After DJ Premier dropped new Gang Starr material — the single and video, “Family And Loyalty” which features J. Cole — he appeared to deny most fan’s suspicion that a new full-length project was probably in the offing. Well, it turns out he was just preparing us for the news: it’s now been confirmed that One Of The Best Yet, the duo’s first album in 16 years, will drop on November 1. Alongside the announcement, a new single “Bad Name” has been shared.
Diving into the state of hip-hop, “Bad Name” carries the late emcee Guru’s enlightening lyrics and DJ Premier’s nostalgia-inducing production. There’s something so angelic about the song!
Tracklist (all songs produced by DJ Premier)“The Sure Shot” (Intro) “Lights Out” feat. M.O.P. “Bad Name” “Hit Man” feat. Q-Tip “What’s Real” feat. Group Home & Royce Da 5’9” “Keith Casim Elam” (Interlude) “From A Distance” feat. Jeru The Damaja “Family and Loyalty” feat. J. Cole “Get Together” feat. Ne-Yo & Nitty Scott “NYGz/GS 183rd” (Interlude) “So Many Rappers“ “Business Or Art” feat. Talib Kweli “Bring It Back Here“ “One Of The Best Yet” (Big Shug Interlude) “Take Flight” (Militia Pt. 4) feat. Big Shug & Freddie Foxxx “Bless The Mic”
November 1st has been confirmed as the release date for grime-rap duo Krept & Konan‘s new album, Revenge Is Sweet. The UK group had previously shared “I Spy”, the album’s first single which features Headie One and K Trap. Corresponding with the news, Krept (one half of the duo) has now shared a freestyle that’s building anticipation for the project. The track comes alongside a clip, which you can see below.
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Celebrated Ugandan singer/songwriter Irene Ntalé is now officially a Universal Music Group Nigeria artist. This exciting news arrives alongside a new single which has been released on the West African division of Universal Music Group. This new Afro-pop song is titled “Nyamba”, which in her local Luganda dialect translates to ‘help me’. Making use of her soft and sultry voice, Irene delivers a romantic ballad.
Ntalé remarks, “I want all my fans to fall in love, dance, and be unafraid to express themselves when they listen to this song”
The largest of the three major record labels, Universal Music Group’s forray into the African music space has been something of a phenomenon. With the addition of top musicians like Irene Ntalé to their roster, UMG is further underscoring its interest in the African market.
Listen to “Nyamba” below via Spotify
Nashville-based Australian pop singer/songwriter Quinn Lewis makes an exciting return to our stereos with the single, “Hurt Me Now”. Covered in an electro-pop track, this heartrending piece was written as an vulnerable appeal to a love interest — it beseechingly asks them that, if any of their actions is to be hurtful in the future, then it should rather come sooner. “Hurt Me Now” was released via Arista Records, a Sony Music company.
“When I wrote ‘Hurt Me Now,’ it was very much about one specific person. Now that I’ve had time to look at the song with a little more perspective, I’ve realized it’s not just about that one person, but actually, a thread that runs through all of my relationships. If I have a feeling that I’m going to get hurt it a relationship, I’d rather get it done with than end up further down the road and getting hurt ten times more.”Quinn Lewis
Besides “Hurt Me Now”, the musician has, in the past, shared beautiful songs like “In Between“, “Weekend Luv“, “Only Everything”, “Pushing All My Friends Away”, “Hanging On”, among others which you can check out on streaming platforms. Also, do watch out for the music video for “Hurt Me Now”.
For quite sometime, the question of who would become the first hip-hop artist to enter the billionaire’s club was something only left to time. Well, it now seems the issue is settled as Forbes has just reported that Shawn Carter, popularly known as Jay-Z, has achieved that feat, ahead of P Diddy and Dr. Dre (Dre entered the race after selling his Beats By Dre Headphone brand for $3 billion to Apple).
Although Forbes states that the 10-figure-sum is conservative, they’ve gone ahead to break down this number. According to the magazine, the value of Jay-Z’s stakes in the companies and assets he (co)own amount to:Armand de Brignac ($310 million
This is a luxury champagne brand that produces the famous Ace of Spades, a bottle of which goes for $300.D’Ussé ($100 million)
This cognac brand is a partnership between Jay-Z and Bacardi, a large beverage company.Roc Nation ($75 million)
Jay-Z founded Roc Nation years ago as a joint venture with Live Nation. The company is currently involved in recordings, artist management, music publishing and sports management. Some of the stars on the Roc Nation label include: Rihanna, DJ Khaled, Meek Mill, J Cole and Kevin Durant.Tidal ($100 million)
Purchasing the streaming service back in 2015, Jay-Z relaunched Tidal, announcing other top artists (Madonna, Beyoncé, West, etc) as co-owners.Cash & Investments ($220 million)
Jay’s impressive investment portfolio includes a decent stake in Uber.Music catalog ($75 million
Jay-Z’s ‘I own my own masters’ is an iconic and revolutionary statement that has inspired many new acts to rethink signing away rights to their master recordings. Although Jay-Z did sign to Def Jam, he later reached an agreement with them to buy back his rights (he also retained his publishing rights from EMI).Art collection ($70 million)
He owns an expensive collection of paintings and other valuable pieces of art.Real estate ($50 million)
Jay Z owns a number of real estate properties.
For sure, Jay-Z is a business, man; not a businessman.
Africa’s top music streaming platform Boomplay on Tuesday hosted its first Music Forum. During the event that was held at Nairobi’s Villa Rosa Kempinski hotel, the company announced that it would invest $1 Million towards production and distribution of Kenyan music. According to the head of Boomplay operations in Kenya, the investment is to further fast-track and facilitate collaborations between Kenyan artists and other African acts.
“Artistes are an integral part of our business and we delight in every opportunity we can create and get to educate and promote them. Over the past years, Kenyan artistes have been churning out unique sounds but with very low listenership from our people here and in other countries – this is obvious from our weekly and monthly data based Boomplay charts. There’s so much work to be done on our part and we hope that by the way of education through forums like these, we are able to eventually get Kenyans to play songs by Kenyan artistes more.” ~ Martha Huro (General Manager, Boomplay Kenya)
Hosted by radio personality Willy M. TUVA, this conference kickstarted a series of events that would be organized across the country. In attendance were key industry stakeholders, including Boomplay executives.
High-riding Nigerian star Burna Boy has teamed up DJDS, an LA-based production duo to release a new collaborative EP titled Steel & Copper. Released on Atlantic Records, the project carries four, awesome, trap-infused tracks, including “34” and “Darko”. These records that are, as expected, furnished with the rapper/singer’s gritty vocals.Boomplay inks deal with Warner Music Group to have WMG’s songs available on their app
It’s only a few months since we reported that African streaming platform Boomplay Music got to bring music from Universal Music Group to the streaming service. Now, Warner Music, the second of the 3 major labels, has also agreed to upload songs by artists such as Wale, Cold Play, Wiz Khalifa, Trey Songz, Sia, Missy Elliot, Kranium, Notorius B.I.G, Janelle Monae , Cardi B, Jason Derulo, Bruno Mars and Gucci Mane to Boomplay. These songs will be available to the service’s users in Kenya, Cameroon, Cote d’Ivoire, Ghana, Nigeria, Rwanda, Senegal, Tanzania, Uganda and Zambia.Seyi Shay is in Nairobi to promote her new single with Harmonize
Seyi Shay is currently in Nairobi, Kenya to promote “Koma Roll”, her latest single which features Tanzanian crooner Harmonize. While in the city, the Nigerian songstress will be performing at B Club today (22nd). This is Shay’s second time in East Africa and about the relationship with the fans in the region, she says: “It’s so amazing for me to be back to Nairobi for a second time. I am always in disbelief at how many fans I have here and who love my music. I’ve been in talks with Harmonize who has already invited me to Tanzania, so we are planning to head over too.”DJ Fita premieres new music on African Moves podcast
Ahead of the release his debut solo EP, Kenyan electronic DJ/producer DJ Fita got to premiere a new song on African Moves podcast. The show, which is hosted by DJ OneDown, airs on Drums Radio (UK). Listen to the episode (for that new Afro Tech song by Fita, skip to around the 9th minute).
Boomplay, Africa’s fast-rising streaming service, has sealed a license deal with Universal Music Group and soon, the platform’s users will get to stream music by the major label’s artists on the Boomplay app, MusicBusinessWorldwide reports. Boomplay is owned by Transsnet Music Limited, a joint venture between two Chinese firms: Transsion Holdings (Owner of Tecno, itel, Infinix, Spice and oraimo mobile phones) and NetEase Inc. The streaming service now has more than 36 million users and over 2 millions songs, including thousands of music videos. It operates an Android app, desktop version and will soon be available to iOS users.
Months after launching UMG Nigeria division, it seems Universal Music is increasing their interest in the African market. UMG is already the largest music company in the world and its roster includes artists like: Eminem, Tekno, Post Malone, Nicki Minaj, Lady Zamar, Lil Wayne, Bob Marley, Brenda Fassie, Wurld, J.Cole, Dr. Tumi, Nasty C, 6lack, Diana Ross, Hugh Masekela, Jon Bellion, Larry Gaaga, Tamia, Maroon 5, Aka & Anatii, TJAN, Jah Prayzah, Nonso Bassey, Mafikizolo, Cina Soul, Ella Mai,and Mr. Eazi. This means that music fans in Nigeria, Ghana, Kenya, Tanzania, Rwanda, Uganda and Zambia will soon be streaming the above artists on their Boomplay Apps.
Exciting developments in the Nu Nairobi scene as singer and performer Tetu Shani announces he is releasing a new album to be titled Heartbreak Amnesia. He has gone further to reveal the LP’s official artwork. He made the pronouncement via a tweet.
So I’m super excited to report that my upcoming album has been submitted for mixing and I’d like to reveal its name… HEARTBREAK AMNESIA! Every song will represent the journey from heartbreak to healing and I present to you the official album art. pic.twitter.com/R1yacAItSy
— AfricaSun (@tetushani) September 26, 2018
We can only anticipate. Meanwhile stream his songs on Soundcloud.
Do college students prepare themselves for a life with an ongoing debt? Ask a professional, Bernard M. Cornell from paydayplus.net. What is his opinion on the hit film “Borrowed Future”? Is it real?
Student Loans: What Are They?
To the unfamiliar, whether climbing the pop charts or smoking out late night green rooms, Migos do it for the culture, the group announcing Monday evening (Jan. 23) that they will be bringing their transcendent ways to the classroom. Taking place this Saturday (Jan.
The post Migos Will Host a Culture Class at New York University appeared first on hip hop news.
R. Kelly’s behind bars right now after he was hit with federal charges last month. He’s been in federal custody ever since after a judge denied him bond. The singer’s been begging to be released from prison where he’s currently placed in solitary.
The post R. Kelly Promises To Stay Away From Minors, If Released appeared first on hip hop news.
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After 146 days, it’s almost time for WGA writers to say “pencils up.” On Sunday, the Writers Guild of America and the Alliance of Motion Picture and Television Producers (AMPTP) reached a tentative deal that will bring the 2023 writers strike to an end. The two came to an agreement…
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Maury Povich has offered to “come out of retirement” in order to settle the potential kinship mystery between Matthew McConaughey and Woody Harrelson. In an interview with E! News promoting his new picture book Just Because, McConaughey was shown a video from Povich, whose recently-concluded daytime talk show Maury is…
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Taylor Swift attended Sunday’s game between the Chicago Bears and Kansas City Chiefs, seemingly confirming rumors that she is dating the Chiefs’ star tight end, Travis Kelce. Kelce famously took his shot this summer when he attended Swift’s “Eras Tour” concert in Kansas City and gifted her a friendship bracelet…
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Drew Carey has been picking up the break and lunch tab for members of the Writers Guild of America throughout the 2023 writers strike, and at one of the two California restaurants where his offer stands, he has spent an estimated $400,000 to $600,000 and counting. According to a post on…
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Usher will headline the 2024 Super Bowl Halftime Show. The R&B crooner confirmed his appearance on Sunday in a series of videos featuring Kim Kardashian, Deion Sanders, and Marshawn Lynch. Usher previously played the Super Bowl Halftime Show in 2011 when he appeared as a special guest during Black Eyed…
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Bob Dylan made a surprise guest appearance at Farm Aid on Saturday, marking his first appearance at the annual charity concert since he first helped conceive it. Backed by members of The Heartbreakers and playing exclusively on guitar, Dylan ran through a three-song set that included the first performance of…
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Thanks to her new album I Inside the Old Year Dying, PJ Harvey is finally playing shows again. The singer-songwriter kicked off her first tour since 2017 this weekend in Dublin, performing her new LP in its entirety before dusting off some old favorites. Check out clips of the concert below. Harvey’s latest…
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Dave Grohl honored Kent Stax, the late drummer of Grohl’s former band Scream, during Foo Fighters’ set at Louder Than Life Festival by dedicating “Everlong” to the artist. Watch the performance below. “I wouldn’t be here today if it weren’t for Scream, and the man whose place I took in…
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The Pitch: At the end of a long and not-exactly-noble life, the time has come for wealthy businessman Roderick Usher (Bruce Greenwood) to confess his crimes. Not just his own, as the figurehead of a company whose success comes from an allegedly non-addictive opioid, but the crimes of his six…
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Red Hot Chili Peppers drummer Chad Smith was challenged to play drums to a song he never heard before as he listened to it for the first time, and he absolutely crushed it. The song was the Thirty Seconds to Mars hit “The Kill,” which he guessed was “My Chemical…
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After a historic summer, Greta Gerwig’s smash-hit film, Barbie, arrives in IMAX today, and previously unseen post-credit scenes are coming with it. In a new interview with Variety, cinematographer Rodrigo Prieto has shared that the new footage is just the tip of the iceberg as far as the movie’s unseen…
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Listen via Apple Podcasts | Spotify | Google Podcasts | Amazon Podcasts | Pocket Casts | Radio Public | RSS The Breeders sit down with Kyle Meredith to talk about the 30th anniversary of their now-classic album Last Splash. Over the course of 40 minutes, members Kim Deal, Kelley Deal, Josephine Wiggs, and Jim Macpherson recall the experiments that made Last…
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Song of the Week delves into the fresh songs we just can’t get out of our heads. Find these tracks and more on our Spotify Top Songs playlist, and for our favorite new songs from emerging artists, check out our Spotify New Sounds playlist. This week, The Breeders unveil “Divine Mascis,” a long-lost version…
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It’s never totally clear when the John Wick movies take place — after all, Mr. Wick doesn’t wear an Apple watch as he runs around the world on his revenge sprees. However, the implication is always that the timing is vaguely contemporary, which means that a prequel like Peacock’s The…
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New MGMT music may be on the horizon. A new reddit post from the band appears to show test pressings of their follow-up to 2018’s Little Dark Age, suggesting that the release of their next LP is imminent. The duo’s Andrew VanWyngarden shared a photo on MGMT’s subreddit that appears…
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In an exciting collab between two formidable forces in house music, Brazilian producer Bhaskar has linked with West London-based duo JADED for “When I See It,” featuring The Vic. The result of this dynamic collaboration is nothing short of a dark, captivating release that evokes memories of legendary house anthems from the early 2000s. Kicking off with a lush instrumental introduction, the two acts skillfully integrate deep and pulsating basslines alongside shimmering synths, resulting in a composition that’s both intricate and irresistibly danceable. While summer may be drawing to a close in many parts of the world, “When I See It” is guaranteed to keep the heat alive for clubbing and the winter festival season. Hear what we mean by streaming the record via Spotify below and let us know your thoughts in the comments section as well.
Bhaskar, JADED – When I See It (feat. The Vic) | Stream
Danish export Snavs has come together with rising artist John Alto, also hailing from Denmark, for their latest release in “Headlights.” As you’ll quickly hear below, this new Dim Mak-released collaboration is nothing short of a captivating, dark progressive house gem boasting emotive female vocals, cinematic melodies, and an especially energetic bassline. The track nicely reflects on the dynamic styles that both Snavs and Alto bring to the table as it makes for a cathartic, heartfelt track packed with catchy moments perfect for the club dancefloor. We can’t wait to hear where both acts take their sound next – stream “Headlights” via Spotify below and be sure to turn your speakers up for this one.
Snavs, John Alto – Headlights | Stream
Producer Luis Crucet is here to introduce you to his new project “Crudanlu” and his debut track is the perfect intro.
“Good Times Ahead originally sent me the stems after hearing earlier versions of the song before it was released and [I] was really influenced to make my own rendition of it.”
The original track from GTA is an absolute vibe, there is no doubt, but this flip peers right into our soul, tugs at our heart strings, and sends us to a different dimension with it’s glitchy synths, crisp vocals, and impeccable mix down.
Crudanlu is currently working on a live set in parallel with writing new music, so expect more to come from this rising star very soon
Good Times Ahead – Highway Lover (Crudanlu Remix) | Stream
The post LISTEN: Luis Crucet Debuts New Alias With A GTA FLIP appeared first on Run The Trap: The Best EDM, Hip Hop & Trap Music.
Silhouetted Horizons immediately distinguishes himself as an unconventional and forward-thinking producer on his latest effort, “Overtone.” As you’ll hear below, the cinematic intro quickly intensifies as the track builds into a mesmerizing symphony of sound. With captivating vocals intersecting with distinctive synth notes and reverberating percussion, the four and a half minute track takes listeners on a encompassing voyage through a rich, stunning sonic landscape. This track is certainly something that you’ll simply have to hear for yourself and it’s leaving us excited to hear more inventive music from the talented act; but in the meantime you can stream “Overtone” via Spotify below and read what the artist himself has to say about the inspiration behind this release.
“I tried to draw on the entirety of my influences, old and new, when writing “Overtone” – There is an intentionally (new) retro electronica feel that really pulls from trailblazer artists such as The Chemical Brothers, Underworld, Orbital or Leftfield but framed in the same type of reimagining you hear in a lot of the future garage and bass music nostalgia going on right now.” – Silhouetted Horizons
Silhouetted Horizons – Overtone | Stream
Global Dance, AEG Presents, and Live Nation have just announced a huge indoor New Year’s Eve dance music festival in Colorado. At the Colorado Convention Center on December 30th and 31st Decadence Colorado is slated to host an impressive lineup of performers including acts such as Fisher, John Summit, Zeds Dead, Fisher, Fisher and many more. Over these two electrifying days, fans will experience a sets on two primary stages, complete with mind-blowing production, captivating art installations, a silent disco, and a multitude of other amenities. Embracing the festival’s Digital City theme, the iconic Denver structure will be metamorphosed into a futuristic metropolis so you can welcome the new year in style. This is certainly an event you don’t want to miss – so grab tickets below before they sell out!
Deucez has returned with another banger, in “Fate” via Cyclops Recordings While widely recognized for his intense and gritty riddim sound, the rising bass producer now chooses to embrace a more uplifting and melodious vibe in this new single. What adds an intriguing twist is the revelation that Deucez himself provided the vocals for this track, a fact that is sure to capture the interest of fans. Throughout the year 2023, Deucez has been notably active, including releasing an official remix for ATLiens on Bassrush and embarking on his inaugural headlining tour that spans across 19 cities and is still growing. We can’t wait to hear where this act takes his sound next, but in the mean time stream the new single below and be sure to catch Deucez at Lost Lands if you’re going this weekend!
Deucez – Fate (The Way It Is) | Stream
“In approaching this track, my aim was to diverge from my usual style, not only by contributing vocals but also by infusing a distinct ambiance and sentiment to authentically convey the emotions associated with love. Signing with Cyclops Recordings has perpetually been a cherished aspiration for me, and I am deeply honored to unveil this song in collaboration with them.” – Deucez
James Churchill, also known as LAXX and LINK, is an skilled dance music producer celebrated for his groundbreaking and boundary-pushing music. With already a decorated career under his belt – including a prominent presence in both the dubstep and hard dance communities. Under LINK, Churchill stands as a prominent figure in the world of hard dance music. His unique interpretation of the genre has resulted in him having tracks released by esteemed labels such as NIGHTMODE, BASSCON, Welcome Record, and others. LINK’s music serves as an embodiment of the fervor and vitality he injects into his live shows, where he captivates and energizes the audience, leaving them with a contagious smile while they dance the night away.
Under LAXX, James has been a pioneering force in the scene since his adolescence. In 2014, the producer introduced himself to the world on Never Say Die Records with the ‘Step One’ EP, initiating a beloved series embraced by ravers globally. This annual tradition continued until the release of ‘Step Four’ in 2017. In 2018, LAXX unveiled his inaugural full-length album, ‘Fake Friends,’ which not only showcased the diverse influences that drive his creative spirit but also made an indelible mark in the realm of bass music. In 2022, he delighted his fans with an official remix of Zomboy’s ‘Dead Man Walking,’ further cementing his status as a leading figure in the genre.
The sky is clearly the limit as Churchill continues to grow both of these projects and we can’t wait to hear where he takes his unique style next. In the meantime, check out some of LAXX/LINK’s music below and be sure to follow the artist on socials if you’re not already.
The post FEATURE: Getting to Know Decorated Dance Music Producer LAXX appeared first on Run The Trap: The Best EDM, Hip Hop & Trap Music.
ILLENIUM is no stranger to dropping exciting, unique content for his fans. That being said, this time around feels extra special as the decorated producer, in partnership with Z2, is gearing up to release his own neon-soaked graphic novel. The project, titled Starfall, is slated for release on November 21 in standard, deluxe, and super deluxe editions. As far as the story line goes, the novel takes place in a brutal dystopian world where Nick (aka Illenium) is addicted to a powerful Substance, following orders blindly until a mysterious woman named Ash introduces him to a mythological path of harmony involving phoenixes and fire. To escape this chaos, Nick must confront his addictions and uncover ILLENIUM’s secrets. On this captivating new sci-fi project, ILLENIUM joins forces with writers Frank Marraffino and artists Pablo Andrés and Luis Expósito Hernández. Emilio Adrias provides the cover art. You can preorder the novel using the link below if you’re interested in owning this incredibly unique book.
The post ILLENIUM Announces Upcoming “Starfall” Graphic Novel with Z2 Comics appeared first on Run The Trap: The Best EDM, Hip Hop & Trap Music.
Last month when JVNA unveiled her “Play With You” single as a preview for her upcoming studio album of the same title, it became clear that the versatile American-Taiwanese artist was embarking on a transformative new chapter in her career. Now, this evolution has fully crystalized thanks to the official release of Play With You, an 11-track project that’s stunning from front to back. Aside from the stunning production quality, we also find JVNA showcasing a previously unseen facet of herself—a persona reminiscent of a seductive, siren-like anime character with a touch of darkness, beckoning the listener into her world. As you’ll hear below, this album draws from a wide-range of eclectic influences – yet everything sounds cohesive and packaged together under JVNA’s unique and beloved style. Hear what we mean by streaming the LP via Spotify below and be sure to turn your speakers up for this one.
JVNA – Play With You | Stream
In this exclusive RTT interview, we sit down with Canadian DJ and producer Defunk, who recently unveiled his latest masterpiece, The Voyage. This 14-track musical odyssey marks his triumphant return to the scene after nearly a decade, and it’s his fifth exceptional offering to date. As you’ll hear below, the talented act invites us to delve into the genre-blurring realms that have solidified his status as a trailblazer in the realm of bass-influenced music. Beyond the beats and melodies, “The Voyage” is a profoundly personal exploration, reflecting his artistic evolution and life journey, which encompassed navigating the global pandemic and embracing fatherhood. During the interview we explore Defunk’s inspirations behind the new project, what fans can expect from his upcoming tour, and what’s next on the horizon for him.
Defunk – The Voyage | Stream
RTT: Congrats on the release of “The Voyage,” your first full-length album in almost a decade! Tell us more about the inspiration behind the project – how does it reflect your personal and artistic evolution over the years?
This album was written during the covid pandemic and this album became a story about the isolation, introspection, and eventual change I went through personally through the pandemic. For example, I started a family, and some of my beliefs and values changed through that time as well. The pause in music allowed me to experiment and evolve my sound quite a bit, which I trialed in some of the livestream mixes and sets that I did early in the pandemic. The time away from touring allowed me to really focus more closely on the music that really made me happy and felt right. I moved away from some of the sounds I had been known for from 2012 to 2019 and really channeled a more mature, deeper and bass-music-focused sound.
“The Voyage” encompasses a wide range of musical influences, from funk and hip-hop to bass music. How do you creatively approach blending these genres, and what inspires you to push the boundaries of bass music in this way?
I’ve always strived for variety with my releases, simply because I just enjoy so much music but also because I love being able to go in many different directions in my live sets. Quite often I get inspiration from lots of different artists and sources, and then I sit down inspired and try to find a way to make a song out of the multiple sounds I just listened to. For instance, I loved the latin trap of Cardi B and the punchy swag bass of a track from Joyryde, so I sat down, created the framework for Losing It, and then sourced hip hop vocals and a live horn section to complete the sounds. Quite often my musical process works like this for most of the songs I produce, where I could point to three or four songs that helped inspire each track and you’d easily be able to tell once you had heard them.
You’ve mentioned that this project is deeply personal and centered around your journey as both an artist and a father. Can you share some real life experiences that directly influenced the making of this LP?
Like mentioned, this album was about the pandemic and the isolation and eventual realignment with normal life. The isolation was a dark and challenging time, especially living in a small downtown apartment through the long, cold, Canadian winter. Friend visits were hard to come by, and eventually one of my main forms of solace, the gym, was shut down. I was drawn more to playing and experimenting with darker, heavier music, but I was also drawn to very melodic progressive house music which was something very new to me. It was a good way to detach and zen-out, so to speak. The combination of both of these attractions helped me develop an album that both had some of the heaviest music I’ve created yet, and also some of my favourite melodic moments in the second half of the album. It has really shaped my desire to have a good balance of heavy and uplifting/melodic in my sets as well.
Your live performances have been praised for their captivating and ever-changing nature. What can fans expect from “The Voyage Tour” as you take this album on the road?
It feels great to be back at it on the road, and it feels even better to be able to play out a large body of work in my sets that is super current and that most fans will recognize. This album was a big step up in terms of vocal collaborations and strong catchy toplines, so it has been great to see fans singing out some of these new songs.
With the release of “The Voyage” and now the upcoming tour, what’s next for Defunk? Where do you see your craft evolving next in the future?
I’m going to continue down the road of experimenting with bass music, drum and bass, and house. I feel very comfortable with where my music is at, and now I can really focus on building out this sound and really looking for new talented vocalists to collaborate with. I also aim to work with visual artists to develop a lot of custom content for each one of my tracks for live shows. It all will come together to help tell a story when I perform live.
National One-Hit Wonder Day is September 25, a day to reflect on the artists who burst onto the scene and into the charts with one incredible song. While these acts may not have replicated their initial successes with later releases, their hit songs remain etched in our memories — and on our playlists!
This year, we’re looking back at one of the most iconic decades in music — the 1980s. From the powerhouse vocal duo The Weather Girls to the quirky upbeat sound of The B-52s and a surprise celebrity cameo from Eddie Murphy, the ’80s had it all!
So, join SiriusXM as we take a nostalgic trip back in time and celebrate the most iconic ’80s one-hit wonders ever!’80s New Wave One-Hit Wonders
An eclectic blend of punk, rock, and pop, new wave peaked in the ’80s. Whether cheery and upbeat like Toni Basil’s “Mickey” or an emotional ballad like Limahl’s “Never Ending Story,” new wave gave audiences plenty to enjoy.
Music aside, the genre brought a distinct visual flair, allowing artists to spruce up their image and fully express themselves. And they didn’t disappoint! Devo brandished unique red energy dome hats while Dexys donned dungarees and bandanas. A Flock of Seagulls wore space-age-inspired garments and their lead singer, Mike Score, sported a unique hairstyle with high volume and an exaggerated swooping shape that truly embodied the era’s fashion.
These iconic looks only made the music all the more memorable, so if you’re in the mood for a little nostalgia, check out these new wave one-hit wonders:
1. “99 Luftballons” — Nena
2. “Mickey” — Toni Basil
3. “Come On Eileen” — Dexys
4. “Whip It” — Devo
5. “Never Ending Story” — Limahl
6. “Walking on Sunshine” — Katrina and the Waves
7. “I Ran (So Far Away)” — A Flock of Seagulls’80s Synth-Pop One-Hit Wonders
Synth-pop exploded onto the charts across the decade and led to some incredible one-hit wonders. The genre included emotive, catchy tunes and featured a collection of electronic instruments, the most common being the eponymous synthesizer. That instrument screamed “1980s” as much as the acts that featured it most prominently.
Berlin’s 1986 ballad “Take My Breath Away” encapsulated this best with its melodically-rich sound of synth-pop. Originally written for Top Gun, it impressed film critics, winning an Academy Award and a Golden Globe award for best original song in 1986 while flying to the top spot of the charts.
Similarly, Soft Cell’s dark synth cover of Gloria Jones’s 1965 soul song “Tainted Love” set a Guinness World Record at the time for the longest consecutive stay on the US charts, where it spent a whopping 43 weeks. Take a trip back in time with these synth-pop bops:
8. “The Safety Dance” — Men Without Hats
9. “Tainted Love” — Soft Cell
10. “Somebody’s Watching Me” — Rockwell
11. “You Spin Me Round (Like a Record)” — Dead or Alive
12. “Tarzan Boy” — Baltimora
13. “Take On Me” — a-ha
14. “Take My Breath Away” — Berlin’80s Dance/Funk One-Hit Wonders
The ’80s was a dynamic period for funk and dance music, filling the decade with energetic beats and rhythmic grooves.
“Funkytown” by Lipps Inc. embodies funk’s transition into the disco era with its catch lyrics, heavy basslines, and futuristic feel. Meanwhile, “Party All The Time” made comedian and actor Eddie Murphy an unlikely one-hit wonder in 1985. As part of a bet with Richard Pryor, Murphy worked with Rick James, who wrote and produced the song. The tune was a hit, climbing to No. 2 on the charts and proving that Murphy can sing!
Here are the best dance and funk one-hit wonders of the ’80s:
15. “Funkytown” — Lipps Inc.
16. “We Don’t Have to Take Our Clothes Off” — Jermaine Stewart
17. “Last Night a D.J. Saved My Life” — Indeep
18. “It’s Raining Men” — the Weather Girls
19. “Rhythm of the Night” — DeBarge
20. “Party All the Time” — Eddie Murphy
21. “Love Shack” — The B-52s’80s Reggae/Ska One-Hit Wonders
Thanks to the mainstream success of reggae and ska in the ’60s and ’70s — attributed to the likes of Jimmy Cliff, Desmond Dekker, and Bob Marley & The Wailers — both genres earned global recognition and love. This gave artists a platform to break through to the charts, and they didn’t disappoint.
British-Jamaican reggae band Musical Youth’s 1982 song “Pass The Dutchie” sold over 5 million copies worldwide and made its way into countless films and TV shows — including Stranger Things, which boosted the song and briefly lifted it back into the charts in 2022.
Bobby McFerrin’s acapella hit “Don’t Worry Be Happy” used reggae-style rhythms to create an upbeat track that made its way to the top of the charts and has remained a memorable song to this day. And it’s impossible not to be happy while listening to these one-hit wonders:
22. “Pass the Dutchie” — Musical Youth
23. “Don’t Worry, Be Happy” — Bobby McFerrin
24. “Electric Avenue” — Eddy Grant
25. “Our House” — Madness
26. “Break My Stride” — Matthew Wilder’80s Rock One-Hit Wonders
The ’80s was a huge decade for rock music, with various sub-genres like glam, arena rock, and heavy metal gaining popularity. Naturally, the decade delivered a host of one-hit wonders, with iconic artists releasing memorable anthems that made a lasting impact on the music industry and popular culture.
Austrian singer Falco’s “Rock Me Amadeus” combined New German Wave, synth-pop, and hip-hop to create an inarguable banger that rocked all the way to the top of the charts, landing the No. 1 spot!
John Waite’s “Missing You” just oozes the ’80s. It’s the perfect power ballad, blending the raw energy of rock with the emotional sensitivity of pop, making a quintessentially ’80s bop. Plus, the aesthetics of the “Missing You” music video is on point!
Rock out to these throwback tunes this One-Hit Wonder Day:
27. “Rock Me Amadeus” — Falco
28. “Missing You” — John Waite
29. “(I Just) Died in Your Arms” — Cutting Crew
30. “In a Big Country” — Big Country
31. “La Bamba” — Los Lobos
The post The Biggest ’80s One-Hit Wonders Ever, from ‘Take On Me’ to ‘Electric Avenue’ appeared first on SiriusXM.
Get ready for a Monday Night Football showdown that’s sure to be a can’t-miss event as the Los Angeles Rams take on the Cincinnati Bengals in Week 3. Both teams have shown impressive performances early in the season, setting the stage for an electrifying clash under the lights.
Listen live to your choice of the home, away, or national feed on the SiriusXM App and car radios. Kick off is September 25 at 8:15pm.
The Rams come into this game led by quarterback Matthew Stafford, who showcased his prowess by passing for an impressive 307 yards in Week 2. Stafford has been on fire, joining an elite club of quarterbacks with 300+ passing yards in each of the first two weeks of the season. Stafford also made history by surpassing Hall of Famer Peyton Manning in career passing yards within his first 200 games in the NFL. In Super Bowl LVI, he threw for 283 yards and three touchdowns against the Bengals.
Running back Kyren Williams has been a revelation, setting career highs in catches (6) and scrimmage yards (100) last week. He’s the only player to score two touchdowns in each of his team’s first two games.
The Rams’ rookie sensation, wide receiver Puka Nacua, made waves in Week 2 with 15 receptions for 147 yards, setting a rookie record for most receptions in a single NFL game. Nacua is also the first player ever to achieve 10+ catches and 100+ receiving yards in each of his first two games, leading the league with an astonishing 25 catches.
On the defensive side, the indomitable Aaron Donald, who had two sacks in Super Bowl LVI against Cincinnati, continues to wreak havoc with his pass-rushing skills. Linebacker Ernest Jones is a tackling monster, leading team with 10 tackles in Week 2, his 5th career game with 10+ tackles.
SiriusXM channel 228 in your vehicle
Channel 806 on the SiriusXM AppLos Angeles Rams Away Feed
SiriusXM channel 229 in your vehicle
Channel 818 on the SiriusXM AppNational Feed – 7:15pm ET
SiriusXM channel 88 in your vehicle
Channel 88 via on SiriusXM AppEn Español
SiriusXM channel 230 in your vehicle
Channel 832 via on SiriusXM AppHome: Cincinnati Bengals
The Bengals, led by quarterback Joe Burrow, are no slouches themselves. Burrow threw for 222 yards and two touchdowns in his last outing. In his only previous start against Los Angeles, in Super Bowl LVI, he put up 263 passing yards and a touchdown without an interception, earning a 100.9 passer rating. Burrow excels in primetime, with 1,400 passing yards, 11 touchdowns (10 passing, 1 rushing), and a 101.3 rating in five career primetime starts. Keep an eye out on his injury, he may miss starting this matchup.
Running back Joe Mixon is a key component of the Bengals’ offensive arsenal. He led the team with 95 scrimmage yards last week and aims to make it three consecutive games with 70+ scrimmage yards. Mixon has a history of success against the Rams, with 150 scrimmage yards and a receiving touchdown in two career matchups, including Super Bowl LVI.
Wide receiver Ja’Marr Chase is on fire, boasting a streak of five or more catches in 10 consecutive games. He’s a prime target for Burrow and has consistently delivered in primetime games. His fellow receiver, Tee Higgins, is coming off a stellar performance with eight catches, 89 yards, and two touchdowns. Higgins has a penchant for finding the end zone in primetime.
The Bengals’ defense features pass-rushing specialist Trey Hendrickson, who aims to notch his third consecutive game against the Rams with a sack. Linebackers Logan Wilson and Germaine Pratt are adding up their tackles this season, and cornerback Chidobe Awuzie has a history of success against Los Angeles, including an interception in Super Bowl LVI.
Safety Dax Hill leads the team in tackles and looks to continue his impressive run of six or more tackles and passes defensed in his third straight game.
For more on SiriusXM’s NFL programming, visit SiriusXM.com/NFL.
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Returning for the third time to the state of Indiana, this year’s Farm Aid will take place September 23 at Ruoff Music Center in Noblesville. That day, SiriusXM subscribers will be able to listen to the full Farm Aid 2023 festival live on three channels: Willie’s Roadhouse (Ch. 61), Dave Matthews Band Radio (Ch. 30), and Grateful Dead Channel (Ch. 23).
The annual music and food festival will feature performances by Farm Aid board members Willie Nelson, Neil Young, John Mellencamp, Dave Matthews (with Tim Reynolds), and Margo Price, as well as Bobby Weir & Wolf Bros featuring The Wolfpack, Nathaniel Rateliff & The Night Sweats, Lukas Nelson, Allison Russell, The String Cheese Incident, and Particle Kid.
SiriusXM’s live coverage also will include backstage interviews with artists and stories from family farmers, hosted by Dallas Wayne and Ari Fink. All coverage will feature a behind-the-scenes look at Farm Aid 2023 and the organization’s year-round work to strengthen family farm agriculture.Farm Aid Broadcast Schedule (all times ET):
12:35pm – Native Pride Production
12:45pm – Wisdom Indian Dancers
12:50pm – Clayton Anderson
1:10pm – The Black Opry ft. Lori Rayne, Tyler Bryant & Kyshona
1:45pm – Particle Kid
2:20pm – The String Cheese Incident
3:00pm – Allison Russell
3:40pm – Nathaniel Rateliff & The Night Sweats
4:22pm – Lukas Nelson & Promise of the Real
5:04pm – Bobby Weir & Wolf Bros featuring The Wolfpack
5:49pm – The Jim Irsay Band featuring Ann Wilson
6:24pm – Margo Price
7:19pm – Dave Matthews & Tim Reynolds
8:14pm – John Mellencamp
9:09pm – Neil Young
10:04pm – Willie Nelson & Family
Farm Aid is a full day of music, family farmers, HOMEGROWN food and agrarian experiences.
“Family farmers have the solutions to some of our toughest challenges,” said Willie. “As we face a changing climate, farmers in Indiana, across the Midwest and all over the country are farming in ways that create more resilient farms to build healthy soils and protect our water.”
Farm Aid’s mission is to build a vibrant, family farm-centered system of agriculture in America. Farm Aid artists and board members Willie Nelson, Neil Young, John Mellencamp, Dave Matthews, and Margo Price host an annual festival to raise funds to support Farm Aid’s work with family farmers and to inspire people to choose family farm food.
For more than 35 years, Farm Aid, with the support of the artists who contribute their performances each year, has raised more than $70 million to support programs that help farmers thrive, expand the reach of the Good Food Movement, take action to change the dominant system of industrial agriculture and promote food from family farms.
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In a highly-anticipated showdown, the 15th-ranked Ole Miss Rebels are gearing up for a trip to Tuscaloosa this Saturday afternoon, where they will face off against the 12th-ranked Alabama Crimson Tide.
Listen to your choice of the home or away feed on your radio or the SiriusXM App when the action kicks off September 23 at 3:30pm ET.
The SEC is heating up as Alabama prepares to host Ole Miss at Bryant-Denny Stadium in a highly-anticipated showdown. Both teams are facing a crucial early-season test that could have significant implications in the race to the College Football Playoff.Home: Alabama Crimson Tide
In their recent game against South Florida, Alabama secured a 17-3 victory, but the win was marred by subpar quarterback performances from Tyler Buchner and Ty Simpson. Coach Nick Saban has announced that Jalen Milroe will return as the starting quarterback, raising questions about potential offensive adjustments to maximize his skills, especially his ability to make plays on the ground.Away: Ole Miss Rebels
One key Rebels player to watch is running back Quinshon Judkins, who led the SEC in rushing last season but has struggled this year due to injuries. Against Georgia Tech, he only managed 13 carries for 37 yards, with quarterback Jaxson Dart taking on a more prominent role in the rushing attack. Ole Miss coach Lane Kiffin will need to find a way to achieve a balanced rushing attack, which can protect Dart and allow for a more consistent passing game.
An intriguing factor in this matchup is the presence of Pete Golding, the first-year defensive coordinator for Ole Miss. Golding previously led the Crimson Tide’s defense for five years, providing him with valuable insight into Alabama’s offensive strengths and weaknesses, particularly regarding quarterback Milroe. Golding’s familiarity with Milroe and the potential revenge factor make this a compelling aspect of the game.Alabama Home Feed:
SiriusXM channel 81 in your vehicle
Channel 81 on the SiriusXM AppOle Miss Away Feed:
SiriusXM channel 191 in your vehicle
Channel 962 on the SiriusXM AppPredictions
Despite being considered underdogs by oddsmakers, the Rebels are expected to not only cover the spread but also win outright. Alabama’s struggles on the defensive front are expected to allow Lane Kiffin’s Ole Miss to get creative with their offensive strategy, resulting in a high-scoring contest. However, the question remains whether Milroe can keep up with Dart and Ole Miss’ offensive weapons. The recommendation is to take Ole Miss with the points and consider the money line as well.More Games
Throughout the 2023 College Football season, SiriusXM listeners get access to dozens of game broadcasts each week involving teams from the ACC, Big Ten, Big 12, Pac-12, SEC, and other conferences — plus Army, Navy, HBCU football and more.
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Wisconsin at Purdue
7 pm ET – FS1, SiriusXM Big Ten Radio Channel 372
The Wisconsin Badgers (2-1) and the Purdue Boilermakers (1-2) play at Ross-Ade Stadium in a clash of Big Ten foes. In their last game, the Badgers knocked off the Georgia Southern Eagles 35-14. The Boilermakers’ most recent game finished in a 35-20 loss to the Syracuse Orange.SATURDAY, SEPTEMBER 23
Rutgers at Michigan
Noon ET – BTN, SiriusXM Big Ten Radio Channel 372
The No. 2 Michigan Wolverines (3-0) and the Rutgers Scarlet Knights (3-0) play at Michigan Stadium in a clash of Big Ten opponents. The Wolverines defeated the Bowling Green Falcons 31-6 in their most recent outing. The Scarlet Knights are coming off of a 35-16 win over the Virginia Tech Hokies.
FAU at Illinois
3:30 pm ET – BTN
The Illinois Fighting Illini (1-2) and the Florida Atlantic Owls (1-2) square off at Memorial Stadium. The Fighting Illini enter the matchup after losing 30-13 to the Penn State Nittany Lions in their last outing on September 16. The Owls’ most recent game ended in a 48-14 loss to the Clemson Tigers.
Maryland at Michigan State
3:30 pm ET – NBC, SiriusXM Big Ten Radio Channel 372
Big Ten opponents match up when the Maryland Terrapins (3-0) and the Michigan State Spartans (2-1) square off on Saturday, September 23, 2023 at Spartan Stadium. The Terrapins beat the Virginia Cavaliers 42-14 in their last game. The Spartans are coming off of a 41-7 loss to the Washington Huskies.
Louisiana Tech at Nebraska
3:30 pm ET – BTN
The Nebraska Cornhuskers (1-2) and the Louisiana Tech Bulldogs (2-2) square off at Memorial Stadium. The Cornhuskers knocked off the Northern Illinois Huskies 35-11 in their last outing. Their last time out, the Bulldogs lost 40-37 to the North Texas Mean Green.
Ohio State at Notre Dame
7:30 pm ET – NBC
The No. 4 Ohio State Buckeyes (3-0) go on the road to play the No. 9 Notre Dame Fighting Irish (4-0) at Notre Dame Stadium. The Buckeyes took down the Western Kentucky Hilltoppers 63-10 in their most recent outing. Their last time out, the Fighting Irish won 41-17 over the Central Michigan Chippewas.
Iowa at Penn State
7:30 pm ET – CBS
The No. 7 Penn State Nittany Lions (3-0) meet a fellow Big Ten foe when they host the No. 22 Iowa Hawkeyes (3-0) at Beaver Stadium. In their last game, the Nittany Lions defeated the Illinois Fighting Illini 30-13. Last time out, the Hawkeyes won 41-10 over the Western Michigan Broncos.
Akron at Indiana
7:30 pm ET – BTN, SiriusXM Big Ten Radio Channel 372
The Indiana Hoosiers (1-2) and the Akron Zips (1-2) meet at Memorial Stadium. In their last outing, the Hoosiers lost 21-14 to the Louisville Cardinals. The Zips’ last game finished in a 35-3 loss to the Kentucky Wildcats.
Minnesota at Northwestern
7:30 pm ET – BTN
The Minnesota Golden Gophers (2-1) and the Northwestern Wildcats (1-2) square at Ryan Field in a clash of Big Ten opponents. In their most recent game, the Golden Gophers were defeated by the North Carolina Tar Heels 31-13. Their last time out, the Wildcats fell to the Duke Blue Devils 38-14.
Dolly Parton has gifted us another beautiful cover song from her forthcoming Rockstar album. Following her recent release of “Let It Be,” which saw the musical reunion of Paul McCartney and Ringo Starr, today Dolly dropped her cover of the ’90s hit “What’s Up?” featuring Linda Perry.
“What’s Up?” was originally released by the rock band 4 Non Blondes in March 1993 as the second single from their debut (and only) album, Bigger, Better, Faster, More! In the U.S., the song reached No. 14 on the Billboard Hot 100 and was certified Gold, but it found even greater success in Europe, the U.K., and Australia.
“First of all, I love Linda Perry,” Dolly said of the song’s writer and 4 Non Blondes lead singer. “Second of all, I love this song written by Linda.”
“How is one supposed to react when the greatest and most prolific songwriter in the world wants to cover a song YOU wrote?” Linda shared. “[Dolly’s] version of ‘What’s Up?’ is so good. Her spin on it made me feel like it was her song. No surprise there.”
The cover song’s touching new music video, dropping September 23 at 10am ET, was directed by Steve Summers and filmed at Eakin Elementary School in Nashville, TN, on one of the hottest days of the year.
Dolly added, “I love being a part of this video to try to make people think about what’s going on in this world today. Shout out to the little children that helped with the video! If our children don’t make it, then what will?”
“Being on set making the video was a comfortable easy experience,” said Linda. “The vibe on set was chill and Dolly and I got to catch up and laugh a lot. I could go on and on, obviously I’m a fan!”
Dolly’s Rockstar (her 49th studio album and first pure rock album) comes out November 17 and includes the previously-released songs “World on Fire,” “Bygones,” “We Are the Champions/We Will Rock You,” and “Let It Be.” In addition to reuniting The Beatles, Rockstar also features an unimaginable list of special guests and featured artists that only Dolly Parton could bring together.Rockstar Tracklisting
1. “Rockstar” (with Richie Sambora)
2. “World on Fire”
3. “Every Breath You Take” (featuring Sting)
4. “Open Arms” (featuring Steve Perry)
5. “Magic Man” (featuring Ann Wilson with special guest Howard Leese)
6. “Long as I Can See the Light” (featuring John Fogerty)
7. “Either Or” (featuring Kid Rock)
8. “I Want You Back” (featuring Steven Tyler with special guest Warren Haynes)
9. “What Has Rock and Roll Ever Done for You” (featuring Stevie Nicks with special guest Waddy Wachtel)
10. “Purple Rain”
11. “Baby, I Love Your Way” (featuring Peter Frampton)
12. “I Hate Myself for Loving You” (featuring Joan Jett and the Blackhearts)
13. “Night Moves” (featuring Chris Stapleton)
14. “Wrecking Ball” (featuring Miley Cyrus)
15. “(I Can’t Get No) Satisfaction” (featuring P!nk and Brandi Carlile)
16. “Keep On Loving You” (featuring Kevin Cronin)
17. “Heart of Glass” (featuring Debbie Harry)
18. “Don’t Let the Sun Go Down on Me” (featuring Elton John)
19. “Tried to Rock and Roll Me” (featuring Melissa Etheridge)
20. “Stairway to Heaven” (featuring Lizzo)
21. “We Are the Champions/We Will Rock You”
22. “Bygones” (featuring Rob Halford with special guests Nikki Sixx and John 5)
23. “My Blue Tears” (featuring Simon Le Bon)
24. “What’s Up?” (featuring Linda Perry)
25. “You’re No Good” (featuring Emmylou Harris and Sheryl Crow)
26. “Heartbreaker” (featuring Pat Benatar and Neil Giraldo)
27. “Bittersweet” (featuring Michael McDonald)
28. “I Dreamed About Elvis” (featuring Ronnie McDowell with special guest The Jordanaires)
29. “Let It Be” (featuring Paul McCartney and Ringo Starr with special guests Peter Frampton and Mick Fleetwood)
30. “Free Bird” (featuring Lynyrd Skynyrd)
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As the NFL’s Week 3 matchups for Monday Night Football draw near, football fans are gearing up for an exciting clash between the Philadelphia Eagles and the Tampa Bay Buccaneers. The upcoming game promises high-stakes football, making it a must-listen event.
Listen live to your choice of the home, away, or national feed on the SiriusXM App. Kickoff is September 25 at 7:15pm.
The Eagles are off to a blazing start this season with a perfect 2-0 record, marking the second consecutive year they’ve achieved this impressive feat. Leading the charge is their dynamic quarterback, Jalen Hurts, who put on a remarkable performance in Week 2, accounting for three touchdowns – two on the ground and one through the air.
Hurts has already amassed nine games with two or more rushing touchdowns, placing him just behind Cam Newton in the all-time rankings. Additionally, he’s tied with Newton for the most rushing touchdowns by a quarterback in their first 50 career games, boasting 28 in just 47 games. In his last regular-season meeting with the Bucs, Hurts showcased his dual-threat abilities with three touchdowns.
Running back D’Andre Swift is making waves too, rushing for a career-high 175 yards in Week 2, a feat not seen by a Philadelphia running back since LeSean McCoy‘s impressive 217-yard performance in 2013.
Wide receiver Devonta Smith is another player to watch, as he recorded 131 receiving yards and a touchdown in Week 2, marking his eighth game with over 100 receiving yards.
The explosive A.J. Brown, who had a touchdown catch in his only previous game against Tampa Bay, is eager to make his mark on Monday Night Football.
On the defensive side of the ball, Josh Sweat is on a tear with 30 career sacks, including six forced fumbles in his impressive career. Fletcher Cox, a stalwart in the Eagles’ defensive line, recorded his 14th career fumble recovery in the last game. Keep an eye on rookie Jalen Carter, who has been consistently disruptive with tackles for loss in his first few NFL games.
In the secondary, cornerback Darius Slay aims to extend his streak of pass deflections, having notched 12 in his past seven primetime games.Tampa Bay Buccaneers Home Feed
SiriusXM channel 225 in your vehicle
Channel 829 on the SiriusXM AppPhiladelphia Eagles Away Feed
SiriusXM channel 226 in your vehicle
Channel 825 on the SiriusXM AppNational Feed – 7:15pm ET
SiriusXM channel 227 in your vehicle
Channel 964 on the SiriusXM AppHome: Tampa Bay Buccaneers
The Tampa Bay Buccaneers have been nothing short of spectacular in the early stages of the season. Quarterback Baker Mayfield showcased his prowess in Week 2, completing 76.5% of his passes for 317 yards and a touchdown, boasting a passer rating of 114.5. Mayfield’s efficiency is a testament to his 11th career game with over 300 passing yards. In his only previous start against Philadelphia, he threw for 204 yards and an 86.2 passer rating.
Rachaad White, a versatile threat in the Buccaneers’ arsenal, had a stellar Week 2 performance, recording over 100 scrimmage yards and his second career rushing touchdown.
Wide receiver Mike Evans was nothing short of electrifying, racking up 171 receiving yards and a touchdown, marking his eighth game with over 170 receiving yards. He’s the only player in the league with six or more receptions and a touchdown catch in each of the first two weeks.
Chris Godwin boasts the longest active streak of games with five or more receptions, currently at 16 games, and is hungry for more success on Monday Night Football.
Tight end Cade Otton is also a reliable target for Mayfield, as he tied his career high with six catches in the previous game.
The Buccaneers’ defense is just as formidable as their offense, with standout players like Lavonte David and Devin White consistently making their presence felt on Monday Night Football. Shaquil Barrett had an impressive Week 2 with a sack and his first career interception returned for a touchdown.
For more on SiriusXM’s NFL programming, visit SiriusXM.com/NFL.
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This weekend, the Monterey Jazz Festival — the longest continuously-running jazz festival in the world — returns to the Monterey County Fairgrounds in Monterey, CA.
Experience the music, heritage, and energy of the 66th Monterey Jazz Festival when Real Jazz (Ch. 67) broadcasts performances from artists like Christian McBride, Dianne Reeves, Louis Cato, and more.
Tune in September 23 and 24 from 5–9pm ET to hear live and recorded sets from these legendary jazz musicians.
5pm – Show opens
5:10pm – Gretchen Parlato & Lionel Loueke
6:10pm – Artist and audience interviews
6:30pm – Louis Cato
7:30pm – Artist and audience interviews
7:50pm – Christian McBride’s New Jawn
8:50pm – Show closes
5pm – Show opens
5:10pm – Taylor Eigsti Group
6:10pm – Artist and audience interviews
6:30pm – Terri Lyne Carrington & New Standards
7:30pm – Artist and audience interviews
7:40pm – Snarky Puppy
7:50pm – Dianne Reeves
8:50pm – Show closes
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This Saturday, college football fans across the nation will be tuning in eagerly to witness the No. 6 Ohio State Buckeyes take on the No. 9 Notre Dame Fighting Irish at the iconic Notre Dame Stadium.
Listen live to your choice of home and away feeds on the SiriusXM App and in car radios. Kickoff is September 23 at 7:30pm ET.
As the Buckeyes head to South Bend, they find themselves with growing confidence in their offensive backfield. Just a week after earning the starting quarterback position, Kyle McCord showcased an impressive performance against Western Kentucky, throwing for 317 yards with a completion percentage of 82.6% and 3 passing touchdowns.
Nonetheless, uncertainties persist regarding McCord’s performance in a demanding away game setting, the proficiency of the newly appointed starting tackles in safeguarding him, and whether the skilled defensive line can exert a greater influence on the game.
Running back TreVeyon Henderson is steadily regaining the stellar form he exhibited in 2021. Last week he had 13 carries for 88 rushing yards and 2 touchdowns.
At the beginning of the season, Ohio State’s defensive linemen set their sights on being the best in the nation. So far, they haven’t produced those game-changing moments, with only three sacks by linemen, and none from J.T. Tuimoloau and Jack Sawyer on the edges. However, the unit ranks second in the country for fewest points allowed, with just 6.7 points per game given up.Home: Notre Dame Fighting Irish
On the Notre Dame front, the Fighting Irish have gained valuable insights about their team through four games.
Quarterback Sam Hartman has been exceptional, with 13 touchdowns, 0 interceptions, and a remarkable 71.1 percent completion rate.
Furthermore, the wide receiver group is displaying promise with Jayden Thomas and Jaden Greathouse. Last week Jayden Thomas had 4 receptions for 63 yards, averaging 15.8 yards per reception. Jaden Greathouse has 10 receptions this years, 3 of them resulting in a touchdown.
Notre Dame’s defense receives a boost with the return of veteran defenders JD Bertrand and DJ Brown from injury. In addition, the team boasts top-tier cornerback talent in Benjamin Morrison and Cam Hart, who will be tasked with containing Ohio State’s star wide receivers, Marvin Harrison Jr. and Emeka Egbuka.Notre Dame Fighting Irish Home Feed:
SiriusXM channel 129 in your vehicle
Channel 129 on the SiriusXM AppOhio State Buckeyes Away Feed:
SiriusXM channel 85 in your vehicle
Channel 85 on the SiriusXM App
Want to listen to more games? Throughout the 2023 College Football season, SiriusXM listeners get access to dozens of game broadcasts each week involving teams from the ACC, Big Ten, Big 12, Pac-12, SEC, and other conferences — plus Army, Navy, HBCU football and more. For more information about SiriusXM’s college football offerings, click here.
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The No. 19 Colorado Buffaloes are headed to Eugene, OR, to take on the No. 10 Oregon Ducks on September 23 at 3:30pm ET. You can listen to every snap live from Autzen Stadium on the SiriusXM App and in car radios with your choice of the home or away feed.
Colorado enters the game with an electrifying passing attack that has set the college football scene ablaze. Ranking second-best in the FBS with an impressive 418 passing yards per game, they’ve been the architects of some spectacular aerial displays.
However, their defense has struggled, conceding an average of 460.3 total yards per game. When it comes to third-down conversions, the Buffaloes are solid, sitting at 28th in the nation with a 48.9% success rate on offense. Defensively, they have work to do, ranking 17th-worst with a 48% third-down conversion rate allowed. On the turnover front, Colorado boasts a top-25 margin at +3, showing their ability to capitalize on opponents’ mistakes.
While their passing game shines brightly, the Buffaloes have room for improvement in the running game, ranking sixth-worst with just 61 rushing yards per game. Their rushing defense hasn’t fared much better, allowing 195.3 yards per game, the 14th-worst in the nation.
Quarterback Shedeur Sanders has been a standout performer, with 1,251 passing yards, averaging 417 yards per game, and a remarkable 78.7% completion rate, accompanied by 10 touchdowns and only 1 interception.
Dylan Edwards, a versatile player contributing both as a rusher and receiver, is a vital asset with 136 rushing yards, 160 receiving yards, and a combined 4 touchdowns.
On the opposing side of the field, the No. 10 Oregon Ducks bring a balanced game to the matchup. Their offense has been nothing short of stellar, ranking third-best in the FBS with an astonishing 587 total yards per game. Their passing game, in particular, has been a force to be reckoned with, securing the fifth spot with 363.3 passing yards per game.
Defensively, the Ducks have shown their mettle by ranking 30th in the nation, allowing just 285.7 yards per game. Furthermore, their passing defense is equally impressive, sitting at 15th-best with 158.7 passing yards allowed per game.
Oregon excels in the rushing game as well, ranking 12th-best with 223.7 rushing yards per game. Their run defense, however, ranks 71st, allowing 127 rushing yards per game.
When it comes to third-down efficiency, the Ducks’ defense holds strong, ranking 38th with a 33.3% third-down conversion rate allowed. Offensively, they’ve been even more effective, ranking 16th-best with a 52.8% third-down conversion rate.
Perhaps one of the most eye-catching stats for the Ducks is their turnover margin. With six forced turnovers (25th in the FBS) and zero turnovers committed (first in the FBS), they boast an impressive +6 turnover margin, the fourth-best in college football.
Quarterback Bo Nix has been exceptional with 893 passing yards, 8 touchdowns, and an impressive 77.6% completion rate. His ability to lead the offense will be a key factor.
Khyree Jackson and Jeffrey Bassa are major players for The Ducks’ defense, with interceptions and tackles that can turn the tide of the game.Oregon Ducks Home Feed:
SiriusXM channel 197 in your vehicle
Channel 959 on the SiriusXM AppColorado Buffaloes Away Feed:
SiriusXM channel 83 in your vehicle
Channel 83 on the SiriusXM App
Want to listen to more games? Throughout the 2023 College Football season, SiriusXM listeners get access to dozens of game broadcasts each week involving teams from the ACC, Big Ten, Big 12, Pac-12, SEC, and other conferences — plus Army, Navy, HBCU football and more. For more information about SiriusXM’s college football offerings, click here.
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It’s time to swap out your acoustic guitar for some ‘80s synths, grab your Polaroid camera, and shake off all those bad feelings — 1989 (Taylor’s Version) is nearly here!
Originally released in 2014, 1989 broke records, dominated the charts, won countless awards, and spawned several hit singles. It was a career-defining record that successfully established Taylor Swift’s transition to a new queen of pop.
Swifties have been especially hyped for its re-recording due to the album’s iconic status, and Taylor has provided them with scavenger hunts and surprise reveals galore.
Find out everything you need to know — and everything we know — about 1989 (Taylor’s Version) here.1989 (Taylor’s Version) Release Date
Taylor announced 1989 (Taylor’s Version) to a stadium full of screaming fans during the last night of her Los Angeles Eras Tour concerts. The screen behind the singer-songwriter at Sofi Stadium lit up to reveal the new album cover. It showed Taylor wearing her classic red-lip smile photographed against a clear blue sky filled with seagulls, alongside the album’s release date of October 27. This will be exactly nine years to the day since the original 1989 album was released.
Not long after this announcement, a post went live across Taylor’s socials that confirmed the release and teased fans with five new songs from “the vault”!
Surprise!! 1989 (Taylor’s Version) is on its way to you ! The 1989 album changed my life in countless ways, and it fills me with such excitement to announce that my version of it will be out October 27th. To be perfectly honest, this is my most FAVORITE re-record I’ve ever done… pic.twitter.com/JFYOWhBxhj
— Taylor Swift (@taylorswift13) August 10, 2023
1989 (Taylor’s Version) Vault Tracks
Taylor has included vault tracks on all of her previous re-recorded albums — Red (Taylor’s Version), Speak Now (Taylor’s Version), and Fearless (Taylor’s Version). Vault tracks are unreleased songs from the time of the original album’s recording that didn’t make the final cut. They offer further insight into Taylor’s songwriting history and are a real treat for fans!
With a particular fondness for mysteries, Taylor often makes her fans work to find out details about her new releases. For the vault tracks on this album, she sent them on a digital scavenger hunt, teaming up with Google to have Swifties complete 89 word puzzles each. A total of 33 million puzzles were solved overall, which unlocked an animated blue safe that contained the 1989 (Taylor’s Version) vault track titles.
The tracks are: “Now That We Don’t Talk,” “Say Don’t Go,” “Suburban Legends,” and “Is It Over Now?”. We already know we’re going to be dancing and crying (all at the same time) to these new tracks!
It’s a new soundtrack Here are the back covers and vault track titles for 1989 (my version) I can’t wait for this one to be out, seriously. Thank you for playing along, sleuthing, puzzling and making these reveals so much chaotic fun (which is the best kind of fun, after all… pic.twitter.com/s3QrxGpXhP
— Taylor Swift (@taylorswift13) September 20, 2023
Taylor then went to her socials to showcase the four different back covers of the album and the full track list, which included a sneaky extra vault track titled “Slut!” The Target-exclusive version of the album will also have its very own yet-to-be-revealed bonus track. Nobody can say Taylor doesn’t treat her Swifties well!
The track list reveal also put to rest fan speculation that artists such as Harry Styles and Selena Gomez would feature on some of the vault tracks. Alas, the rumors weren’t “terrible and cruel,” but it turned out they only existed in our wildest dreams.1989 (Taylor’s Version) Physical Versions
We’re definitely not complaining, because the treats, gifts, and exclusives just don’t stop.
In true Taylor style, the songwriting superstar is giving her fans even more with the physical versions of her latest re-recorded album. Alongside the digital and CD formats, 1989 (Taylor’s Version) will also be available on cassette and in four different colors on vinyl — blue, rose garden pink, aquamarine green, and sunrise boulevard yellow.
The post Everything We Know About ‘1989 (Taylor’s Version)’ So Far appeared first on SiriusXM.
Get ready for an electrifying NFL showdown as the Las Vegas Raiders host the Pittsburgh Steelers this weekend. With both teams boasting talented rosters and a hunger for victory, Sunday Night Football promises to deliver an unforgettable showdown. Tune in and witness the gridiron drama unfold as the Steelers clash with the Raiders under the primetime lights!
Listen live to your choice of the home, away, or national feed on the SiriusXM App. Kickoff is September 24 at 8:20pm ET.
In the black and silver corner, we have Jimmy Garoppolo, who’s been making waves with his impressive performances. Last week, he completed 66.7% of his passes for 185 yards. Jimmy G is no stranger to prime time success, boasting 11 TDs (10 passing, 1 rushing) and a 100.8 passer rating in eight career Sunday Night Football starts. He’s riding a hot streak, with three consecutive wins and six TDs (five passing, one rushing) in his last three prime time appearances.
Josh Jacobs is the man to watch for the Raiders. With five catches for 51 yards last week, he’s a versatile threat. Jacobs has a knack for shining under the prime time lights, amassing 1,200 scrimmage yards and 10 rush TDs in 13 career night games. He’s had 100+ scrimmage yards and a rushing TD in three of his last four such contests.
Davante Adams is the Raiders’ top receiving threat, coming off a game with 6 catches for 84 yards and a touchdown. He’s been a touchdown machine, scoring in each of his last 12 Sunday Night Football appearances. Adams is just one touchdown away from joining the elite club of players with 30 career primetime receiving TDs.
Maxx Crosby and Divine Deablo lead the Raiders’ defense. Crosby has five sacks in his last four prime time games, while Deablo has been racking up tackles and sacks. Keep an eye on Robert Spillane for the Steelers, who had 14 tackles and a sack in Week 2.Las Vegas Raiders Home Feed
SiriusXM channel 225 in your vehicle
Channel 816 on the SiriusXM AppPittsburgh Steelers Away Feed
SiriusXM channel 226 in your vehicle
Channel 826 on the SiriusXM AppNational Feed
SiriusXM channel 88 in your vehicle
Channel 88 via on the SiriusXM AppEn Español
SiriusXM channel 228 in your vehicle
Channel 832 on the SiriusXM AppAway: Pittsburgh Steelers
On the other side of the field, the Pittsburgh Steelers have their own set of playmakers. Kenny Pickett has been showing poise in his recent performances, completing 66.7% of his passes for 244 yards with a touchdown and an interception in his last meeting with the Raiders. He’s on a four-game winning streak in prime time.
Najee Harris and Jaylen Warren are a dynamic duo. Harris has been a prime time performer, with 389 scrimmage yards and 3 TDs in four Sunday Night Football appearances. Warren had a career-high 66 receiving yards in Week 2.
George Pickens and Allen Robinson are targets to watch. Pickens had a breakout game with 127 yards and a touchdown. Robinson has been consistent with six or more catches in three of his last four Sunday Night Football outings.
T.J. Watt and Alex Highsmith are forces to be reckoned with. Watt leads the NFL with 4 sacks in 2023 and is on a roll with 0.5+ sacks in his last four games. Highsmith is coming off an impressive performance with seven tackles, a sack, a forced fumble, and an interception for a touchdown in Week 2.
For more on SiriusXM’s NFL programming, visit SiriusXM.com/NFL.
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As the 2024 presidential race gathers momentum, political enthusiasts and curious citizens alike are eagerly anticipating the second Republican presidential debate. It is scheduled to take place on September 27 at 9pm ET at the Ronald Reagan Presidential Library in Simi Valley, CA.
The two-hour debate — which will broadcast live on on SiriusXM’s FOX News Channel — promises to be another crucial moment in the election season, offering a unique opportunity to hear directly from the contenders as they discuss their policies, visions, and strategies for the future of the United States.
The debate will be moderated by Stuart Varney and Dana Perino of FOX News and Univision’s Ilia Calderón.
The FOX News Channel is available on the SiriusXM App and radios on channel 114.
Republican Debate Participants
To qualify for the second debate, Republican candidates for presidency must:Poll at 3% in two national poll OR poll at 3% in one national poll and 3% in one early state poll from two early-voting states Have a minimum of 50,000 unique donors to their principal presidential campaign committee or exploratory committee Have at least 200 unique donors per state or territory in more than 20 states and/or territories
For the first debate, the polling requirement was 1% in the same poll categories.
While the official list of debate participants has not been set, it is likely that Donald Trump, Vivek Ramaswamy, Nikki Haley, Chris Christie, Mike Pence, Ron DeSantis, Tim Scott will make the cut. Trump has announced he’s opting to deliver his own address from Detroit that night.
Get ready for an exciting NFL Thursday Night Football matchup in Week 3 as the New York Giants take on the San Francisco 49ers. With both teams looking to build on their wins last week, this showdown promises to be a must-listen event.
Listen live to your choice of the home, away, or national feed on the SiriusXM App. Kickoff is September 21 at 8:15pm ET.
The 49ers have surged to a 2-0 record for the third time in the past five seasons, making them a formidable opponent for the Giants.
Quarterback Brock Purdy, with 206 passing yards in Week 2, is set to shine on home turf. Purdy boasts an impressive 132.8 rating in three career home starts, with eight touchdowns (seven passing, one rushing) and just one interception.
Running back Christian McCaffrey, one of the NFL’s most dynamic players, had 135 scrimmage yards and a rushing touchdown in Week 2. McCaffrey ranks second in the league with 304 scrimmage yards and aims for his eighth consecutive game with a touchdown. He has a history of success against the Giants, with 221 scrimmage yards and a receiving touchdown in two previous meetings.
Wide receiver Deebo Samuel is a game-changer, coming off a Week 2 performance with 101 scrimmage yards and his 15th career rush touchdown. Samuel’s explosiveness was evident in his last Thursday night game, where he recorded 191 scrimmage yards.
Tight end George Kittle, a red-zone threat, has four receiving touchdowns in his past four Thursday night games and is looking to continue his scoring streak at home.
Defensively, Nick Bosa has been a menace to opposing quarterbacks with 13 sacks and 14 tackles for loss in nine home games last season. Linebackers Fred Warner and Dre Greenlaw are tackling machines, and cornerback Isaiah Oliver secured his first interception of the season in Week 2.New York Giants Home Feed
SiriusXM channel 225 in your vehicle
Channel 827 on the SiriusXM AppSan Francisco 49ers Away Feed
SiriusXM channel 226 in your vehicle
Channel 823 on the SiriusXM AppNational Feed
SiriusXM channel 88 in your vehicle
Channel 88 via on SiriusXM AppAway: New York Giants
The Giants showcased their resilience in Week 2 by completing a jaw-dropping 21-point comeback, marking one of the franchise’s most memorable victories.
Quarterback Daniel Jones led the charge, demonstrating his prowess by completing 70.3% of his passes for 321 yards and two touchdowns. Jones also showcased his dual-threat abilities with 59 rushing yards and a 13th career rushing touchdown. In his quest for a third consecutive road start with over 300 passing yards, Jones looks to maintain his impressive Thursday night performance streak.
Running back Saquon Barkley, a force to be reckoned with, had a stellar Week 2 outing, amassing 92 scrimmage yards, including two touchdowns—one on the ground and one through the air. Barkley has a knack for finding the end zone in Thursday games, having scored a rushing touchdown in two out of three career appearances. Additionally, he has a history of success against the 49ers, with 100 scrimmage yards in their only prior meeting. Saquon Barkley will miss this week due to an ankle injury, leaving Matt Breida to start at running back.
Adding to the excitement, tight end Darren Waller is coming off a strong performance with six catches for 76 yards, while rookie receiver Jalin Hyatt led the team with 89 receiving yards. Watch out for Isaiah Hodgins, who aims for his third consecutive road game with a receiving touchdown.
On the defensive front, Dexter Lawrence and Bobby Okereke are primed to make an impact with their penchant for tackles and tackles for loss. Safety Jason Pinnock looks to continue his stellar play after setting career highs with 13 tackles and three tackles for loss in Week 2.
Cornerback Adoree’ Jackson is a key player to watch, aiming for his fourth consecutive road game with a pass defended. Jackson also had an impressive outing against the 49ers in his only prior meeting.
For more on SiriusXM’s NFL programming, visit SiriusXM.com/NFL.
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The NASCAR Cup Series Playoffs ended the first round at Bristol Motor Speedway. Here’s a look at the “Power Rankings” after Saturday night’s Bass Pro Shops Night Race:
1. Denny Hamlin
The best driver in the first round of the Playoffs is not a fan favorite but Hamlin has made it perfectly clear he doesn’t care about public perception. His third win of the season to cap off the opening round solidified Hamlin’s spot as the championship favorite with seven races remaining in the 2023 season.
Playoff Ranking: 3rd
Last Week: 3rd
2. Kyle Larson
He started last after a qualifying mishap and quickly charged through the field to finish an impressive second at Bristol. Larson is hoping for a better result in the next round of the Playoffs than he experienced a year ago.
Playoff Ranking: 4th
Last Week: 1st
3. Tyler Reddick
The heavy lifting was done the previous race at Kansas where Reddick won to advance to the next round of the Playoffs. Just a 15th place effort in Bristol for the second half of the 23XI Racing duo still with title aspirations.
Playoff Ranking: 8th
Last Week: 2nd
4. Chris Buescher
The defending Bristol race winner only led one lap on Saturday but Buescher was still a top-five finisher. He remains Ford’s best shot at going deeper into the Playoffs and opens the next round at his home track in Texas.
Playoff Ranking: 5th
Last Week: 4th
5. William Byron
A solid of not flashy opening round for Byron got him through to the next round of the Playoffs. A top-10 in Bristol was good enough to keep Byron in the conversation but he’ll look for better performances over the next three races.
Playoff Ranking: 1st
Last Week: 4th
6. Brad Keselowski
Another top-10 finish for Keselowski but he did fall below the the cut line entering the next round of the Playoffs. He’ll need to step it up a bit if the Roush Fenway Keselowski team hopes to keep both its drivers going forward in the championship race.
Playoff Ranking: 10th
Last Week: 6th
7. Chase Elliott
The dust-up with teammate Kyle Larson was well in the rear view mirror as were several competitors Saturday night in Bristol. Elliott started seventh and finished in the same spot to keep his consistent run of finishes going.
Point Standings: 18th
Last Week: 7th
8. Christopher Bell
Three straight poles set the tone for Bell over the weekend and he was finally able to execute a solid race. The Joe Gibbs Racing driver led 187 laps and finished third to easily advance in the Playoffs.
Playoff Ranking: 7th
Last Week: NR
9. Bubba Wallace
The 23XI dream stayed alive with both cars moving on to the next round of the Playoffs. Wallace literally survived and advanced after crossing the finish line in 14th-place Saturday night.
Point Standings: 12th
Last Week: 9th
10. Martin Truex Jr.
He was able to stay alive in the Playoff picture despite a very mediocre at best19th place Bristol finish. Best news for Truex Jr. is a re rack for the next round of the Playoffs and the 19 team is hoping for a much better next three races.
Playoff Ranking: 2nd
Last Week: 10th
Dropped Out: Kyle Busch
How did Pitbull go from high school hallway rap battles to the set of a DMX music video shoot to becoming a global superstar? It all started with one teacher.
Born in 1981 in Miami, FL, to Cuban immigrant parents, Pitbull “lived in a lot of different neighborhoods” and “went to about 25 different schools,” he told Kevin Hart during a new episode of his Gold Minds podcast. “Never been a troublemaker, just always been around some trouble.”
At these various high schools, he joined in on freestyle rap battles. “The crowds would erupt, we’d be in the middle of the hallways or the basketball courts,” Pitbull continued, “and there was a lot of gangs at the time, so [the teachers] didn’t know what was going on, whether there was a fight, a stabbing, a shooting, whatever it is.”
During one of the battles, Pitbull’s teacher, Hope Martinez, broke things up and pulled him to the side. Instead of getting mad, Pitbull remembered, “She said, ‘Hey, you’ve got talent.’ Fast forward, she gets me an invitation to a DMX video shoot in ’97 [or] ’98. It’s called ‘Ain’t No Cats Got Love for Me’ with a cat named Drag-On on it.”
During the shoot, Pitbull said one his friends — who happened to be a real smooth talker — was chatting up the Ruff Ryders, telling DMX that Pitbull could win in a rap battle against anybody. “So I end up battling Drag-On,” Pitbull said. “Swizz Beatz is right there. And Swizz is like, ‘Man, I’m gonna give Drag three rounds. He’s gonna burn you.'”
But Pitbull and Drag-On ended up going eight rounds.
“Then, Drag spits a verse off of a record called ‘Down Bottom’ with him and Juvenile. Record hadn’t come out yet, but the flow was crazy. So I’m like, ‘Oh, man. You got me,'” Pitbull said. “But his people are like, ‘No. You got him.'” Drag-On lost because he used previously-written material and didn’t truly freestyle.
That win landed Pitbull in a conversation Irv Gotti, producer and co-founder of Murder Inc. Records. Starstruck at the time, Pitbull said, “Irv Gotti is the one that got Jay-Z, DMX, and Ja Rule to Def Jam. Ashanti, you name it. The guy is a huge producer.”
Irv asked Pitbull if he writes music, but Pitbull told him that he only freestyles — to which Irv replied, “That freestyle s*** is great, but it don’t make no money.”
This became a lightbulb moment for Pitbull to start putting pen to paper, but he still credits Hope Martinez for first recognizing his talent and being the one to put everything in motion.
“When she gave [the invitation to DMX’s video shoot] to me, she goes, ‘Just know this. I don’t ever want anything from you in my life. I just want you to thank me when you win your first award, because I believe in you,'” Pitbull said. “Verbatim.”
To date, Pitbull has won a GRAMMY Award, a Latin GRAMMY Award, the Golden Plate Award of the American Academy of Achievement, and countless others. He also has his own SiriusXM channel, Pitbull’s Globalization (Ch. 13), and created SLAM Radio (Ch. 145), the first satellite radio station run by high school students.
The post Pitbull Explains How a Teacher Launched His Career by Getting Him on a DMX Video Shoot appeared first on SiriusXM.
From around September 23 to about October 23, it’s Libra season! This air sign is fair, sociable, and hardworking.
It comes as no surprise then that these qualities have led to a whole host of successful Libras within the music industry. From the all-American anthems of Bruce Springsteen to the rapping prowess of Eminem and the smash pop-hits of Halsey, there’s no shortage of Libra legends.
To celebrate Libra season, we’ve chosen the perfect song for each star sign. So whether you’re a Libra or not, there’s something for you. Join SiriusXM as we look at your music horoscope for Libra season.Libra “Imagine” — John Lennon
Libras are known for being diplomatic as they strive for equality. This makes John Lennon’s 1971 hit the perfect song for Libra season. Lennon, a Libra himself, spoke of unity in “Imagine,” asking us to “Imagine all the people, sharing all the world.” It embodies the longing for fairness that Libras value so highly. “Imagine” also comes with a sense of hopefulness and optimism; qualities that Libras tend to hold, even in the toughest of times.
Check out more songs written and performed by John Lennon and the rest of the Fab Four on The Beatles Channel (Ch. 18).Aries “Better Together” — Jack Johnson
Libra and Aries are both highly sociable star signs. They love the company of other people and know the value of collaboration. Jack Johnson’s 2005 acoustic hit appreciates the importance of togetherness. Both star signs cherish quality time with friends and family, and know that good company can make everything a little bit better!Taurus “Both Sides, Now” — Joni Mitchell
Tauruses can sometimes have an all-or-nothing approach to life, whereas Libras often look at the bigger picture and take everything into consideration. The profound lyrics from Joni Mitchell’s 1969 folk hit can teach Taureans to adopt Libra’s outlook when it comes to viewing others and look at life from a broader perspective.
Check out Young The Giant’s cover of Joni Mitchell’s iconic song for Alt Nation (Ch. 36).Gemini “We Are Your Friends” — Justice vs. Simian
Geminis love to talk — whether that’s to close friends or total strangers. Similarly, Libras love to be around other people. “We Are Your Friends” is a funky, upbeat electro bop celebrating friendship and camaraderie. So, if you’re a Gemini, a Libra, or just want to dance along to a great tune, turn this one up loud!Cancer “Hey Brother” — Avicii
Those born under the signs of Cancer and Libra are very family-oriented and will always be by their family’s side whenever needed or called upon. Avicii’s “Hey Brother” is an ode to siblinghood and is all about being there for your family when the sky comes falling down. When needed, Cancers and Libras will do anything for those that they consider to be family.
Listen to Avicii’s greatest hits and other dance anthems on BPM (Ch. 51).Leo “Three Little Birds” — Bob Marley and The Wailers
Leos and Libras are exceptionally charming people. They both have infectious energies. If they’re happy, those around them will find it hard not to feel that way too. Likewise, those born under both signs are often very laid back, taking whatever happens in their stride. Bob Marley and The Wailer’s song teaches us to try not to worry, and reassures us that “every little thing is gonna be alright!”
For more classic reggae hits, listen to Bob Marley’s Tuff Gong Radio (Ch. 19).Virgo “Human” — Rag’n’Bone Man
Virgos can sometimes be quick to jump to conclusions about other people. This isn’t always a bad thing, mainly because Virgos are highly intuitive. However, nobody knows everything about everyone, and Rag’n’Bone Man’s “Human” can teach Virgos something about a Libra’s ability to consider all facets of a person before judging them.Scorpio “What A Wonderful World” — Louis Armstrong
Like Libras, Scorpios have an excellent ability to appreciate the world around them, and this time of year is an excellent opportunity to do so. As we move into fall, many will get to see beautiful autumn leaves and experience some cooler weather, too. So, play Louis Armstrong’s classic 1967 hit this Libra season, and venture out into our wonderful world!Sagittarius “Step Out” — José González
Written for Ben Stiller’s 2013 movie The Secret Life of Walter Mitty, “Step Out” is the perfect anthem for those born under Sagittarius. They love to explore new places, meet new people, and try new things. Libras love an adventure too, as long as it includes friends and family, but Sagittarians take wanderlust to a new level. This song is all about breaking free of your home comforts, exploring new places, and living life to the fullest. After listening, you’ll want to get up, get out, see new places, and seize the day!Capricorn “Say So” — Doja Cat
Capricorns have a practical communication style but shy away from expressing romantic feelings. By contrast, when Libras like someone, they let them know immediately. Because Doja Cat is a Libra herself it makes sense that she would encourage others to just put themselves out there. So If you’re a Capricorn with a crush, then maybe take Doja Cat’s advice and just “say so.” It might be for the best.
If you’re a fan of Doja Cat, find her latest hits on Hip-Hop Nation (Ch. 44).Aquarius “Dream On” — Aerosmith
Libras and Aquarians share two strong qualities — imagination and ambition. Aerosmith’s first major hit exemplifies both qualities, encouraging listeners to think big and chase their dreams. After all, those born under both signs are determined, driven, and capable of achieving whatever they set their minds to!
For more of Aerosmith’s anthems, check out Classic Rewind (Ch. 25).Pisces “Truly, Madly, Deeply” — Savage Garden
Pisces and Libra are exceptionally romantic signs. They both love being in love, are sincere, and give everything to those they fall for. So, what better song to unashamedly express your love to than Savage Garden’s 1997 bop? This song has everything from romantic gestures about standing on mountains, bathing in the sea, and pledging to be a dream, a wish, and a fantasy of their lucky partner. It may be cheesy, but it’s meaningful and heartfelt — making it the perfect love song for both signs!
Hear more 90s classics on 90s on 9 (Ch. 9).
Pete Pistone and the rest of the SiriusXM Big Ten Radio team will unveil “Power Rankings” each week of the college football season. Check out this week’s “Power Rankings” below, and start listening to SiriusXM Big Ten Radio (Ch. 372) on the SiriusXM app now.
Here’s how the SiriusXM Big Ten Radio team voted after Week Three to determine this week’s “Power Rankings:”MICHIGAN
Blake Corum had a 54-yard run on his first snap and finished with 101 yards and two touchdowns, helping No. 2 Michigan overcome a turnover-filled game in a 31-6 win over Bowling Green on Saturday night. J.J. McCarthy threw a career-high three interceptions, one more than he had in last year’s College Football Playoff loss to TCU. McCarthy was 8 of 13 for 143 yards with two touchdowns. He had a 33-yard pass to Roman Wilson late in the second quarter to put the Wolverines ahead 14-6 and a 50-yard touchdown pass to Cornelius Johnson on a flea flicker to give them a 25-point lead midway through the third quarter.
2. OHIO STATE
Kyle McCord threw for three touchdowns and 318 yards and No. 6 Ohio State used a 35-point second quarter to rout Western Kentucky 63-10 at Ohio Stadium on Saturday. McCord’s 75-yard TD pass to Marvin Harrison Jr. on the first play from scrimmage after Western Kentucky had pulled to within four points gave the Buckeyes (3-0) a 21-10 lead and Chip Trayanum ran for a 40-yard score on the first play of their next series to make it 28-10.
3. PENN STATE
Cam Miller, Abdul Carter, Daequan Dixon and Johnny Hardy had interceptions and No. 7 Penn State took advantage of five turnovers by Illinois to beat the Illini 30-13 Saturday. The Nittany Lions (3-0, 1-0 Big Ten) overcame a sub-par effort by Drew Allar, who completed just 16 of 33 passes for 208 yards, and the offense. The second-year quarterback connected on 78% of his passes in his first two games.
Cade McNamara threw for two touchdowns and freshman Kamari Moulton scored twice after halftime in his debut, helping No. 25 Iowa beat Western Michigan 41-10 on Saturday. Leshon Williams rushed for a career-high 145 yards on 12 carries as the Hawkeyes (3-0) pulled away in the second half of a game delayed 42 minutes by lightning in the first quarter. Iowa, which led just 14-10 at halftime, had a season-high 387 total yards.
Taulia Tagovailoa threw for 342 yards and a touchdown, and Maryland came back from an early deficit to rout Virginia 42-14 on Friday night in the teams’ first meeting in a decade. Braeden Wisloski scored on a 98-yard kickoff return to help the Terrapins (3-0) climb out of a 14-0 hole. Freshman quarterback Anthony Colandrea again showed some promise for Virginia (0-3), but he threw three interceptions and lost a fourth-quarter fumble as the game got away from the Cavaliers.
Kyle Monangai ran for 143 yards and three touchdowns, leading Rutgers to a 35-16 win over Virginia Tech on Saturday. Gavin Wimsatt continued his trajectory as a dual-threat quarterback for Rutgers, running for a career-high 87 yards to help the Scarlet Knights get off to a 3-0 start for the third straight season. The last time Rutgers started three consecutive seasons with three straight wins was from 1959 to 1961
Tanner Mordecai ran for two touchdowns, Braelon Allen added two more and Wisconsin beat Georgia Southern 35-14 on Saturday. Mordecai finished 19 of 30 for 236 passing yards. He had touchdown runs of 1 and 18 yards for Wisconsin (2-1) in its first meeting against the Eagles. Mordecai, a SMU transfer, also had seven carries for 36 yards and two touchdowns.
Drake Maye threw for a season-high 414 yards to go with two touchdowns, Nate McCollum flirted with a single-game UNC receiving record and No. 20 North Carolina pushed past Minnesota 31-13 on Saturday. Darius Taylor ran for 138 yards and a touchdown shortly before halftime to lead Minnesota (2-1), but the Gophers generated little else beyond the dynamic running from the true freshman. Athan Kaliakmanis threw for just 133 yards on 11-for-29 passing, and that played a big role in Minnesota converting just 3 of 12 third downs.
Syracuse quarterback Garrett Shrader rushed for 195 yards on 25 carries, including four touchdowns, and passed for 184 yards Saturday night to lead the Orange to a 35-20 victory over Purdue. Purdue quarterback Hudson Card’s 5-yard touchdown run closed the deficit to 21-14 with 4:28 left in the third quarter. Syracuse (3-0) regained a 14-point cushion with Shrader’s 1-yard TD early in the fourth.
Penn State defeated Illinois 30-13 Saturday in Champaign.
11. MICHIGAN STATE
Michael Penix Jr. threw for 473 yards and four touchdowns, including three to Jack Westover, to lead No. 8 Washington to a 41-7 victory over Michigan State. The Spartans (2-1) struggled offensively through most of the game and didn’t score until backup quarterback Katin Houser had a 4-yard run with 5:48 left.
Jamari Thrash caught an 85-yard touchdown pass and Jawhar Jordan added a 25-yard scoring run in the first half, and Louisville made a late goal-line stand to preserve a 21-14 victory over Indiana on Saturday. Indiana started the second half by recovering an onside kick. Three plays later, new starting quarterback Tayven Jackson hooked up with Jaylin Lucas on a 30-yard TD pass — the first of Jackson’s college career — to make it 21-7.
Heinrich Haarberg threw for two touchdowns and ran for another in his first start, and Nebraska beat Northern Illinois 35-11 Saturday night for coach Matt Rhule’s first win with the Cornhuskers. The Huskers (1-2) bounced back from losses at Minnesota and Colorado to win their home opener for the 36th time in 38 years. Haarberg, the 6-foot-5, 215-pound sophomore completed 14 of 24 passes for 158 yards and showed fearlessness as a runner, initiating contact rather than sliding feet-first and leading the Huskers with 21 carries for 98 yards.
Riley Leonard ran for two touchdowns and threw for 219 yards to lead No. 21 Duke to a 38-14 win over Northwestern on Saturday. Northwestern quarterback Ben Bryant was 17-for-34 for 123 yards with a touchdown and an interception. The Wildcats (1-2, 0-1 Big Ten) had 267 yards of total offense, with 90 of those in the fourth quarter.
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The dynamic duo, joined by drummer Cindy Blackman Santana, teamed up to put a unique twist on Phil Collins’ classic hit, and it’s set to be the new anthem for Monday Night Football.
Chris Stapleton — known for his soulful, whiskey-soaked vocals and exceptional songwriting skills — is no stranger to pushing musical boundaries. His gritty, authentic approach to country music has earned him countless accolades and legions of dedicated fans. On the other hand, Snoop Dogg, a hip-hop legend, brings a unique flavor to the mix with his smooth rhymes and laid-back style.
Their cover of “In the Air Tonight” takes the hauntingly atmospheric original and infuses it with a fresh, modern twist. The blend of Chris’s bluesy guitar licks and Snoop’s signature flow adds layers of depth and intrigue to this iconic track, making it the perfect anthem to kick off Monday Night Football.
This unexpected collaboration generated immense buzz after it debuted during last night’s Monday Night Football broadcast. It’s a testament to the power of music to bring people together across genres, and it’s sure to add an extra layer of excitement to an already thrilling football season.
Additionally, last week Carrie Underwood kicked off Sunday Night Football for her 11th consecutive year providing the official soundtrack. This season, Carrie sang an updated rendition of her very first SNF song, “Waiting All Day for Sunday Night” (a take on Joan Jett’s “I Hate Myself For Loving You”).
Can you feel it?
— ESPN (@espn) September 19, 2023
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Carlos Santana has announced additional performances of An Intimate Evening with Santana: Greatest Hits Live: Presented by SiriusXM, scheduled to take place in January, February and May of 2024. The residency is in its 11th year at the intimate House of Blues, featuring unparalleled dynamic energy from Carlos and his band. The concert is a must-see live experience for fans of the award-winning artist.
January 24, 26, 27, 28, 29, 31
February 2, 3, 4
May 10, 11, 15, 16, 18, 19, 22, 23
For more than five decades — from Santana’s earliest days as a groundbreaking Afro-Latin-blues-rock fusion outfit in San Francisco — Carlos Santana has been the visionary force behind artistry that transcends musical genres and generational, cultural, and geographical boundaries.
To date, Santana has won 10 GRAMMY Awards and three Latin GRAMMY Awards, with a record-tying nine GRAMMYs for a single project for 1999’s Supernatural (including Album of the Year and Record of the Year for “Smooth”). He has received the Billboard Century Award (1996), was ushered into the Rock and Roll Hall of Fame (1998), received the Billboard Latin Music Awards’ Lifetime Achievement honor (2009), and was the recipient of the Kennedy Center Honors Award (2013).
In 2018, he released his first MasterClass and recently celebrated three epic milestones: the 20th anniversary of his groundbreaking album Supernatural, the 50th anniversary of his legendary performance at Woodstock, and the 50th anniversary of his masterpiece Abraxas.
His most recent album, the powerful, energy-infused Blessings and Miracles (2021), features collaborations with Rob Thomas, Chris Stapleton, Steve Winwood, and many others. In May 2022, Carlos Santana and House of Blues Las Vegas celebrated the legendary artist’s 10th year of performing at the intimate venue and at that time, announced a multi-year extension.
The post Get Presale Tickets to Carlos Santana’s 2024 Las Vegas Residency Dates appeared first on SiriusXM.
It’s a historical oddity that the gap between the first appearance by the Beach Boys on the UK singles chart, and their first chart album there, was more than two years.
On September 25, 1965, as they made a surprisingly modest impression on the British singles Top 30 with the faultless “California Girls,” fans there finally gave them their album chart debut. They did so by going back some eight releases to their 1963 set Surfin’ USA. The reason was simple: Capitol had only just released this early piece of Beach Boys history in the UK for the first time.
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The extremely belated transatlantic appearance of Surfin’ USA was an odd throwback to their formative years of singing about surfing, cars and girls, at a time when Brian Wilson’s songwriting was becoming ever more sophisticated. Indeed, he had already given up touring to stay home and write songs. Meanwhile, the rest of the group continued their relentless schedule of road work, interspersed with studio sessions with Brian.Album sessions and extensive touring
As Keith Badman’s The Beach Boys book chronicles, four days during September 1965 had them booked into Western Recorders in Hollywood for work on their Beach Boys Party! album. In between, they played a three-week North American tour that, on the September 25 UK chart date, saw them playing at the Memorial Coliseum in Portland, Oregon.
The Surfin’ USA album entered the British countdown at No.17, disappeared for a week and then spent six more weeks on the list in October and November — five of them, bizarrely, at No.20. Soon, Capitol was continuing its catch-up schedule by releasing another of the group’s 1963 albums, Little Deuce Coupe, in the UK, once again two years late. That missed out on chart honors, but early in 1966, that Beach Boys Party! release was giving the group their first UK Top 10 album.
Buy or stream Surfin’ USA.
No one said it would be easy for The Who to carry on after the death of Keith Moon, but they found a way of remaining relevant and inventive with the 1981 release Face Dances. Nevertheless, Pete Townshend would later admit that he sensed that by then, a gulf had opened up between the band and the young generation of the day.
When The Who’s next album It’s Hard appeared in September 1982, the release was hurried forward to meet the deadline of their impending tour. As Townshend remembered in his Who I Am autobiography, the rest of the band knew long before those lucrative dates were over that Pete would announce his departure.
It’s Hard made its US chart debut on September 25, and climbed to No.8 in a 32-week run. Pete thought at the time that, in his own words, The Who were “laid to rest” and, in terms of new albums, that appeared to be true for a generation. That was until the remarkable reunion of the Endless Wire album 24 years later.
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Roger Daltrey would say in interviews later in the 1980s that the only song he really liked on It’s Hard was the somewhat dance-oriented “Eminence Front.” But for all of the hurried circumstances of its production, Townshend viewed the album as a creative success, and praised Daltrey for two particular performances. He wasn’t alone. Rolling Stone saw It’s Hard as “vibrant with the palpable energy of rekindled bonds and rediscovered group values.”
The piano-led ballad “One Life’s Enough” was, said Pete, “about acceptance, and the simple pleasure of making love.” He described it as one of Roger’s favorite vocal performances. The rockier “Cry If You Want” was a song Pete had tried to sing for an earlier solo project, and one on which Daltrey had learned the stream of words by heart. “He nailed it, almost fainting for lack of breath,” Townshend wrote.
Buy or stream It’s Hard.
As the distance from Tears For Fears’ hugely successful second album Songs From The Big Chair grew ever greater, both their fans and industry-watchers wondered whether they’d left it too long.
Rumors of the expense of the new production, said to be near £1 million, were accompanied by stories of abandoned sessions, creative uncertainty and huge delays. By the last months of the 1980s, it had been over four years since their worldwide breakthrough. Could Roland Orzabal and Curt Smith still deliver?
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Early sessions with in-demand producers Clive Langer and Alan Winstanley (Madness, Dexy’s Midnight Runners, Elvis Costello, et al) were abandoned. So were later recordings with Chris Hughes, before the renewed positivity of TFF’s work with Dave Bascombe came up trumps. The Seeds Of Love was released on September 25, 1989 and, on October 7, went straight to No.1 in the UK.
The success was all the more sweet because, for all the multi-platinum success of Big Chair, it never made the top of the UK chart, spending an aggregate three weeks at No.2. The Seeds Of Love didn’t go on to enjoy the chart longevity of its predecessor, but still cruised into the Top 10 in the US and around much of Europe.
This time, the new material had been introduced by the first single “Sowing The Seeds Of Love,” an Orzabal-Smith composition with a strong flavour of psychedelic, Beatles-influenced pop. The album offered a wide range of styles, including the delicate opening track “Woman In Chains,” which featured drums by Phil Collins and introduced the exquisite vocal talents of Oleta Adams. There were further singles in “Advice For The Young At Heart” and “Famous Last Words.”
The opening single and near-title track was the only one on the record to carry a co-writing credit for Smith. Orzabal wrote “Woman In Chains” and “Standing on the Corner of the Third World” on his own, and penned the remaining five songs with Nicky Holland. The latter singer-songwriter also worked with the Fun Boy Three, filmmaker John Hughes and on her own self-titled and Sense and Sensuality albums.
As Holland revealed in a 2017 interview with Songwriting magazine, Tears For Fears had admired her work well before they finally got together. “TFF asked me to work with them while they were making Songs From The Big Chair, but I declined as I was in the studio with [Phonogram signings] The Escape,” she said. “That project eventually petered out, and the next time they approached me, they sent me ‘Everybody Wants To Rule The World.’ I was blown away, and immediately agreed to accompany them on their world tour, which ended up lasting the best part of a year.
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“During that tour,” Holland continued, “Roland and I started writing during sound checks and continued to do so back in London, when we got back home. Five of the six songs we wrote ended up on their Seeds Of Love album, and I played piano and keyboards, sang and arranged strings on those songs. The sixth, ‘The Rhythm Of Life,’ was recorded by Oleta Adams, for her debut album Circle Of One.”
Among those co-writes for The Seeds Of Love, “Swords and Knives” featured oboe and saxophone by Kate St. John, with whom Holland had earlier been in the trio the Ravishing Beauties, also featuring Virginia Astley.‘A mature, musically sophisticated album’
In Rolling Stone, Michael Azerrad greeted the much-delayed album by observing: “The band has returned with a mature, musically sophisticated album that’s bound to impress even the most doubting of Thomases. Eight sprawling tracks of wide-screen Gabrielesque art rock (that’s an average of two a year) are wedded to a meticulous production; TFF’s Curt Smith and Roland Orzabal are clearly perfectionists – the record is heavily produced, but not to the point that all the life is produced right out of it.”
Greg Kot in the Chicago Tribune marveled: “The result is astonishing: instead of sounding labored and constricted, Seeds of Love has a wide open, soulful spaciousness that belies the heavy production expenses.”
Upon the record’s release, Curt Smith succinctly summed up all the delays and tribulations that went into its creation by telling Q magazine: “Although we know what we want, we’re not geniuses, unfortunately. But what we have is a certain passion for the end result, a passion to get it right.”
Buy or stream The Seeds Of Love.
Supertramp were preparing to strike gold on September 25, 1974, so it was appropriate that their new album release that day was titled Crime Of The Century. It was the band’s third LP and the one that provided a commercial breakthrough, hit singles in both the UK and US and ultimately gold certification in both countries.
Crime saw the English band perfecting an ever more successful blend of their progressive rock influences and the pop-friendly style that they continued on the subsequent Crisis? What Crisis?, Even In The Quietest Moments, the multi-platinum Breakfast In America and on into the 1980s.Breakthrough record? Bloody well right
The album featured such key songs by Rick Davies and Roger Hodgson as their first UK hit single “Dreamer,” which reached No.13 early in 1975, as well as the title number and “Bloody Well Right.” That was the track that crossed Supertramp over from FM to AM radio in America when it made the pop Top 40.
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The album, which had a deluxe, multi-format reissue in 2014 to mark its 40th anniversary, was their first to make the UK charts, but it needed the success of their singles to make a real mark. Crime initially spent just two weeks on the countdown in November 1974, reaching No.40.
But when “Dreamer” became a hit in the new year, the album bounced back and climbed to No.4 in March. It was also their debut appearance on the Billboard 200, peaking at No.38 in a run that eventually stretched to 76 weeks.
Buy or stream Crime Of The Century.
In the late 1960s and early 1970s, Delaney and Bonnie Bramlett focused their energy on building up a reputation among the best exponents of soul-infused American roots music, both on album and on the road. But on two occasions, their talents also took them into the Top 20 of the American singles chart.
In the middle part of 1971, they had a No.13 hit with “Never Ending Song Of Love,” a Delaney Bramlett composition that also became a substantial UK hit in a cover by the New Seekers. On September 25 that year, they entered the Hot 100 with the follow-up, “Only You Know And I Know” — not their own song, this time, but one written by Traffic alumnus Dave Mason. It went on to outdo Dave’s own version.Outdoing the songwriter
Mason had made No.42 on the US chart with his original a year earlier, in the summer of 1970, but the couple’s reading of it would do much more. It was the highest new entry at No.71, and made speedy progress, hitting the Top 40 just two weeks later. It peaked at No.20 in early November, the Bramletts’ last appearance there.
“Only You Know And I Know” served as one of several singles tasters for Delaney & Bonnie’s sixth album D&B Together, released in March 1972 as their follow-up to Motel Shot. Their infectious artistry was, as ever, a honeypot for some like-minded musicians. The album featured guest appearances from their now-regular collaborator Eric Clapton, as well as Leon Russell, Duane Allman, and Mason himself.An incredible guest list
The remarkable guest list of D&B Together also included the complete cast list of Derek and the Dominos, the group featuring Clapton that had come together under the Bramletts’ wing some years earlier as Delaney & Bonnie & Friends. Keyboard player Bobby Whitlock, bassist Carl Radle, and drummer Jim Gordon all played on the record alongside later Dominos contributors Mason and Allman.
The record featured the additional presence of such great players as Steve Cropper, Billy Preston, Jim Price, Rita Coolidge, John Hartford, and major R&B names including Tina Turner, Merry Clayton, King Curtis, James Jamerson, and Eddie Kendricks. It was also the album featuring Delaney and Leon Russell’s “Groupie (Superstar),” that had, by then, been popularized as “Superstar” by the Carpenters. D&B Together was a record, and a line-up, deserving of a far higher placing than its No.133 US peak.
The catalog of Billy Fury is overflowing with original rock’n’roll and dramatic tearjerkers right out of the top drawer. From that discography, we zero in on a single that may not be among his biggest hits, but is widely seen as one of his finest.
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“Wondrous Place” was written by Bill Giant, aka Harvey Zimmerman, and Jeff Lewis. As a duo, they would enjoy the distinction of having another of their songs, “Fountain Of Love,” recorded by Elvis Presley. The first rendition of “Wondrous Place” was by Jimmy Jones, the American singer best known for his “Handy Man” hit of early 1960. Splendid as it was, it didn’t become a hit, and it was on September 25 that year that Fury, some 18 months since his UK chart breakthrough, had his version of the song released by Decca.Moody and atmospheric
Fury had scored his first Top 10 hit earlier that year with “Colette,” and in June he charted with what’s become one of the seminal British rock’n’roll albums, The Sound Of Fury. Now came the new single, which featured a typically moody and atmospheric vocal performance by Fury to a subtle and persuasive arrangement. It reached only No.25 in the UK, but spent nine weeks in the chart, six of which were in the Top 40.
Listen to uDiscover Music’s Billy Fury Best Of playlist.
Some 40 years later, a new generation got to know Fury’s version when it was featured in a TV car commercial for the Toyota Yaris. Later still, in 2008, it was recognized by the Last Shadow Puppets, the duo of Alex Turner from Arctic Monkeys and Miles Kane, when they cut it as the B-side of the Puppets’ first single “The Age Of The Understatement.”
Buy or stream “Wondrous Place” on the Billy Fury compilation His Wondrous Story — The Complete Collection.
Roy Ayers is a hugely influential musical pioneer who changed people’s perceptions of the vibraphone. First commercially produced in 1924, the vibraphone is an electric-powered tuned percussion instrument played with mallets whose sound is glassy and tinkling. It was almost exclusively associated with the world of straight-ahead jazz until the 1970s when Ayers placed the vibraphone at the center of a new musical universe, one that blended jazz with funk, soul, disco, and pop but also included elements drawn from Latin and African music as well as rock. Though initially influenced by jazz vibraphone pioneers like Lionel Hampton, Milt Jackson, and Cal Tjader, Ayers arrived at a unique style that was fresh and progressive but also commercially successful, exposing the vibraphone to a much broader audience.
Ayers started his career in the 1960s playing straight-ahead instrumental jazz but radically changed his musical approach in 1970 after forming the band Ubiquity, where he sang in addition to playing the vibes and dramatically upped his music’s funk quotient. His musical transformation attracted the interest of Polydor Records, who signed him and helped transform Ayers into a hit-making star; between 1970 and 1979, he was prolific in the recording studio, releasing 17 albums. He also became a regular visitor to the US singles and albums charts, putting nine albums on the Billboard 200 between 1976 and 1979.
By the 1990s, Ayers had slowed down, producing fewer albums, but by then, his seminal 70s recordings fascinated a new and younger generation of listeners and music-makers. Not only were his old Polydor albums heavily sampled by hip-hop artists like A Tribe Called Quest and The Pharcyde, but they also helped ignite the UK’s nascent acid jazz scene in the mid-90s, inspiring the world-renowned group Jamiroquai, who often performed Ayers’ tunes in their live shows.
Performing on rapper Guru’s Jazzmatazz project in 1993 also played a crucial role in expanding Ayers’ audience. Later in that decade, his distinctive musical vocabulary also played a vital role in shaping the jazz-tinted sound of the American neo-soul scene, directly influencing D’Angelo (who covered Ayers’ “Everybody Loves The Sunshine”) and Erykah Badu, who later featured him on her 2000 album Mama’s Gun and then returned the favor by guesting on the vibraphonist’s 2004 LP, Mahogany Vibe.
With Roy Ayers boasting a back catalog that includes over 400 original compositions spread across 30 studio albums, picking a selection of his best songs that will satisfy all his fans is virtually impossible. In light of that, the following songs, mostly plucked from his fertile spell at Polydor, should be regarded as a helpful guide rather than a definitive introduction to the man some call the “Godfather of Neo Soul.”Beginnings
Roy Ayers’ story begins in Los Angeles, where he was born in 1940. Though drawn to music as a youngster, Ayers didn’t play the vibraphone until he was seventeen. But, as he revealed to Blues & Soul magazine in 2007, his association with the instrument began many years earlier. “My mother and father always used to take me to see Lionel Hampton when he came to Los Angeles,” he revealed. “One time, he came down the aisle and gave me a set of vibraphone mallets. I was five years old at the time.” Ayers treasured those mallets. And, encouraged by his mother, who told him “that one day she was going to see [his] name in lights,” he felt he had made a date with destiny.
Ayers played the piano first and then during his late teens sang with The Poets, a local doo-wop vocal group who released a one-off single, “Vowels Of Love.” Soon afterward, thanks to his mother, Ayers got a vibraphone. Remarkably, six years later in 1963, he was a rising star of the L.A. jazz scene having released his debut album, West Coast Vibes.
After working as a sideman with flutist Herbie Mann in the mid-60s, a liaison which led him to record three albums for Atlantic Records, in 1970, Ayers signed with Polydor, the rising German label that had famously signed the “Godfather of Soul,” James Brown. It was a watershed moment. Ayers put together a new band, which he dubbed Ubiquity on his manager’s advice, as he recalled in 2007: “She said, ‘Ubiquity means a state of being everywhere at the same time.’ I said, ‘You know that’s fate because if everyone has one of my albums, I will be everywhere.’ I thought it was great, so I started using that name.”
Leading Ubiquity, Ayers abruptly changed musical direction, dropping the bebop-influenced straight-ahead jazz of his early years for a colorful fusion style that would distinguish him from other vibraphonists. He blended jazz with electric funk, soul, and a smorgasbord of other musical flavors but arguably his most critical innovation was moving away from instrumental music. “I realized that when you have voices, the people relate better to your music,” he told Blues & Soul. “It got me international recognition.”The Top 50 US R&B Hits
With his vibraphone-led jazz-funk sound, Roy Ayers was an unlikely pop star. But such was the vibrancy and accessibility of his music that he racked up fifteen hit singles in the US R&B charts, four of which made the Top 40. His biggest US smash was “Running Away,” a persistent dance groove distinguished by an infectious chorus sung by female background vocalists. Taken from the vibraphonist’s biggest-selling album, 1977’s Lifeline – which made No. 72 in the Billboard 200 – “Running Away” spent seventeen weeks in the US R&B singles chart, peaking at No. 19.
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A year later, Ayers was in the US R&B singles chart again, rising to the No. 29 spot with the wild dance track “Freaky Deaky,” driven by Kenny Turman’s percussive slapped bass and injected with a sense of cosmic weirdness by Philip Woo’s spacey synth squiggles. Gospel-reared singers Merry Clayton (who famously sang on the Rolling Stones’ “Gimme Shelter” hit) and Sylvia Cox shared lead vocals with Ayers on a track that seemed avant-garde compared with other dance numbers from the same era.
1979’s anthemic “Love Will Bring Us Back Together” is another essential Ayers track. An addictive funky groove driven by intertwined clavinet and guitar, the song reached No. 41 in the US R&B chart in the summer of 1979. On this compulsively danceable cut, plucked from the album Fever, Ayers jettisoned his vibes to spotlight his idiosyncratic vocal style, a key element in his music’s appeal.
At the end of 1979, Ayers was in the charts again with “Don’t Stop The Feeling,” taken from his No Stranger To Love LP. It exuded a similar toe-tapping, club-style vibe to the earlier “Love Will Bring Us Back Together” but sold more copies, rising to No. 32. It’s a number whose blend of a simple, irresistible hook line allied to a sophisticated musical backdrop crystallizes the unique musical essence of Roy Ayers.
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Although he was a frequent visitor to the US charts in the 1970s, Ayers didn’t put a second single into the R&B Top 20 again until 1986’s “Hot,” taken from the album, You Might Be Surprised. Co-written and produced by James Mtume (of Mtume and “Juicy Fruit” fame), the track, with its minimalist synth-funk style, marked a new musical direction for Ayers. It made No. 12 on the US Dance chart and could be heard playing in the background in Michael Jackson’s video for his 1987 single “The Way You Make Me Feel.”Roy Ayers’ Most Sampled
According to the website Who Sampled, Roy Ayers’ music has been sampled over 800 times. Ayers was always happy to be sampled, not just because of the royalties it generated for him but also because his music sparked other musicians’ creativity.
One of Ayers’ most-sampled tracks is the anthemic “Everybody Loves The Sunshine,” which has racked up over 100 million streams on Spotify. Among artists who have used portions of it are 2Pac, Dr. Dre, Mos Def, and hip-hop soul queen Mary J. Blige. Describing how the song came about, in 2007 Ayers revealed: “I was in a studio and reflecting on my childhood. Up until I was about 14 years old, the sun rays in Los Angeles were really bright, but in 1954, the sun started to vanish and this smog started to conceal its brightness. The sun was beautiful that day so I thought about this line ‘Everybody loves the sunshine,’ and then came up with ‘My life, my life, my life in the sunshine.’”
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Other notable Ayers tunes that have been gobbled up by an Akai S1000 sampler and reconfigured into brand new hip-hop grooves include the mysterious and haunting “We Live In Brooklyn, Baby” (sampled by Kendrick Lamar on “Good Kid”) and the cosmic slow jam “Searching,” which was used as the foundation of Pete Rock & C. L. Smooth’s same-named 1994 track. Another dreamy, astral-themed slower number, “The Third Eye,” was repurposed on the Fly As Pie remix of The Pharcyde’s “Passin’ Me By.”
A mandatory inclusion in any Roy Ayers best of is the propulsive and super-funky “He’s A Superstar,” an uplifting message song purportedly inspired by Andrew Lloyd Webber and Tim Rice’s 1971 hit musical Jesus Christ Superstar. The song appeared on the Roy Ayers Ubiquity album He’s Coming from 1972. It was sampled in 1993 by DJ Shadow & The Groove Robbers (on “Hindsight”) and in 2010, Ghostface Killah borrowed the chorus and synth licks to make “Superstar,” on which fellow rapper Busta Rhymes featured.
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Master of the mellow groove
Nobody serves up a lush, laidback, jazzy soundscape better than Roy Ayers. Although his uptempo dance tracks cavorted up the charts and garnered more public attention, his back catalog includes many slower gems. The instrumental “Mystic Voyage,” the title track of a Roy Ayers Ubiquity album from 1975, is one of his most memorable, juxtaposing cool vibes melodies with a funkafied backdrop augmented by orchestral strings.
Another chilled instrumental, “Lifeline,” from the same-titled 1977 LP, features Ayers playing a long snaking vibraphone solo while highlighting the growing importance of synthesizers in Ayers’ musical universe.
Even slower, the gently glistening “Vibrations” (the title tune from a 1976 Roy Ayers Ubiquity album) allows Ayers’ band to stretch out; it also features the plaintive vocals of Chicas, a singer whose super-soulful tones featured on three of the mallet maestro’s LPs.
Sam Cooke’s vintage 1957 pop hit “You Send Me” was remodeled by Ayers into an eight-minute, string-draped epic that became the title track of the second of two Polydor LPs he released in 1978. His loose, leisurely interpretation, which is reconfigured as a duet with the expressive singer Carla Vaughan, makes the song almost unrecognizable from Cooke’s original. It showed the vibraphonist’s skill in assimilating old music and making something refreshingly new.
In 1985 on his You Might Be Surprised album Ayers served up one of his most unusual ballads, the tongue-in-cheek “Programmed For Love.” Produced by James Mtume, the track is a machine-tooled soundscape that bizarrely describes Ayers’ love affair with a computer, which is characterized by a vocoder-treated female voice.Get on up, get on down
Roy Ayers’ penchant for funky uptempo tracks meant that he was no stranger to getting down on the dancefloor. At the height of the platform-soled disco inferno, the vibraphonist embraced the zeitgeist and immersed himself in mirrorball music. Arguably his most overt salute to the disco era was “Fever” (taken from his same-titled 1979 LP), where he gave a four-on-the-floor symphonic soul makeover to the Little Willie John tune that jazz siren Peggy Lee had made famous in 1958.
Other Ayers’ tunes guaranteed to get the crowd dancing at a discotheque were the breezy “Get On Up, Get On Down” and “Heat Of The Beat,” both Top 50 UK chart entries. On the latter, a dance floor number defined by slurping hi-hat patterns, swooping string lines, and party-on vocal chants, Ayers joined forces with the Crusaders’ trombonist Wayne Henderson.
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Ayers showed a harder funk edge on an earlier dancefloor cut, “Brother Green (The Disco King),” taken from the 1975 Ubiquity album Mystic Voyage while with “The Golden Rod” (a minor 1976 US hit, pulled from the iconic Everybody Loves The Sunshine album), Ayers proved that even his vibraphone-driven instrumental tracks could keep clubgoers’ feet moving.
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Thanks to the endeavors and innovations of Roy Ayers, not since the halcyon days of the mallet king Lionel Hampton had the vibraphone had such a prominent place in mainstream music. As well as enjoying a highly successful solo career, Ayers was an in-demand collaborator, his vibraphone’s crystalline melodies gracing recordings by artists that ranged from rap star Coolio to soul diva Whitney Houston and Afrobeat king Fela Kuti.
But it was as a solo artist and leading Ubiquity that the “Godfather of Neo Soul” truly made his mark. As the best Roy Ayers tracks reveal, the vibraphonist was a multi-faceted artist who was both supremely versatile and creatively courageous but who never lost sight of his role as an entertainer. His music could be politically charged and spiritually inclined, but also offered uplifting moments of humor, playfulness, and a liberating sense of fun. You will find all these qualities in the tracks highlighted here, which capture the mercurial Roy Ayers at his magical, incomparable best.
Think we missed one of the best Roy Ayers songs? Let us know in the comments below.
Tormented by the pressures of their newfound fame, “Get Off Of My Cloud” was The Rolling Stones’ compelling appeal to be left alone. But how did they get there? The intensity with which The Rolling Stones’ momentum gathered pace in 1965 was exhaustive. Throughout that year, the group embarked on 11 tours, spanning the globe with dates in Europe, Australia, Singapore, America, and Canada, and every whistle-stop layover presented the same demands of the group’s time, with fans, reporters and photographers all vying for their attention.
That May, in between dates on their first American tour of the year, the Stones had managed to grab some studio time to record their new single. “(I Can’t Get No) Satisfaction” had started as a riff in Keith’s head, but while bathing by the pool of the Fort Harrison Hotel in Clearwater, Florida, he and Mick Jagger set about composing the song’s lyrics, just days before it was then put to tape at RCA Studios in Los Angeles. (Keith’s postcard from Florida to his mother attested to his grueling itinerary: “Hi Mum,” it read. “Working like a dog, same as ever. Love, Keith.”)
The Stones were in Scotland during the second week of June when “Satisfaction” entered the Billboard charts in the US, watching as it rose to the top a month later. In the second week of September, when it reached Number One in their native UK (the delay due to a release schedule conflict), the Stones had already rolled into Germany. The song’s success catapulted them to global fame, heightening their reputation as the bad boys of rock and roll. A generation-defining anthem, “Satisfaction” was a monolithic masterpiece, but even its achievements wouldn’t allow the Stones to rest on their laurels.
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“It’s difficult to realize what pressure we were under to keep on turning out hits,” Keith would later say. “Each single you made in those days had to be better and do better. If the next one didn’t do as well as the last one, everyone told you you were sliding out. After ‘Satisfaction,’ we all thought, ‘Wow, lucky us. Now for a good rest…’ And then in comes [Stones manager and producer] Andrew Oldham saying, ‘Right, where’s the next one?’ It got to be a state of mind. Every eight weeks, you had to come up with a red-hot song that said it all in about two minutes, 30 seconds.”
That build-up of pressure, exacerbated by their rigorous work rate, would find a release in their next single, “Get Off My Cloud.”The recording
Out Of Our Heads, the Stones’ fourth album in the US, was released on July 30th. (The UK version, their third, followed in late September.) Tellingly, only one-third of the album’s tracks were Jagger/Richards originals, the unfortunate consequence of having to write on the run. A handful of the songs had been recorded at Chess Studios in Chicago, while the majority were done in LA, where engineer Dave Hassinger had managed to capture some of the sonic nuances the band felt had eluded them to date on record.
Such was their appreciation of Hassinger, in the first week of September, between their Irish and German dates, the Stones flew all the way to LA to squeeze in two days of recording with him at the RCA Studios on Sunset Boulevard. The shoehorned sessions, produced by Oldham, were expected to provide their next hit, and its inspiration could be found all around them.
Just as John Lennon had pleaded for “Help!” that summer, Jagger looked towards the stifling obligations he and his group faced on a daily basis when it came to composing “Get Off Of My Cloud.” The song was a direct reaction to the phones that wouldn’t stop ringing, the people that clambered for their time, the string of tour dates that stretched out before them – the sheer onslaught of intrusive and unwarranted exigencies.
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Built on an assuredly penetrating guitar riff that echoed The Kingsmen’s “Louie Louie,” and underpinned by Charlie Watts’ unyielding beat and Bill Wyman’s thumping bassline that both embodied the Stones’ resolute tenacity, “Get Off Of My Cloud” was a forceful reflection and a suitably defiant rejection of the expectations heaped upon them.
In each of the song’s verses, Jagger breathlessly vents on different examples of invasion of his privacy. At home, he’s bombarded with inane commercials and phone calls from complaining neighbors. When escaping out in his car, his blissful respite is ruined by a slew of parking tickets. “It’s a stop-bugging-me, post-teenage-alienation song,” Jagger explained 30 years later. “The grown-up world was a very ordered society in the early 60s, and I was coming out of it. America was even more ordered than anywhere else. I found it was a very restrictive society in thought and behavior and dress.”
Released in the US just two weeks after it was recorded (the UK would have to wait another month), “Get Off Of My Cloud” was an inciting adrenaline rush of a song that ably followed “Satisfaction” by further developing the Stones’ restless creativity. “If we’d come along with another fuzz riff after ‘Satisfaction,’ we’d have been dead in the water, repeating with the law of diminishing returns,” Keith admitted in his autobiography. “Many a band has faltered and foundered on that rock. “Get Off Of My Cloud” was a reaction to the record companies’ demands for more – leave me alone – and it was an attack from another direction. And it flew as well.”The reception
“Get Off Of My Cloud” topped the charts on both sides of the Atlantic that November (Canada and Germany, too), its hurried timing triumphantly capitalizing on the popularity of “Satisfaction.” It became their fifth consecutive Number One, matching a record held only at the time by The Beatles and Elvis Presley.
Despite the fans’ acceptance of the song, it fared less well in the opinions of its makers. Two years later, Jagger would claim that “Get Off Of My Cloud” was “not very groovy” and that the lyrics were “crap,” which would explain why the song would not be performed live by the band after 1967 until the dawn of the 21st century, and even since then its appearances have been infrequent.
Their reservations about the song are perhaps based on the accelerated circumstances of its creation. Keith blamed the song’s poor mixing, calling it Oldham’s “worst production,” but therein lies the classic track’s true beauty. In building such an audacious wall of sound, where Keith and Brian Jones’ stinging guitars jostle for space with Wyman’s looping bass, Ian Stewart’s surreptitious piano, and Charlie’s machine-gun snare drums – all played at the same volume – Oldham actually encapsulated the claustrophobic conditions the Stones braved, and their ensuing vexations.
This palpable fury was recognized by musical legend Neil Young, who confessed his preference for the “reckless abandon” of “Get Off Of My Cloud” over the taut measures of “Satisfaction,” suggesting its visceral nature exposed the key to its charm. “The thing about it,” the Canadian icon explained, “is it’s obviously just such a throw-together song that they came up with on the way to the studio or the night before, y’know? That’s what I liked about it. It really sounded like The Rolling Stones.”
For many of us, live jazz is the best way to hear jazz. The unbridled spontaneity of brilliant musicians at the very top of the game, improvising and spurring each other on to greater creative heights… What could be better? It was what Norman Granz, the man behind the Jazz At The Philharmonic concert series, believed. He loved hearing “jazz in the moment,” and his concert series, collected on some of the world’s best live jazz albums, allowed so many to hear jazz for the first time outside of smoky clubs and in concert halls.
The JATP concerts were regularly recorded and they are well represented here, none finer than the 1946 concerts featuring Charlie Parker and Lester Young, the old school and the new school. Then there’s Gene Krupa & Buddy Rich at JATP in 1952 sharing the mother of all drum battles. But jazz played in the setting of an intimate club is also wonderful, whether it be at The Village Vanguard, Mr Kelly’s, The Lighthouse, The Five Spot, or Birdland just to name a few.
Below, we have selected the 50 best live jazz albums, and while they are not in any particular order, we have featured what we think are some of the greatest examples of jazz played live, records that should be in everyone’s collection.
Famed for his volcanic press roll and swashbuckling polyrhythmic prowess, powerhouse drummer Blakey was at the forefront of a driving, blues-inflected style of jazz known as hard bop, whose origins can be traced back to this scintillating live album recorded in the legendary Big Apple venue dubbed the “Jazz Corner of the World.” Blakey, who went on to lead The Jazz Messengers, fronts an all-star band comprising Horace Silver, trumpeter Clifford Brown (who would perish in a car accident a year later) and alto saxophonist Lou Donaldson. Propelled by Blakey’s superior sense of swing, the quintet is in inspired form, blasting their way through propulsive uptempo numbers and shimmering on quiet ballads.
Key track: “A Night In Tunisia”
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Grant Green: Live At The Lighthouse (Blue Note, 1972)
St. Louis-born guitar maestro, Green, was 36 when he recorded this double LP, his second and best in-concert recording for Blue Note (his first was Alive, released two years earlier). Though he had begun as an adherent of the hard bop school in the early 1960s, Green became a disciple of funk as the decade progressed. Recorded at a famous west coast jazz venue located at Hermosa Beach, California, Green and his six-piece band (including The Crusaders’ Wilton Felder on bass) are in combustible form. The undoubted highlight is an incendiary 12-minute version of jazz keyboardist Neal Creque’s breezy tune, “Windjammer,” which is taken at breakneck speed. Sadly, it would prove Green’s final offering for Blue Note and five years later, he would be dead at 43.
Key track: “Windjammer”
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Benny Goodman: Live At Carnegie Hall (Columbia, 1950)
One of America’s most hallowed classical music venues, New York’s Carnegie Hall controversially played host to swing king and virtuoso clarinetist Goodman in January 1938, thus giving jazz a newfound sense of both legitimacy and respectability. Playing in Goodman’s band that night were vibraphonist Lionel Hampton, trumpeter Harry James, and drummer Gene Krupa and there were also cameos by Count Basie, Lester Young, and Johnny Hodges. The concert was first issued on double LP in 1950 and was instantly hailed as a classic. It captures a momentous moment at the zenith of the swing era when jazz was finally being recognised as a serious art form. And it also swings like crazy – just take a listen to the whirling “Sing Sing Sing” where wild solos are juxtaposed with disciplined ensemble work.
Key track: “Sing Sing Sing”Stanley Turrentine: Up At Minton’s (Blue Note, 1961)
Fronting a quintet (including guitarist Grant Green and pianist Horace Parlan), tenor saxophonist, Turrentine, gets into an easy-swinging soulful groove on this live collection of jazz standards recorded at a famous Harlem venue in February 1961. Turrentine had only made his recording debut the previous year but sounds like an assured master here; his robust but tender horn pouring out rivers of melody over foot-tapping backbeats powered by the lethal combination of George Tucker’s bass and Al Harewood’s drums. Soul jazz at its finger-clicking best.
Key track: “But Not For Me”
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Dave Brubeck Quartet: Jazz At Oberlin (Fantasy, 1953)
During his long career, this Californian pianist/composer who liked to dabble with unorthodox time signatures, recorded a plethora of live albums but this was undoubtedly one of his best. It was recorded in front of a largely student audience at Ohio’s Oberlin college with Brubeck leading a quartet that included alto saxophone sensation Paul Desmond, whose cool yet effervescent delivery (which he likened to a dry martini) came to define the Brubeck sound. At the time, Brubeck’s drummer, Lloyd Davis was ill, suffering with a temperature of 103 degrees, but you wouldn’t guess it listening to the assured nature of this performance. This live album was a significant early manifestation of what became known as cool jazz, where the fire of bebop was doused and replaced by a sense of emotional detachment and restraint. The album also singled out Brubeck as a sui generis pianist with a distinctive, clunky style.
Key track: “Perdido”
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Eric Dolphy: Live At The Five Spot (New Jazz, 1961)
A leading light in the free jazz movement of the early 1960s, reed master Eric Dolphy’s moment in the spotlight was a tragically short one (he died in 1964 while on tour in Europe aged 36 in mysterious circumstances). After two studio albums for Prestige’s New Jazz imprint, Dolphy was recorded live in July 1961 at New York’s Five Spot co-leading a quartet with trumpeter Booker Little that included pianist Mal Waldron and Ornette Coleman’s drummer Ed Blackwell. Dolphy alternates between alto sax, clarinet, and flute, displaying a virtuosic fluency in the argot of each instrument while pushing the boundaries of bebop to breaking point with rabid, discursive solos that are striving to break tradition and find a new mode of expression in jazz. Two more volumes of Dolphy’s Five Spot performances were released after his death.
Key track: “The Prophet”Charles Mingus: Mingus In Antibes (Atlantic, 1960)
Though recorded in July 1960, this performance at a French jazz festival by Mingus and his quintet (which featured Eric Dolphy) didn’t surface commercially until 1974 when part of the performance was issued by the BYG label in Japan as Charles Mingus Live With Eric Dolphy. The complete concert eventually came out two years later in the USA as a double LP via Atlantic with a new title: Mingus In Antibes. It captures the Arizona composer/bassist at the peak of his powers and features indelible performances of some of his key tunes, including “Wednesday Night Prayer Meeting” and “Better Get Hit In Your Soul.” Legendary bebop pianist, Bud Powell, then living in France, augments the band on a lively reading of the jazz standard, “I’ll Remember April.”
Key track: “Better Get Hit In Your Soul”Miles Davis and Quincy Jones: Miles And Quincy Live At Montreux (Warner Bros, 1993)
Miles Davis’ final recorded performance – he would die two months later aged 65 – was this one captured in Switzerland at the Montreux Jazz Festival on July 8, 1991. What’s remarkable is that for the only time in his life, Miles decided to go against his forward-looking principles and revisit his past by reviving the big band music he had done with Gil Evans in the late 50s and early 60s. Miles’ trumpet, burnished yet delicate, possesses a tone that seems to underscore the poignancy of the occasion, and is beautifully-framed by lush arrangements from an orchestra conducted by Quincy Jones. A final, fleeting, glimpse of the “Dark Magus” at work.
Key track: “Summertime”Pat Metheny Group: Travels (ECM, 1983)
Having played with everyone from David Bowie to Joni Mitchell and Ornette Coleman, guitar magus Metheny is a chameleonic musician whose talent and appetite for music knows no limits. A prolific recording artist with almost fifty albums to his name, the Missouri multi-Grammy winner’s first live album was this one, recorded on the road with his fusion-oriented eponymous band (augmented by Brazilian percussionist/singer Nana Vasconcelos) in the USA during 1982. The killer cut is an inspired rendition of “Are You Going With Me,” regarded as Metheny’s signature song, which finds the fretboard maestro playing stratospheric melodic lines through a guitar synth. Keyboardist Lyle Mays also has a starring role, impressing with his blend of technique and sensitivity.
Key track: “Are You Going With Me”
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Stan Getz: At The Shrine (Norgran, 1955)
Recorded at Los Angeles’ Shrine Auditorium in November 1954, Getz’s first ever live album was this one, released by producer Norman Granz on one of two small labels he founded before starting Verve two years later. Getz was already making a name for himself on the US west coast with his silky, sinuous tenor saxophone sound which put him in the vanguard of the Californian cool school. Getz, who leads a quintet bolstered by the presence of noted trombonist Bob Brookmeyer, runs through an eight-song repertoire whose highlights include the jaunty “Feather Merchant” and a haunting take on the jazz standard, “Lover Man.”
Key track: “I’ll Remember April”Louis Armstrong & The All Stars: Satchmo At Symphony Hall (Decca, 1947)
Louis Armstrong was 46 when he recorded this album but he was far from a spent force even if the bebop revolution was well under way. A revival of public interest in traditional New Orleans jazz during the 1940s combined with the decline of big bands led him to form a small touring group he dubbed The All Stars, which he ran for many years (its members during its several incarnations included pianist Earl ‘Fatha’ Hines and trombonist Jack Teagarden). Though recorded at Boston’s Symphony Hall on November 30th 1947, the concert didn’t see daylight on LP until 1951, when it was issued as a double album. Armstrong is in scintillating form as both a horn player and vocalist. The spirit of old New Orleans is summoned by a wonderful rendition of “Mahogany Stomp,” that surges with contrapuntal vigor. There’s also an affecting version of “The Sunny Side Of The Street,” which, despite its title, is rendered as a mournful moment of reflection, topped off with a poignant vocal from Satchmo.
Key track: “Mahogany Stomp”
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Various Artists: Jazz At Hollywood Bowl (Verve, 1956)
This enthralling live album, recorded in front of 20,000 people, captured the first ever official jazz concert at the Hollywood Bowl, a venue usually reserved for classical music. The event was the brainchild of jazz impresario, Norman Granz, famed for his groundbreaking Jazz At The Philharmonic concerts. He corralled the best talents in the jazz world for the Hollywood Bowl gig, roping in Ella Fitzgerald (whom he managed and had just signed to his Verve label) and Louis Armstrong, plus pianists Art Tatum and Oscar Peterson as well as noted hornblowers Roy Eldridge and Illinois Jacket with Buddy Rich on drums. Fitzgerald’s set includes her hilarious impersonation of Satchmo, who joins her at the finale for a couple of memorable duets. An expanded version of the concert was issued in 2011 by Verve/Hip-O Select.
Key track: “Airmail Special”Frank Sinatra & Count Basie: Sinatra At The Sands (Reprise, 1966)
‘Ol’ Blue Eyes’ had already cut two studio albums with the Basie band earlier in the 60s (62’s Sinatra-Basie: An Historic Musical First and 64’s It Might As Well Be Swing, both on Reprise) but this double LP from 1966 offered a vivid portrait of the dynamic duo performing live at The Sands hotel/casino in Vegas. Backed by the super-slick, hard-swinging Basie band, the ‘Chairman Of The Board’ is in top form – even his stage patter and lame jokes are funny – serving up turbo-charged versions of some of his classic tunes, including a soaring “Come Fly With Me” and a horn-heavy “I’ve Got You Under My Skin.” This was Sinatra’s first official live album and quickly went gold. More importantly, it affirmed that the boy from Hoboken could still deliver the goods at the age of fifty.
Key track: “Fly Me To The Moon”Benny Carter: Live And Well In Japan! (Pablo, 1978)
A versatile, multi-talented instrumentalist (he could play alto sax, trumpet, and clarinet equally well), Bennett Lester Carter was four months shy of his 70th birthday when he performed at Kosei Nenkin Hall in Tokyo on April 29, 1977. The concert was recorded and released by jazz impresario Norman Granz on his Pablo label a year later. Though in his twilight years, Carter, who alternates between trumpet and sax, shines brightly; his horns framed by sublime, swinging arrangements from an ace nine-piece band that includes guitarist Mundell Lowe and Duke Ellington trumpeter, Cat Anderson. His tribute to Louis Armstrong, a medley of “When It’s Sleepy Time Down South,” “Confessin’ That I Love You,” and “When You’re Smiling,” has the effusive Japanese audience clapping along joyfully.
Key track: “Them There Eyes”The Ornette Coleman Trio: At The Golden Circle, Stockholm Volumes 1 & 2 (Blue Note, 1966)
The bête noir of the free jazz movement, Ornette Coleman first recorded for the LA-based Contemporary label in 1958 before landing at New York’s Atlantic Records a year later armed with a plastic saxophone where he shook the jazz world to its core with records like The Shape Of Jazz To Come. In 1965, the saxophonist joined Blue Note, who released two live albums of entirely original material in quick succession that captured Coleman and his trio (with bassist David Izenzon and drummer Charles Moffett) playing two nights at Stockholm’s Gyllene Cirkeln club in December 1965. Both concerts found Coleman alternating between alto sax, violin, and trumpet, all of which he played in an unorthodox and experimental fashion; where texture, tone and feeling superseded conventional concepts of melody and harmony.
Key track: “Faces And Places”
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John Coltrane: Live At Birdland (Impulse!, 1964)
This, Coltrane’s second live LP with his classic quartet for Impulse! contained five tracks, but only three of them were actually recorded in-concert at New York’s famous Birdland club. Taking up side one of the album were the saxophonist’s live versions of Mongo Santamaria’s “Afro Blue” – an uptempo modal offering with Trane on soprano sax – and Billy Eckstine’s ballad, “I Want To Talk About You” (which the saxophonist had recorded on one of his earlier Prestige albums). Side two of the LP opened with the uptempo “The Promise,” which was then followed by two studio recordings from November 1963. The best of them was a haunting piece called “Alabama,” Coltrane’s musical response to a church bombing by white supremacists in Birmingham, Alabama, in which four children were killed. It remains one of Coltrane’s most potent compositions.
Key track: “Alabama”
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Miles Davis: Birdland (Blue Note, 1951)
Though the muffled sound quality of this album – compiled from live radio broadcasts spanning February to September 1951 – will appall audiophiles, what does shine through clearly is the incendiary performance of Miles Davis and his accompanying musicians (which include Art Blakey, Sonny Rollins, Eddie ‘Lockjaw’ Davis, and Charles Mingus). Miles and his crew are on fire, as they romp through early bebop material, including “Move,” “Tempus Fugit” and “Half Nelson.” The recordings exchanged hands as much-sought-after bootlegs for many years and didn’t get an official release until 2004. For Miles enthusiasts, it’s a must-own album as it captures him at a crucial point in his evolution as a bandleader.
Key track: “Down”
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Kenny Dorham: Round About Midnight At The Cafe Bohemia (Blue Note, 1956)
From Fairfield, Texas, Dorham (1924-1972) was an important trumpeter in the bebop era – he was also briefly a member of Art Blakey’s Jazz Messengers – though his contribution to jazz has often been overlooked. This was Dorham’s first live album and the second of five LPs he cut for Alfred Lion’s Blue Note label during the years 1955-1964. Dorham leads a quintet that includes tenor saxophonist J. R. Montrose and pianist Bobby Timmons on a mixture of original material and standards. The overall vibe is a fairly relaxed one, with the uptempo material swinging blithely. Dorham’s sublime version of Thelonious Monk’s classic tune, “Round Midnight,” highlights his extraordinary sensitivity with ballads. The original 6-song LP was expanded into 17-tracks for the 2002 complete edition CD reissue.
Key track: “Round Midnight”
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Stephane Grappelli: Tivoli Gardens, Copenhagen, Denmark (Pablo, 1980)
On July 6th 1979, noted producer and Pablo founder, Norman Granz, decided to capture veteran French violin virtuoso, Grappelli, then 71, playing in a trio configuration with American guitarist Joe Pass and renowned Danish bass player, Niels-Henning Ørsted Pedersen. The end result was eight songs (all well-loved standards, including absorbing renditions of Cole Porter’s “I Get A Kick Out Of You” and George & Ira Gershwin’s “I Can’t Get Started”) and 43 minutes of spellbinding performances that melded dazzling improv with intuitive group interplay. Listen out in particular for the frenetic-paced “Crazy Rhythm,” which swings with wild abandon.
Key track: “Crazy Rhythm”Billie Holiday: The Essential Billie Holiday: The Carnegie Hall Concert (Verve, 1962)
Recorded live at New York’s celebrated classical music venue, Carnegie Hall, in November 1956 – two and a half years before her death at the age of 44 – this album wasn’t issued in Holiday’s lifetime and was released three years after her passing. Though her voice had lost its richness by the late 50s and possessed a thinner timbre, to compensate it had gained a deeper sense of emotional expression. She’s on magnificent form on twelve songs that include some of her most memorable tunes; including “Lady Sings The Blues,” “Don’t Explain,” and “Body & Soul.” She’s backed by a quartet that features guitarist Kenny Burrell and drummer Chico Hamilton. The CD reissue of the album included New York Times writer, Gilbert Millstein, narrating passages taken from Holiday’s autobiography, Lady Sings The Blues, which appeared in the original concert but were omitted from the LP.
Key track: “Lady Sings The Blues”
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Diana Krall: Live In Paris (Verve, 2002)
This sultry-voiced Canadian chanteuse revived interest in vocal jazz in the late 1990s and early 2000s with a series of tasteful, carefully-crafted, Tommy LiPuma-helmed studio albums that conquered the mainstream pop charts (they included When I Look In Your Eyes, and The Look Of Love). Recorded in the ‘City of Light’s’ famous Olympia venue at the end of 2001, Live In Paris found Krall leading a quartet that was occasionally augmented by a symphony orchestra. As well as being in fine form vocally, Krall plays some deft piano and also shows that she can swing as well as she can deliver ballads. Highlights range from a sensuous remake of Bacharach-David’s “The Look Of Love” to a jazz-infused take on fellow Canadian Joni Mitchell’s “A Case Of You.”
Key track: “I’ve Got You Under My Skin”
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Gene Krupa & Buddy Rich: At JATP: The Drum Battle (Verve, 1960)
Far from being a deafening, high-decibel din that one might expect from two virtuoso and purportedly egotistical tub-thumpers at the top of their games, this 6-song LP recorded live at New York’s Carnegie Hall in 1952 – as part of Norman Granz’s Jazz At The Philharmonic series of concerts – offered much more than combative drum solos. This was the first time that 43-year-old Krupa and 35-year-old Rich had played together and despite their competitive rivalry, they put the music first, rather than their egos, in a memorable concert that also features a cameo from Ella Fitzgerald as well as stellar contributions from Lester Young, Oscar Peterson, Roy Eldridge, and Benny Carter.
Key track: “Drum Boogie”
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Shelly Manne & His Men: At The Black Hawk (Contemporary, 1960)
Though he was born in New York, drummer Sheldon ‘Shelly’ Manne moved to Los Angeles in the 50s and became associated with the west coast “cool school” scene. In September 1959, during a residency at San Francisco’s Black Hawk club, his quintet (including Victor Feldman on piano, who would later work with Cannonball Adderley and Miles Davis) were recorded by Contemporary’s owner, producer Lester Koenig. It resulted in this sublime LP, whose highlights included a ravishing rendition of George Gershwin’s ballad, “Summertime,” spotlighting Joe Gordon’s delicate muted trumpet and Richie Kamuca’s lyrical tenor saxophone. Contemporary later released three more albums culled from the group’s Black Hawk performances.
Key track: “Summertime”John McLaughlin: The Heart Of Things: Live In Paris (Verve, 2000)
Britain’s Doncaster-born jazz-rock avatar was 56 in November 1998 when he performed at Paris’ Le Cigale venue with a band that included saxophonist Gary Thomas, bassist Matthew Garrison, and drummer Dennis Chambers. Heart Of Things was his studio album at the time and although he played three tracks from it here (including the fluid opener, “Seven Sisters”), this performance wasn’t issued until three years later. McLaughlin displays the fleet-of-finger fretboard prowess that has become his trademark but it’s allied with sensitivity and, on the reflective “Fallen Angels,” where his guitar intertwines with Gary Thomas’s plaintive sax, he displays an aching, heartfelt lyricism.
Key track: “Mother Tongues”The Modern Jazz Quartet: The Last Concert (Atlantic, 1975)
Originally a sprawling double album, this LP documented the final gig on November 25th 1974 of one of jazz’s coolest quartets, who rose to fame in the 1950s when they famously married bebop with the aesthetics of classical chamber music. Led by Milt Jackson’s crystalline vibraphone tones, the group bow out in fine style as they serve up a mixture of classic original tunes (“Django” and “Bag’s Groove”) and jazz standards (“Summertime”) at New York’s Avery Fisher Hall. For many, the set’s standout is a shimmering version of Thelonious Monk’s ballad, “Round Midnight.” Atlantic released a further LP of material culled from the performance as More From The Last Concert, and later combined both into a 2-CD package called The Complete Last Concert.
Key track: “Round Midnight”Gerry Mulligan and The Concert Jazz Band: At The Village Vanguard (Verve, 1960)
Like Shelly Manne, baritone sax specialist, Mulligan, was a New Yorker who became a key architect of the west coast “cool” jazz sound. This live album, recorded in the Big Apple’s legendary Village Vanguard venue in December 1960 came in the wake of Mulligan’s critically acclaimed Verve studio album, The Concert Jazz Band, showcasing a large ensemble featuring trombonist Bob Brookmeyer. For this live performance, Mulligan augmented the 11-piece band with trumpeter Clark Terry. The material is mostly drawn from the standard repertoire, but the arrangements – where inventive solo passages are framed by tightly-knit arrangements and cohesive ensemble playing – are anything but standard.
Key track: “Black Nightgown”
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The Oscar Peterson Trio: At The Concertgebouw (Verve, 1958)
A Dutch jazz fan recorded Peterson together with guitarist, Herb Ellis, and bassist Ray Brown when they appeared in Amsterdam’s Concertgebouw venue in the spring of 1958 and then offered the tapes to Norman Granz, Peterson’s manager and producer. Granz released eight songs from the concert later the same year on his Verve label claiming that the performances contained “some of the most exciting trio music I’ve heard in years.” The material ranges from standards (“The Lady Is Tramp” and “I’ve Got The World On A String”) to bebop tunes (Milt Jackson’s “Bag’s Groove” and Miles Davis’s “Budo”); each impeccably rendered by Peterson’s trio, whose musical interplay is exquisite.
Key track: “The Lady Is A Tramp”
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Jimmy Smith: Groovin’ At Smalls’ Paradise (Blue Note, 1958)
Hammond hero, Jimmy Smith, wasn’t the first jazz organist but such was his talent that he became a key figure in helping the instrument being taken seriously within a jazz context. Smith made his recording debut in 1956 for Blue Note and quickly became the label’s best-selling recording artist; by the time he recorded Groovin’ in late 1957 at New York’s Small’s Paradise, he already had twelve LPs under his belt. Listening to this sizzling live set, which was released in two separate volumes, it’s not hard to see why Blue Note were releasing a lot of Smith albums in the late ’50s; in addition to being a showman who dazzled with his jaw-dropping technique, he also knew how to cook up a simmering, succulent groove that got feet tapping. Supported by guitarist Eddie McFadden and drummer Donald Bailey, he offers as the centerpiece an insanely fast but fluent version of bebop trumpeter Dizzy Gillespie’s “The Champ.”
Key track: “The Champ”
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Weather Report: Live In Tokyo (Columbia, 1972)
As this thrilling in-concert album confirms, Joe Zawinul and Wayne Shorter’s fusion supergroup were making challenging and intense avant-garde-tinged music in their early days together. Powered by the kinetic polyrhythms of drummer Eric Gravatt and the grinding bass of Miroslav Vitous, the quintet (which also boasted Brazilian percussion maven, Dom Um Romao) interact onstage in an almost telepathic way so that the music just keeps flowing in a purely spontaneous manner. Originally only available in Japan, Live In Tokyo was issued as a double LP and contains five long tracks, four of which are medleys. Though Joe Zawinul was renowned for his synth playing – which helped define Weather Report’s sound from the mid-70s onwards – here he plays acoustic and electric piano, the latter modified by a ring modulator effect.
Key track: “Medley: Eurydice/The Moors”Mary Lou Williams Trio: Mary Lou Williams Trio At Rick’s Cafe Americain (Storyville, 1999)
A prolific composer and arranger who worked with Duke Ellington, Benny Goodman, and Dizzy Gillespie, Atlanta-born pianist Williams recorded this album at a Chicago club just two years before her death in 1981 aged 71. Assisted by Milton Suggs on bass and drummer, Drashear Khalid, who offer sterling support, Williams breezes her way through a repertoire composed of standards and classic jazz numbers including material by Duke Ellington and Billy Taylor. Though she made her first recordings far back in the 1920s, this concert shows that Williams was no stranger to the argot of bebop and was a dexterous and sensitive pianist well-versed in modern jazz as well as its older forms.
Key track: “The Jeep Is Jumping”Various: Jazz At The Philharmonic Bird & Pres: The ’46 Concerts (Verve, 1977)
Entrepreneur Norman Granz’s all-star Jazz At The Philharmonic (JATP) concerts helped to give jazz an aura of respectability in the 1940s and also took the music to a much wider audience. Charlie Parker and Lester Young were the stars of a series of 1946 concerts that weren’t officially released until 1977. Both horn players are at the top of their respective games on nine tracks selected from three JATP concerts that include a stupendously swinging version of the Gershwin brothers’ “Oh Lady Be Good.” With a stellar supporting cast comprising Buddy Rich on drums, Coleman Hawkins on tenor sax, and Buck Clayton and Dizzy Gillespie on trumpet, top quality jazz is guaranteed.
Key track: “I Got Rhythm”Bill Laurance: Live At Union Chapel (Ground UP, 2016)
Though a member of acclaimed Grammy-winning US neo-fusion band, Snarky Puppy, keyboardist Laurance hails from London. His solo albums have a style all their own, melding cinematic soundscapes with jazz improv, classical music elements, and funkafied grooves. This, his third album, recorded at London’s Union Chapel venue in May 2015, finds him revisiting material from his previous two studio albums (Flint and Swift) in the company of Snarky Puppy’s bassist Michael League and drummer Robert ‘Sput’ Seawright; and, to add extra gloss and a touch of grandeur, there’s also a full orchestra. The end result is an enthralling concert that reflects the eclectic nature of contemporary jazz.
Key track: “December In New York”Snarky Puppy: Sylva (Impulse!, 2015)
Founded by bass player and composer/arranger, Michael League, Snarky Puppy is a Grammy-winning collective that released its first album in 2005. Able to fuse different musical threads together into a homogenous tapestry of sound, their unique style draws on jazz, funk, and R&B. Several of the band’s members – including keyboardists Bill Laurance and Cory Henry – have released solo projects but remain an integral part of the group’s sonic identity and loyal to the collective’s cause. Sylva was recorded live in Dordrecht, Holland, in April 2014 and is an exciting collaboration with Metropole Orkest, a long-running non-classical Dutch orchestra under the baton of arranger, Jules Buckley. The latter’s widescreen arrangements bring an epic dimension to the band’s music. The album picked up the Grammy for Best Contemporary Instrumental Album in 2016.
Key track: “Atchafalaya”Thelonious Monk Quartet With John Coltrane: At Carnegie Hall (Blue Note, 2005)
This was recorded in November 1957 but only came to light after being discovered in the US Library of Congress 48 years later. It documents a time when Coltrane was making a comeback with Monk after being fired from Miles Davis’ band for drug and drink-related problems earlier in the year. After freeing himself from his addictions for good, Coltrane joined Monk’s quartet, and though he initially found the pianist/composer’s music replete with tricky melodies and chord changes, he soon became adept at playing Monk’s material. Just how good the reborn Coltrane had become is illustrated by this fabulous concert, a vivid snapshot of two, but very different, jazz geniuses at work.
Key track: “Nutty”
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Cecil Taylor: Live At Cafe Montmartre (Debut, 1963)
A leading light of American avant-garde music, the late Cecil Taylor was a pianist who found gigs hard to come by in the USA during the 60s and 70s due to the challenging nature and uncompromising atonality of his music. Certainly, in a live setting, Taylor could create a disturbing noise to the ears of the uninitiated, but as this classic album, recorded in Denmark in late 1962 shows, the visceral power of his unique sound could not be denied. Here, he’s joined by saxophonist, Jimmy Lyons, and drummer, Arthur Murray, who offer strong support to Taylor’s startling improvisations.
Key track: “Trance”Ahmad Jamal: But Not For Me: Live At The Pershing (Argo, 1958)
Renowned for his delicate, pianissimo touch and judicious use of space, pianist Jamal rose to fame in the 1950s leading a trio comprising bassist Israel Crosby and drummer Vernel Fournier. This was the first of many live albums by Jamal and also his debut for Chess Records’ Argo subsidiary. It was recorded at Chicago’s Pershing Hotel and includes two of his signature songs; a warp-speed “The Surrey With The Fringe On Top,” and an exotic meditation called “Poinciana.” Though Jamal’s sound was dismissed by some critics as mere cocktail lounge music, the album went on to become a resounding success commercially, selling over a million copies.
Key track: “Poinciana”Anita O’Day: At Mr Kelly’s (Verve, 1958)
Accompanied by a telepathic trio – who seem to anticipate the singer’s every move and offer sensitive musical support throughout – 39-year-old O’Day is in spectacular form on this live album recorded at a famous Chicago nightspot in April 1958. Adept at both swinging uptempo and slow, seductive ballad material, O’Day also injects some fun and irreverence into the proceedings with the inclusion of novelty items like “Varsity Drag” and “Tea For Two”; the latter taken at a near-suicidal breakneck speed and showing off her ability to scat and improvise like a horn player. Though O’Day was labelled the ‘Jezebel of Jazz’ for her wild lifestyle and drugs offences, this live album showed that her phenomenal musical talent deserved to make the newspaper headlines rather than her offstage antics.
Key track: “Tea For Two”
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Nina Simone: In Concert (Philips, 1964)
The tempestuous and unpredictable Nina Simone was a magnetic stage performer who released many live albums during her life though this one, her debut for the Philips label, is arguably the best. It was compiled from three nights at New York’s Carnegie Hall in the spring of 1964 and opens with a plaintive rendition of “I Loves You Porgy,” one of Simone’s signature songs. Elsewhere though, Simone offers three notable self-penned songs (“Old Jim Crow,” “Go Limp,” and “Mississippi Goddam”) that offer a chilling critique of racial prejudice in America. In Concert marked Simone’s metamorphosis into a protest singer during one of the most turbulent periods of the Civil Rights era while also underlining her genius as an edgy and uncompromising live performer.
Key track: “Pirate Jenny”
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Dinah Washington with Clifford Brown: Dinah Jams (Emarcy, 1954)
With her crisp, declamatory tone and clear diction, the incomparable “Miss D” possessed a distinctive sound that meant she was never mistaken for another singer. She’s at her imperious best on this live studio session recorded in front of an audience in Hollywood on August 14, 1954 in tandem with rising bebop trumpet star, Clifford Brown. Though she was influenced by Bessie Smith and was dubbed “Queen of the Blues,” this live album shows that Washington could sing jazz with both verve and élan. The vibe is relaxed but there’s some terrific interplay between her and Brown, while the stellar backing band – featuring Maynard Ferguson, Max Roach, Harold Land, and Junior Mance – provides dynamic accompaniment throughout.
Key track: “Lover Come Back To Me”
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Dave Grusin Presents GRP All-Star Big Band: Live! (GRP, 1993)
The “G” in GRP Records, pianist Dave Grusin leads a star-studded 17-piece ensemble recorded in concert at Tokyo’s Gotanda Kan-i Hoken Hall in January 1993. Featuring the talents of some of contemporary jazz’s leading musicians – including saxophonist/arranger Tom Scott, trumpeter Arturo Sandoval, vibraphonist Gary Burton, bassist John Pattitucci, and drummer Dave Weckyl – the band offers thrilling widescreen arrangements of nine jazz standards, including Sonny Rollins’ “Oleo” and John Coltrane’s “Blue Train.” Melding raw power with a velvet finesse, the group takes no prisoners with its syncopated grooves, which hurtle along like unstoppable juggernauts.
Key track: “Manteca”Bill Evans: Sunday At The Village Vanguard (Riverside, 1961)
Pianist Bill Evans released many notable live albums during his 24-year-long recording career (including Waltz For Debby, At The Montreux Jazz Festival, and The Paris Concert) but this superlative album, recorded in June 1961 in Greenwich Village is arguably the finest of them all. Playing alongside Evans is a young virtuoso bassist Scott LaFaro (who would be tragically killed ten days later) and drummer Paul Motian, who both helped to bring Evans’ vision of creating a democratic sense of musical interaction within a trio context to life. Highlights included the forlorn and achingly romantic “My Man’s Gone Now,” and a swinging version of Miles Davis’ “Solar.” In 2006, this groundbreaking album was expanded to a 3-CD set, The Complete Live At The Village Vanguard.
Key track: “All Of You”
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John Coltrane: At The Village Vanguard (Impulse!, 1961)
This was Coltrane’s first ever live album, compiled from two nights’ performances in November 1961 at New York’s Village Vanguard. This was not the bop-oriented Coltrane of Giant Steps released just a year earlier but a saxophonist keen to explore elongated modal jazz grooves and discover new musical terrain. Free jazz maven, Eric Dolphy, augments Trane’s quartet with his bass clarinet on side one’s opener, the self-penned “Spiritual,” which anticipates the mesmeric style of the saxophonist’s magnum opus, A Love Supreme, released three years later. More overtly avant-garde is “Chasin’ The Trane,” which occupies the whole of side two and finds the saxophonist blowing his horn with the febrile intensity of a man possessed. The album divided the critics at the time but is now regarded as an important milestone in Coltrane’s oeuvre. In the CD age, the album has been expanded into a 4-CD box set.
Key track: “Chasin’ The Trane”
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Miles Davis & Thelonious Monk: Miles & Monk Live At Newport (Columbia, 1964)
Despite the deceptive album title, Miles and Monk don’t perform together on this LP but occupy one side each with their sets from the Newport Jazz Festival. Miles’ performance is from 1958 when he was leading the sextet (with Coltrane, Cannonball Adderley, and Bill Evans) that would go on to cut Kind Of Blue less than a year later. On the original LP, they were represented by four cuts, including a brisk version of Monk’s “Straight No Chaser.” The Monk side of the album contained two elongated cuts (“Nutty” and “Blue Monk”) from his 1963 Newport appearance, and finds his usual quartet augmented by clarinetist, Pee Wee Russell, who offers a different dimension to the pianist’s music. Both Monk and Miles are at the apex of their powers here and their contrasting approaches to jazz offering a fascinating juxtaposition of styles.
Key tracks:“Blue Monk” (Monk) and “Two Bass Hit” (Davis)The Quintet: Jazz At Massey Hall (Debut, 1956)
“The Quintet” was a bebop supergroup consisting of Charlie Parker – who was originally billed as “Charlie Chan” because of record company politics – with Dizzy Gillespie, Charles Mingus, Bud Powell, and Max Roach. Their appearance at Toronto’s Massey Hall on May 15th 1953 was meant to be a celebration of bop but actually came to define the end of an era as it was the last time Parker, Gillespie, Powell and Roach would play together. Mingus issued the concert, which contained versions of the bebop classics, “A Night In Tunisia,” “52nd Street,” and “Hot House,” via his own Debut label in 1956, but not before he had re-recorded some of his bass lines, which were inaudible on the original recording. The album was later expanded from six to 16 cuts when it was reissued by Prestige under the title The Greatest Jazz Concert Ever.
Key track: “A Night In Tunisia”Erroll Garner: Concert By The Sea (Columbia, 1955)
In September 1955, a Gothic-style concert hall in the Californian coastal town of Carmel played host to one of jazz’s most flamboyant pianists: the technically accomplished Erroll Garner. But Garner had no idea his performance was being recorded until his manager, Martha Glaser, discovered that a jazz-obsessed US serviceman was taping the gig for a military radio broadcast. Glaser acquired the master tape and then persuaded Columbia to release it; it went on to sell over a million copies. Garner’s trio, consisting of bassist Eddie Calhoun and drummer Denzil Best, is in spectacular form. The highlights include a super-charged version of the jazz standard, “I’ll Remember April” and a joyful, softly-swinging “Red Top.” Concert By The Sea remains the go-to live album for those wishing to get acquainted with the Pittsburgh pianist’s jazz.
Key track: “Red Top”Wynton Kelly Trio and Wes Montgomery: Smokin’ At The Half Note (Verve, 1965)
Indianapolis fretboard avatar, Wes Montgomery, teamed up with Miles Davis’ Kind Of Blue rhythm section (pianist Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb) and was recorded by jazz uber producer Creed Taylor playing at New York’s Half Note club in June 1965. What resulted was a sensational live album that convinced everyone who heard it of Montgomery’s genius. It helped, though, that he was backed by a sympathetic and intuitive trio, whose accompaniment is exemplary throughout. Montgomery shines brightest on the cool, self-penned groove, “Four On Six,” and the driving swinger, “Unit 7.” The original 9-track album was reissued in an expanded form in 2005.
Key track: “Four On Six”
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Duke Ellington & His Orchestra: At Newport (Columbia, 1956)
Only a few big bands survived into the 1950s, one of which belonged to jazz aristocrat, Duke Ellington, although his popularity seemed to be fading as bebop began to dominate jazz. But then came a career-changing incendiary appearance at the 1956 Newport Jazz Festival, which revived the bandleader’s appeal in the US. His band’s performance there was captured on tape, then issued on LP and quickly became a bestseller. The unequivocal standout on the album was a tremendous 14-minute version of Ellington’s 1937 stomper, “Diminuendo And Crescendo In Blue,” where tenor saxophonist, Paul Gonsalves, blew a rampaging 27-chorus solo that had the crowd on its feet and went down in history as one of Newport’s finest moments.
Key track: “Diminuendo And Crescendo In Blue”Sonny Rollins: A Night At The Village Vanguard (Blue Note, 1958)
Though for health reasons, Sonny Rollins, who is now 90, no longer plays his beloved tenor saxophone, this stunning live album (initially released by Blue Note as a single LP in 1958 before being reissued as a double CD in 1999) reminds us what a prodigious talent he was. It captures the mighty colossus of the tenor saxophone playing in a trio format (alongside bassist Donald Bailey and alternating drummers Elvin Jones and Pete La Roca) during November 1957 in one of New York’s most iconic jazz clubs. Significantly, the absence of a piano player means that Rollins was unfettered harmonically and was able to roam freely in his improvisations. It leads to some jaw-droppingly memorable instances of genius-level extemporization from a saxophonist who seems to be nothing less than a gushing fount of endless, free-flowing melody.
Key track: “Sonnymoon For Two”
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Ella Fitzgerald: Ella in Berlin: Mack The Knife (Verve, 1960)
Don’t you just love it when the unexpected happens during a live performance on stage? This remarkable LP, recorded in February 1960 at Berlin’s Deutschlandhalle, captures the moment when the so-called ‘First Lady’ of song does the unthinkable and forgets the words to “Mack The Knife.” Rather than panic, like a true professional she calmly proceeds to improvise her own lyrics (including the humorous line, “we’re making a wreck of ‘Mack The Knife’”) and then embarks on a wild scat solo that impersonates Louis Armstrong’s gruff vocal delivery. Though this is undoubtedly the apex of the record, there are other highlights, among them a sassy rendition of “The Lady Is A Tramp” and deliciously languorous version of “Summertime.”
Key track: “Mack The Knife”
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Keith Jarrett: The Köln Concert (ECM, 1975)
If this Pennsylvanian pianist had never made another LP after this one, he would still have a place in the pantheon of jazz greats. For many, this astounding album of long piano improvisations recorded in January 1975 is Jarrett’s magnum opus and the record that best encapsulates his genius. Its spellbinding beauty highlights Jarrett’s lyricism and emotional sensitivity as well as his prodigious technique. Jarrett has recorded many similar solo recitals since but while they are all uniformly excellent, none of them quite match the sonic alchemy and reach the creative apogee that he achieves here. Truly inspired.
Key track: “Köln, January 24, 1975 Part 1”
Missing something from our best live jazz albums list? Let us know in the comments below.
Soviet-era Russian composer Dmitri Dmitriyevich Shostakovich lived his life in a constant state of surveillance. His relationship with his government was an unending source of uncertainty. Even so, he became one of the most impactful composers of the 20th century with a vast musical output that includes fifteen symphonies, six concerti, fifteen string quartets, three operas, three ballets, solo piano works, chamber music, and music for theatre and film.
While this music is for people of all ages, and it carries an enormous depth of musical and political complexity, it’s interesting that Shostakovich frequently resonates with teenagers. Many classical musicians recall being obsessed with Shostakovich in high school. Perhaps this is because – at its most fundamental – intense feelings are the core of Shostakovich’s music. Melancholy, ferocity, tenderness, romanticism, and darkly sarcastic quips can all be found within his scores.
This cornerstone work opens with “DSCH” – Shostakovich’s musical signature which can be found throughout his repertoire. The work itself is dedicated to “to the victims of fascism and the war,” although what exactly this means and whether or not this inscription was imposed by Russian authorities is hotly debated. Many classical music fans become acquainted with Shostakovich through his String Quartet No. 8, and for good reason. It is as profound and heart-wrenching as it is rhythmic and visceral.
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Lady Macbeth of the Mtsensk District (premiered in 1934)
Based on the novella Lady Macbeth of the Mtsensk District by Nikolai Leskov, Shostakovich’s 160-minute opera tells the story of a Russian woman driven to murder. Following initial praise and frequent performances for two years, Stalin attended the opera in 1936. Two days after Stalin attended, the opera was publicly condemned in the magazine Pravda in a piece titled “Muddle Instead of Music” and then swiftly banned in the Soviet Union until 1961.
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Symphony No. 5 in D minor (1937)
Arguably the most famous of Shostakovich’s works, his Symphony No. 5 came at a pivotal moment after Shostakovich had displeased Stalin with his opera Lady Macbeth of the Mtsensk District. The first two movements summon feelings of Beethoven and Mahler in their lush orchestrations, and Shostakovich shows his craft to great avail by spinning long musical lines that resemble unending questions. It is said that Shostakovich privately described the symphony’s final movement as a satirical and false exaltation to the dictator. Musically, it is wildly unpredictable. Fanfare-like motives dissolve into fragile textures, while major switches to minor at a moment’s notice.
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Cello Concerto No, 1 in E Flat Major (1959)
Composed for Shostakovich’s friend, the legendary cellist Mstislav Rostropovich, Shostakovich’s first concerto is a staple concerto that challenges even the best cellists. Those who listened to the opening movement of the String Quartet No. 8 will recognize the very same “DSCH” theme in the cello concerto’s first movement, which is reshaped and morphed throughout (except for in the second movement). The emphasis on offbeats and syncopated rhythms comes to the forefront in the final movement. It’s hard not to get carried away by the driving momentum of this fiery work.
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Symphony No. 10 in E Minor, Op. 93 (premiered in 1953)
Shostakovich’s 10th Symphony is frequently thought of as his commentary on the Stalin era. The connection between external politics and Shostakovich’s inner life continues to be a point of discussion between musicologists and music lovers. Leaving those questions aside, the second movement is an exemplary example of Shostakovich’s writing for brass and how he pits sections against each other in the orchestra.
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The Gadfly Suite (1955)
Like many of today’s composers, Shostakovich also wrote for the big screen. The Gadfly Suite showcases a completely different side to Shostakovich and takes notable influence from Massenet in its sweet and romantic melodies.
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The Piano Quintet in G Minor, Op. 57 (1940)
Written for the Beethoven Quartet and premiered with Shostakovich himself on piano, this work has become a classic chamber music piece from the 20th century. The piano quartet is an unequal instrumentation to begin with. By the nature of their capacity for sound, the strings (two violins, viola, and cello) inherently must fight to be heard over the piano. This sense of inherent struggle is met with an earnestness and attention to cascading and elongated musical lines.
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String Quartet No. 12 (1968)
The String Quartet No. 12 stands out for two reasons. First, its opening is quite unexpected for Shostakovich, as it spells out a 12-tone row and then it suddenly breaks open to tonality. Second, instead of a traditional four-movement structure, it consists only of a short first movement and long second movement.
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Sonata for Viola and Piano, Op. 147 (1975)
Completed on his deathbed, the Viola Sonata is a look back at life. The first movement, which is described by the composer as a “novella,” opens with a hauntingly stark pizzicato line which is then met by the falling piano. The entire work is full of musical easter eggs, including quotes from Shostakovich’s own previous works and allusions to composers, including Beethoven and Alban Berg, who informed his creative outlook.
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Elmiene has announced his upcoming EP, Marking My Time, which is due October 20 via Def Jam Recordings/Polydor.
Alongside the announcement, he has shared tracklist details as well as the EP’s title track “Marking My Time,” which was written with Jamie Woon and James Vincent McMorrow.
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Marking My Time includes the recently-released singles “Mad At Fire” and “Mama” and follows his impressive debut EP El-Mean that was released independently this past spring. In making the EP, Elmiene worked with innovators like DJ Dahi, Jim-E Stack, Sampha, Syd, Courage, Lil Silva, and more.
Speaking on his new body of work Elmiene says, “The general theme of this project is trying to mark my time not in terms of history but just for me personally, so I don’t get lost. Almost making a checkpoint to anchor myself. Even sonically it’s like I’m marking my stamp that I put on things. Because I’m so deep in looking back behind me, I always found myself stumbling over what’s gonna happen next. So when my life started speeding up massively, I had to learn how to keep an eye on both sides – appreciating the past in order to do the future the right way and do it justice.”
Despite having only released a handful of songs, the 21-year-old, Oxford-based artist has already made waves in the music scene. His 2021 track “Golden” went viral after Benji B handpicked it to soundtrack Virgil Abloh’s final Louis Vuitton show. He was invited again by Benji to perform alongside Robert Glasper and Yasiin Bey for Louis Vuitton in Paris, Elmiene’s first live show ever. Since then, he has appeared on critically acclaimed albums by Stormzy and Lil Silva, performed at Glastonbury, along with making his TV debut performing “Marking My Time” for the first time on Later… With Jools Holland.
What songs are currently trending on TikTok and beyond? Well, the path to virality, chart domination, and TikTok hits is no longer reserved for new, popular songs. The industry has seen an uptick in renewed interest around classic tracks that re-emerge in pop culture thanks to social media, soundtrack syncs, and commercial placements, and sometimes purely by chance. Look no further than the time a man went cruising on his longboard listening to Fleetwood Mac’s “Dreams.” This column will break down all of the older songs that are trending on TikTok again (and explain why they became popular one more time).September 23 Frank Ocean – Pink Matter
Taken from Frank Ocean’s acclaimed debut album Channel Orange, “Pink Matter” tackles the topic of pleasure in relation to women. “Sensei replied, ‘What is your woman?/Is she just a container for the child?’/That soft pink matter,” the star sings in the first verse of the slow-paced jam, which also features a guest appearance from André 3000. Fans on TikTok have been sharing their love for the track, particularly the moment Ocean cries: “My god, giving me pleasure.”
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Nelly – Dilemma (ft. Kelly Rowland)
In 2002, Nelly and Kelly Rowland teamed up for a superstar collaboration that would become a classic pop song of the era. “Dilemma” sampled Patti LaBelle’s “Love, Need and Want You” and captured the feeling of falling in love with someone – despite them already being in a relationship. TikTok users have been celebrating the track and sharing live clips of Nelly performing it for a happy couple at their wedding.
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Jhené Aiko – None Of Your Concern
“None Of Your Concern” previewed Jhené Aiko’s third studio album Chilombo and took inspiration from the singer’s own relationship with Big Sean. The rapper featured on the track – alongside Ty Dolla Sign – and helped Aiko detail the process of moving on from an old relationship. The song is experiencing a resurgence on TikTok as fans praise Aiko’s lyrics for their “realness.”
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George Strait – Here For A Good Time
The title track from country icon George Strait’s 27th studio album, “Here For A Good Time” was a family affair for the star. He co-wrote the single – the 92nd of his career – with his son Bubba and frequent collaborator Dean Dillon and brought the motto “here for a good time, not a long time” to life. TikTok users have been using the song as the soundtrack to montages of capturing that same spirit and having a good time with friends.
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Black Eyed Peas – My Humps
Although Black Eyed Peas’ 2005 single “My Humps” sparked some controversy with its lyrics, it has gone down as a celebrated song of its era. It won the Grammy for Best Pop Performance by a Duo or Group with Vocals in 2007 and is experiencing a resurgence on TikTok as fans highlight it as one of the best songs of its time.
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September 15 Floetry – Say Yes
In 2003, English R&B duo Floetry shared “Say Yes,” the second single from its debut album Floetic. It was the pair’s only hit single, peaking at No.24 in the Billboard Hot 100 the same year of release and getting nominated for a Grammy for Best R&B Performance by a Duo or Group with Vocal. Fans on TikTok have been giving the track an online revival of late, sharing how relaxed and soothed the serene song makes them feel.
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Lil Yachty – Flex Up
On his 2020 track “Flex Up,” Lil Yachty and collaborators Playboi Carti and Future do exactly what the song’s title suggests and flex their lifestyles. “Six speeds, Bentleys, APs, that s__t light/Two-piece, FNs, red dots, chop your height,” he raps in his verse. The track is at the centre of a new dance trend on TikTok that sees users on the app teaming up with a friend to bust some moves to the song.
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Ashanti – Foolish
With “Foolish,” her 2002 debut single, Ashanti gave herself a big introduction. The track spent 10 consecutive weeks at No.1 on the Billboard Hot 100 and entered the Top 10 in the UK, Australia, New Zealand, and Canada. It earned nods at the 2003 Grammys for Best Female R&B Vocal Performance and was named one of the best songs of the 2000s by Billboard. Its legacy still lives on, with TikTok users sharing the impact specific parts of the song have on them.
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September 8 Jimmy Buffett – Margaritaville
In 1977, Jimmy Buffett released his single “Margaritaville,” which would go on to be his defining song. It peaked at No.8 on the Billboard Hot 100 chart and, at the end of that year, ranked at No.14 on its Pop Singles of 1977 chart. The track went on to be a reference throughout Buffett’s career and pop culture at large, lending its name to his Meet Me In Margaritaville: The Ultimate Collection compilation album, the 2017 musical Escape To Margaritaville, and many commercial ventures, including his restaurant chain of the same name. After the sad death of Buffett, the track has been trending online as fans share their fond memories of the icon.
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Smash Mouth – All Star
Taken from Smash Mouth’s second studio album Astro Land, “All Star” achieved acclaim and success upon its release in 1999. It was nominated for Best Pop Performance by a Duo or Group with Vocals at the Grammys and hit the top of the charts around the world. Two years later, it featured on the soundtrack for Shrek, launching it to stratospheric status. Following Smash Mouth frontman Steve Harwell’s tragic death, fans have been paying their respects online, sharing their love for the track.
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Rihanna – If It’s Lovin’ That You Want
“If It’s Lovin’ That You Want” appeared on Rihanna’s debut album, Music of the Sun, in 2005 and found the then-rising star sharing a message to potential suitors. “[It’s] basically telling a guy, ‘If it’s lovin’ that you want, you should make me your girl because I’ve got what you need,” she told MTV at the time. The song has been experiencing a resurgence as fans recreate some body-rolling choreography on TikTok – or, in the case of Chicken Shop Date’s Amelia Dimoldenberg, put their own spin on it.
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September 1 Rae Sremmurd – Throw Sum Mo
When Rae Sremmurd was still a fledgling rap duo, they scored big with their third single from debut record SremmLife. “Throw Sum Mo” boasted appearances from Nicki Minaj and Young Thug – and it performed fittingly well. The track peaked in the Top 40 of the Billboard Hot 100 and topped the R&B/Hip-Hop Airplay chart, laying more solid foundations for a glorious career to come. Nearly a decade since its release, fans on TikTok are sharing it again, recommending it to those who have yet to hear it.
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Rihanna – Breakin’ Dishes
“Breakin’ Dishes” might not have been an official single from Good Girl Gone Bad, but it still managed to impact the charts. The track, which found Rihanna fronting up to her partner about their cheating, soared to No.4 on the Billboard Hot Dance Club Songs. Fans on TikTok have been using the song to soundtrack edits of movies like Jessica Alba’s Honey.
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Migos – Need It
Migos’ 2020 single “Need It” found the rap trio teaming up with YoungBoy Never Broke Again and served as the lead single for the group’s fourth album, Culture III. On the track, it sampled 50 Cent’s “Get In My Car” and detailed the lifestyles the four artists led and their lengths to protect themselves. The track is now being used as the soundtrack for a POV trend on TikTok.
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Limp Bizkit – Behind Blue Eyes
In 2003, Limp Bizkit covered The Who’s “Behind Blue Eyes,” putting their own rap-rock spin on the 1971 single. Its version featured a new verse, an extra chorus, and extra flourishes and embellishments. It went on to achieve huge success worldwide, particularly in Europe. TikTok users have been helping the song to trend on the app by sharing videos based on how hearing the song makes them feel.
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The La’s – There She Goes
Considered one of the greatest indie songs of all time, The La’s‘ “There She Goes” was originally released in 1988 before being re-issued in 1990 to huge success. It placed at No.13 on the UK’s Official Singles Chart and has, in decades since, been hailed by the likes of Noel Gallagher, Eric Clapton, and Ben Gibbard. The song has been reaching a new audience on TikTok, with fans sharing their own covers of the track.
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August 25 Corinne Bailey Rae – Put Your Records On
In 2006, Corinne Bailey Rae released “Put Your Records On” as the second single from her self-titled debut album. It went on to huge success, peaking at No.2 on the Official UK Singles Chart. It also was nominated for Record Of The Year and Song Of The Year at the Grammys the following year. Users on TikTok have been celebrating the song on the platform by posting their own versions and Rae’s live performances of it.
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Taylor Swift – Cruel Summer
When Taylor Swift’s Lover was originally released in 2019, one of its standout tracks, “Cruel Summer,” was not put out as a single. In the years since, fans have campaigned for it to be given its flowers, finally succeeding in 2023. With the track making an appearance at Swift’s Eras tour, fans have been sharing live videos of it on TikTok, helping boost its resurgence further.
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Chrisette Michele – Epiphany (I’m Leaving)
The first track to be taken from Chrisette Michele’s second album, “Epiphany (I’m Leaving)” gave the singer her first solo entry on the Billboard Hot 100 chart. The track detailed Michele’s experiences in different relationships in her life, sharing lessons learned along the way. A new dance trend set to the song is sweeping TikTok, with fans twerking in videos shared on the app.
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Sir Mix-A-Lot – Bark Like You Want It
“Woof, bark like you want it, woof, bark like you want it, baby,” Sir Mix-a-Lot commands on “Bark Like You Want It,” a track taken from his penultimate album, Return Of The Bumpasaurus. TikTok users are now sharing videos of themselves lip-syncing to the song.
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Keyshia Cole – Love
In 2005, Keyshia Cole released the single “Love” from her debut album, The Way It Is. It became the most successful track on the record, peaking at No.19 on the Billboard Hot 100 chart. Fans on TikTok have been sharing clips of Cole performing the song at recent concerts nearly two decades later, helping it trend on the app.
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August 18 Big Sean – I Don’t F__k With You
Big Sean’s 2014 single “I Don’t F__k With You” interpolates two songs from the 70s in its framework – D.J. Rogers’ “Say You Love Me One More Time” and Earth, Wind & Fire’s “September.” It also saw the rapper team up with E-40 and Top 20 hit on the US Billboard Hot 100 chart in the process. Nearly a decade after its release, the song is now at the center of a trend, which sees users on TikTok lip-syncing to the track while using a filter that spins their image in a circular frame.
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Chief Keef – Hate Bein’ Sober
In 2012, Chief Keef recruited 50 Cent and Wiz Khalifa for “Hate Bein’ Sober,” the follow-up to his hit single “Love Sosa.” Released as the third single from his debut album Finally Rich, the track went on to become yet another success in his arsenal, now certified double platinum in the US. TikTok users are now soundtracking a new trend with the song in which they share videos with different scenarios that would make their morning or night good.
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Ariana Grande – Dangerous Woman
The title track from Ariana Grande’s 2016 album, “Dangerous Woman” saw the star work with songwriters Johan Carson, Ross Golan, and super-producer Max Martin. Already no stranger to massive hits, it added another to her catalog, entering the upper echelons of the charts in the US, the UK, Canada, Australia, and many other countries. The song is central to a new trend on TikTok that sees fans sharing pictures from their childhood juxtapositioned with a photo of their “glow up” later in life.
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August 11 Luke Bryan – Move
In 2016, country star Luke Bryan penned “Move,” a song about a woman moving to the American South and becoming more attractive to the narrator thanks to adopting Southern ways. As well as making a big impact on the country scene, it also scored some crossover success in the mainstream, landing at No.50 on the Billboard Hot 100. Fans on TikTok are now sharing videos that combine both a dance trend and a transition that sees them switch outfits.
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Montell Jordan – This Is How We Do It
“This Is How We Do It” served as the lead single to singer-songwriter Montell Jordan’s debut album of the same name in 1995. It featured a sample from Slick Rick’s “Children’s Story” and took on the world – taking over the Billboard Hot 100 No.1 spot from Madonna and earning a Grammy nomination for Best Male R&B Vocal Performance. Users on TikTok are now sharing funny videos set to the track detailing relatable parts of daily life.
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Frank and Nancy Sinatra – Somethin’ Stupid
Although originally recorded by C. Carson Parks and his wife Gaile Foote in 1966, the most famous version of “Somethin’ Stupid” arrived a year later courtesy of Frank and Nancy Sinatra. The song has since become a staple of pop culture, appearing in movies and TV shows from Joy to Breaking Bad, The Simpsons to Gilmore Girls. Users on TikTok have been sharing their own covers of the song in tribute to the classic.
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Enigma – Sadeness
In 1990, German outfit Enigma explored the “sexual desires of Marquis de Sade” and scored a huge hit in its home country. The track made it to the top of the German charts faster than any other song in history at the time, thanks to radio play and its success in clubs. Its usual mix of electronics and Gregorian chants has inspired TikTok users to share their reactions to it in videos on the app.
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August 4 The Cardigans – Lovefool
In 1996, Swedish band The Cardigans released one of the most iconic earworms of all time with “Lovefool.” The lead single from its third album, First Band On The Moon, the track had a slow-burn to hit status, propelled by its feature on the soundtrack to Baz Luhrmann’s Romeo + Juliet. Nearly three decades later, the song is still finding popularity with new audiences and is having a resurgence on TikTok as users make it the soundtrack of a new trend that shows what they’re listening to as they play video games.<
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Tame Impala – Let It Happen
For its third album, Currents, Tame Impala returned with a lead single that clocked in at nearly eight minutes. “Let It Happen” introduced the 2015 record in an epic expanse of laser-like synths and infectious beats, while its lyrics dealt with themes of personal transition. Fans on TikTok are using the track as a way to express how they dance like no one’s watching.
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Dazz Band – Let It Whip
Released in 1982, “Let It Whip” gave the Ohio R&B and funk outfit Dazz Band its biggest hit. The track topped the US R&B chart for five non-consecutive weeks and peaked at No.5 on the Billboard Hot 100. It also went on to win a Grammy that same year for Best R&B Performance by a Duo or Group with Vocals. Now, it’s become the center of a new trend on TikTok, which sees users perform majorette dance moves to the song.
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July 28 Spiderbait – Black Betty
In 2004, Australian alt-rock trio Spiderbait covered Lead Belly’s 1939 work song “Black Betty,” following in the footsteps of US rockers Ram Jam to give the track their own spin. Released as the lead single from its sixth studio album, Tonight Alright, Spiderbait’s take became a hit worldwide, but particularly in the band’s home country, where it topped the charts and is now certified double platinum. Users on TikTok are now using the song to soundtrack videos of them racing through the streets for different reasons.
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Ariana Grande – Everyday
In 2016, Ariana Grande teamed up with Future on her Dangerous Woman single “Everyday.” Although it presented more explicit topics than the star had previously touched on before then, the track soared to the Top 20 of the Billboard Mainstream Top 40. Now, fans are using it to soundtrack a variety of videos, from cute clips with their partners to videos of favorite K-pop idols.
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Justin Bieber – Beauty And A Beat
The third single from Justin Bieber’s 2012 album Believe, “Beauty And A Beat” found the pop icon teaming up with Nicki Minaj as he sang about taking a lover to the club. It peaked at No.5 on the Billboard Hot 100 and has since been certified quadruple platinum in the US. The song is central to a “body rock trend” on TikTok, in which users dance to a sped-up version of the track.
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July 21 Ne-Yo – Because Of You
Released in 2007, “Because Of You” went on to become US singer-songwriter Ne-Yo’s second most successful song, bested only by “So Sick.” It was produced by Stargate and became a hit around the world, entering the Top 10 in Ireland, Japan, and the UK, while peaking at No.2 on the Billboard Hot 100. The track is now experiencing a resurgence thanks to a viral video on TikTok, which sees the song edited into a clip of a man trying to break a car window.
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Playboi Carti – Magnolia
Taken from Playboi Carti’s self-titled debut commercial mixtape, “Magnolia” sampled The Jamie Foxx Show, while the video featured cameos from the song’s producer Pi’erre Bourne and A$AP Rocky, the A$AP Mob, A Boogie Wit Da Hoodie, and many more. Fans on TikTok are now using the track as the soundtrack for a variety of funny videos.
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Akon – Right Now (Na Na Na)
The lead single from Akon’s third album Freedom, “Right Now (Na Na Na)” gave the singer yet another hit. It reached No.6 in the UK while, in the US, it peaked at No.8 on the Billboard Hot 100. TikTok users have helped the track trend again by sharing videos celebrating its lyrics.
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Listen to all the best viral tracks on TikTok on Apple Music and Spotify.
Katherine Anderson-Schaffner, co-founder of Motown mainstays the Marvelettes, has died at the age of 79. Her daughter Keisha Schaffner announced the news via Facebook on Wednesday (20) on Facebook.
The Marvelettes had the distinction of achieving Motown’s first pop No.1 in late 1961 with the enduring “Please Mr. Postman,” enjoying further crossover Top 10 success with “Playboy” in 1962 and “Don’t Mess With Bill” in 1966. Their other major soul chart hits included “Beechwood-54789,” “Someday Someway,” “Strange I Know,” “As Long As I Know He’s Mine,” the No.2 R&B single “The Hunter Gets Captured by the Game,” “When You’re Young and in Love,” and “My Baby Must Be a Magician.”
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“Some called her Kat – some called her Sis, Gamma – Momma K but my sister and I called her MOM,” wrote Keisha Schaffner. “She was not just a Mom to us but to many. Many people would come and sit at her table. Now if you ever sat and said, ‘Kat I need to talk.’ You already knew you were going to get true, uncut, unedited council. She wasn’t going to tell you what you wanted to hear but what you should hear.
“I remember friends saying ‘I’m coming over’ and I would say, ‘I’m not home;’ the response would be I’m going to talk to your mom. My response would always be you know how that’s going to go right? Two hours and a box of tissue later sitting at her kitchen table, your counseling session was over. The funny part is you would come back for more.”
She concluded: “Katherine Anderson Schaffner is and will always be one of the Original Marvelettes. Her music and Legacy will live on. So the next time you hear ‘Please Mr. Postman,’ ‘Don’t Mess With Bill,’ or ‘The Hunter Gets Captured By The Game,’ just smile and say ‘I’ll Keep Holding On.’ Mom we love you and will miss you. And yes we know – ‘It is what it is.’”
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The Marvelettes formed at Inkster High School in the Detroit suburb of that name, where Anderson, born on January 16, 1944 in Ann Arbor, was among the older glee club members to join forces with Gladys Horton. “We all sang in the school choir,” said Anderson in Bill Dahl’s Motown: The Golden Years. “We came together in preparation for a school talent show. We had all heard about [it], but Gladys is the one that asked different ones, what do they think about having a group and participating in the talent show.”
Anderson, a soprano, sang lead in that contest, and while the group, initially called the Casinyets, only came fourth, they went on to pass a Motown audition with Brian Holland and Robert Bateman in the spring of 1961. Most of the group, by now the Marvelettes, were still at Inkster High when “Please Mr. Postman” changed their lives.
Anderson remained with the group through some line-up changes, as they went on to work with such Motown linchpins as Smokey Robinson, Eddie Holland, and Norman Whitfield. In addition to their extensive collection of highly popular singles, the group released a Greatest Hits LP that went Top 5 R&B in 1966, followed by a self-titled 1967 set and 1968’s well-regarded Sophisticated Soul.
When the group wound down at the turn of their 1970s, Anderson retired from music and never sang professionally again, although Horton kept the name alive on tour, competing with “fake” line-ups that also emerged on the circuit. “The Marvelettes were a high-energy group,” said Anderson proudly as she reflected on their important contribution to Motown history. “We were different, more or less, from any other female group that was out there at the time.”
On September 21, the City of Atlanta and the Mayor’s Office of Film, Entertainment & Nightlife presented a proclamation to Summer Walker (LVRN/Interscope Records) for her contributions to the community.
One of Atlanta’s greatest success stories led the city to officially proclaim the Last Day of Summer, September 22, as Summer Walker Day in the City of Atlanta. Councilmember Andrea Boone and AMOFEN Directors Cardellia Hunter and Phillana Williams were in attendance for the presentation.
With the help of Social Xurrency, the platinum-selling singer’s altruism continues Friday, as Walker’s Last Day of Summer Small Business Activation will help small businesses within the Atlanta community. All participating businesses will be available at Buy Black Women S__t in hopes of assisting hard-working women to succeed.
In addition Summer will release an exclusive cobalt blue vinyl for her acclaimed 2018 debut mixtape, Last Day of Summer. Certified gold by the RIAA, Last Day of Summer spawned her 5X-platinum single, “Girls Need Love,” and its lauded remix featuring Drake. “Girls Need Love (Remix)” soared to No.2 on the Hot R&B and entered the top 40 of the Hot 100. Last year, Summer released the revamped version of Last Day of Summer (Sped-Up) after the viral explosion of her sped-up single “Karma,” which created spikes in her streams.
The millions of streams it generated pushed “Karma” to platinum status, and its success sparked a full revamp of her Last Day of Summer as an entire sped-up album, Last Day of Summer (Sped Up). The project is the first sped-up album from a major recording artist and is a result of the singer listening to her devoted fanbase, who found pleasure in revisiting the classic album in a reimagined way.
In 2023, Summer has strengthened her connection with her loyal fans through high-profile and electric festival performances in recent weeks. Recently, the multi-platinum hitmaker rocked the stage in her native Atlanta at Mary J Blige’s Strength of a Woman festival, alongside R&B superstars including Ms. Lauryn Hill, Muni Long, and Lucky Daye.
When Beck stepped boldly into the 21st century with the album he released in 2002, reviewers enthused that they’d never heard him write and perform with such maturity. The Californian pacesetter was now 32 years old, with nearly a decade of recording experience under his belt, and was unveiling Sea Change.
After 1999’s Midnite Vultures, ever open to new avenues of expression, Beck took on a surprise big-screen role, acting in his friend Steve Hanft’s 2001 independent picture Southlander. Fellow musicians Beth Orton and Elliott Smith also appeared in the film.
Beck later discussed that project in a phone interview with Record Collector, explaining that Hanft — whom he met when he was about 19, and who directed the “Loser” and “Where It’s At” videos — “wrote me into it, but he wanted me to play myself how he remembered me when he first met me.”A familiar darkness
When Sea Change arrived the following year, the resemblance was also widely noted between the dark feel of the record and that of 1998’s Mutations. It was no coincidence that both projects had him working with the British producer whose work with Radiohead Beck admired, Nigel Godrich.
“Beck has rarely performed with such maturity and confidence,” beamed the Billboard review, “breathing a rich, often haunting baritone into songs that seem to follow a plotline thread of despair after the end of a relationship.”
Indeed, the mood of the dozen new songs on display was markedly melancholic, as Beck came to terms with the end of his nine-year relationship with stylist Leigh Limon. Rolling Stone went so far as to compare Sea Change to Blood On The Tracks, the 1975 album Bob Dylan made around the time of his estrangement from his then-wife Sara.
“After reshuffling any number of styles and perfecting his half-ironic deadpan,” observed the New York Times, “Beck has now come up with an entire album of slow songs about heartbreak and desolation, solitude and death.”
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A new openness in Beck’s lyrical approach was certainly in plain sight, largely devoid of the whip-smart irony that had been his trademark. From the acoustic opener “The Golden Age” onwards, it was matched by an affecting simplicity and directness in the song constructions themselves, sometimes elegantly illustrated with lush strings.
Beck’s album contained such titles as “Lonesome Tears,” “Lost Cause” and “Already Dead,” as well as the reflective “Guess I’m Doing Fine.” It was far removed from the rambunctious verve of “Where It’s At” or “Sexx Laws.” “Forlorn folk,” The Guardian called it. But when he spoke to writer Paul Lester for that newspaper, he typically chose not to show his hand about the album’s emotional motivation.
“I don’t talk too much about my personal life,” he said. “You’ll get a thousand times more of me from my music than anything I could say in an interview. When you start opening yourself up in that way, it cheapens your life.”
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The album was introduced by the engaging lead promo track “Lost Cause,” followed as a single by “Guess I’m Doing Fine,” which had a video directed by Spike Jonze. Sea Change was every bit of the gear shift that its title implied, but many of Beck’s admirers were eager to make the leap of maturity with him.
The long player peaked at No.8 in the US, made the Top 10 in his stronghold of Scandinavia and was a Top 20 success in the UK, Australia and elsewhere. It went on to sit comfortably inside the Top 20 of Rolling Stone’s list of the best albums of the 2000s.Playful on tour
After some shows early in 2002 and an appearance in the spring at the Coachella Festival, Beck teed up the LP release with an August tour of the US. There was certainly no trace of glum introspection when he arrived at the Michigan Theater in Ann Arbor, as MTV reported.
“Beck’s two-hour acoustic performance had a playful vibe throughout,” wrote Christina Fuoco. “He filled the show with sly remarks, showing a different side to his flashy, leisure-suit-wearing self. The concert was a free-for-all, with fans shouting out names of songs in hopes that Beck would perform them.
“Sporting jeans, a white button-down shirt, Converse sneakers, dishevelled hair and rosy red cheeks, Beck cracked jokes the minute he hit the stage, which looked like an unkempt music classroom.” The show featured a guest appearance by Jack White, who joined Beck on “Cold Brains” and a version of “Last Fair Deal Gone Down,” by their mutual inspiration Robert Johnson.
Laughing and joking with the audience and cracking up as he attempted to play “Sissyneck,” Beck eschewed most of his more beat-driven hip-hop flavors. “I’ve been trying to figure out how to do the hip-hop thing live,” he said. “I’ve been studying LL Cool J’s Unplugged for 15 hours straight. I have not figured [it out]. It’ll come to me.”A song every two days
Beck told Record Collector that the Sea Change sessions resembled those with Godrich for Mutations. “It turned into a song every two days,” he said. “Mutations we recorded and mixed in two weeks, this was probably three and a half but we got a little more ambitious I think, because we had orchestral arrangements and different musicians coming and going.”
The sessions took place at Ocean Way Studios in Los Angeles. “It was a reunion of sorts,” he said. “It was something we’d been planning for four years, talking about. 9/11 happened and then people weren’t working as much, I think we originally wanted to do this record a year and a half ago, but it took a while for people to line up.”
The record repaid that perseverance, just as it continues to reward repeated listens. Beck followed its release with another North American tour in the autumn that included two nights at the Beacon Theatre in New York and another at the Universal Amphitheatre in LA. The album went gold in America in 2005; the sea change had been completed to great effect.
Read more on Beck’s catalog as part of our Behind The Albums series.
When a band from Aberdeen, Washington called Nirvana – who’d thus far failed to chart in America with their debut Sub Pop album Bleach – released Nevermind on September 24, 1991, not many observers would have guessed what was about to happen.
The phrase “cultural revolution” is over-used, but few would deny that suddenly, here was a record, and a frontman in Kurt Cobain, that not only re-routed rock music but spoke to a generation, and those to follow, as few ever have. Its continuing relevance is succinctly described by Dr Jerry Thackray, now a lecturer at the BMI Institute and, as journalist Everett True, a Nirvana confidant. “It just seemed to sum up not being able to cope with being an adolescent,” he said.
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Just as punk had done 15 years earlier, the urgent sound and the teen spirit of Nevermind called listeners back to music who had felt disenfranchised by the corporate rock milieu of the day, and in particular by seemingly all-powerful hair metal and high-gloss pop. It took a moment, but all around the world, from South Africa to South America, across Europe and the Far East, this new sound lit a cultural fuse and became the poster album for the grunge generation.
The creation of the album began in earnest in May of 1991. Pointing the way was the non-LP single “Sliver,” which Cobain later said “was like a statement in a way. I had to write a pop song and release it on a single to prepare people for the next record. I wanted to write more songs like that.”
The prospects for the impending sessions were not entirely auspicious. Producer Butch Vig told Rolling Stone: “The week before I flew to L.A., Kurt sent a cassette, which was done on a boombox. It was really terrible sounding. You could barely make out anything. But I could hear the start to ‘Smells Like Teen Spirit,’ and I knew it was amazing.”
With a reported budget of $65,000, Nirvana and Vig went into Sound City Studios in Van Nuys, California. Match-fit from extensive rehearsals of the new songs, and true to their punk ethos, the band rarely took more than two takes to get each of the recordings they wanted. Sometimes, they would be singing lyrics moments after Cobain had finished writing them.
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“The only hard thing was dealing with Kurt’s mood swings,” Vig told Billboard on the album’s 20th anniversary in 2011. “He was extremely bipolar and you never had any idea how he was going to be at any given moment. But they were really focused and had practiced a lot. We worked in pre-production to tighten the songs up and they were having fun, man.
“They were signed to a major label for the first time in their life; they had a little money. They were staying at the Oakwood Apartments, and they all said that the rental apartment was the best place they had ever lived in their whole life. And they were going to see shows. They dropped mushrooms and went to the beach all night long. We did the record really fast. I think we were in the studio maybe 16 or 18 days. So it wasn’t really a labored effort in any way.”
Nevermind started slowly, with a UK debut at No.36 and a cautious entry to the Billboard 200 at No.144, but it became both a critical landmark and a commercial juggernaut. It ranked No.17 in Rolling Stone’s all-time Top 500 album list and racked up a chart life of five years, with a 252-week run on the survey.
In America alone, during Christmas week of 1991, the album sold a spectacular 374,000 copies in a mere seven-day frame. As a fringe benefit, suddenly everyone also wanted to know about that overlooked debut album, and Bleach made its own chart debut in January, 1992, two and a half years after release.
The catalyst that helped Nevermind to its worldwide conquest was, of course, Nirvana’s signature single “Smells Like Teen Spirit,” which raged like a bonfire of isolation and anger and became its own mainstream, turning platinum in America for one million sales.
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Everett True, reviewing the album on release for Melody Maker, wrote: “Forget all the prejudices you may or may not have about bands whose origins may or may not lie in Seattle’s Sub Pop scene of three years back. There will not be a better straight-ahead rock album than Nevermind released all year.”
Nevermind added new honors to its multi-platinum status with remarkable regularity. It went double platinum in the same week that it hit No.1, and triple platinum just a month later. By June 1992, quadruple, by November, quintuple. In March 1999, it joined the exclusive club of albums with diamond status, for ten million US shipments.
Vig’s comments about listening to Nevermind again in 2011 ring as true now as then. “It still sounds fresh,” he said. “In my opinion, I don’t think it sounds dated. One of the reasons is because it’s guitar, bass, and drums. There isn’t a keyboard sound from the 80s. Sometimes you hear a sound on the radio and the production sound dates it. I don’t really hear that in Nevermind. It’s drums recorded in a room with bass, guitars and vocals. I think it sounds as fresh and exciting now as it did back then.”
Buy or stream Nevermind (Deluxe Edition).
In Dire Straits’ perfect storm of 1985, the month of September saw them add singles supremacy to their spectacular success on album and as as a live attraction. On the September 21 chart, “Money For Nothing” started a three-week reign as their only No.1 on the Billboard Hot 100.
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Mark Knopfler may have been using a touch of irony when he asked Sting to provide the vocal in which he said he wanted his MTV, but MTV certainly wanted Dire Straits. As the video for the track went into their maximum rotation, the single entered the US chart for the week of July 13. It was the very date on which the band took their place in history on the Live Aid bill at Wembley Stadium. The Brothers In Arms album that the song came from was already making huge strides, not just in America but around the world.A chart lockout
Knopfler was less than enamored with the famous video for the song, with its CGI effects that helped the technology to go mainstream. But there was no doubt that it helped take the track into the stratosphere. “To me it was almost like a dream sequence,” he later told Ultimate Classic Rock Nights of how he had envisaged the clip.
“I’d visualized a kid in his bedroom with that ‘I want my MTV’ thing happening and the camera rushing over the landscape – as I’ve said before, it’s a good thing I never had anything to do with the video!”
With the album already at triple platinum status in the US and rising fast, those September 21 charts showed the Straits in the fourth of nine weeks at the album summit, a run that would last into November. But now, they dominated the singles market too, as “Money For Nothing” took over from John Parr’s film theme smash “St. Elmo’s Fire (Man In Motion)” at No.1.
This was at the height of the so-called “Second British Invasion” of the US, and to underline that point, Dire Straits thus became the fourth UK act in just six months to top the American singles and album charts at the same time. Wham!, Phil Collins, and Tears For Fears had all done it before them in 1985; five other artists had done it in the earlier 1980s. Three of those were in 1980, when Pink Floyd, Queen and John Lennon all achieved the rare feat. Paul McCartney did it in 1982 and The Police in 1983.
Listen to uDiscover Music’s Dire Straits Best Of playlist.
Incredibly, “Money For Nothing” was the ninth No.1 by a British artist out of 11 to top the Hot 100. It was also Knopfler’s second US Top 10 success as a writer in some five months: Tina Turner’s recording of his “Private Dancer” had reached No.7 in March.
Buy or stream “Money For Nothing” on Brothers In Arms.
The year of 1977 in the world of Thin Lizzy was all about “Dancin’ In The Moonlight” and spreading their Bad Reputation around the world. As the Irish rock heroes climbed the UK charts with that first single (subtitled “It’s Caught Me In Its Spotlight”), the band’s eighth studio LP made its American chart debut — before it was even on the UK bestsellers – on September 24.
Lizzy were still playing catch-up in the States after the unfortunate events of 1976 when, as they were making great headway with the Jailbreak album and tour, Phil Lynott contracted hepatitis. They had to cancel another tour supporting Ritchie Blackmore’s Rainbow that would have helped to raise their profile even further.Missed transatlantic opportunities
So while Jailbreak reached the US Top 20, the Johnny The Fox set of a few months later only made No.52. Lizzy were on tour in Europe as Bad Reputation emerged, playing at the Reading Festival at the end of August ahead of a huge, 27-date UK tour in November and December.
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The recording of the album was marred by the frequent absence of guitarist Brian Robertson. His credits on just three tracks would prove to be his last studio appearances with the band, who appeared on the cover in the three-piece of Lynott, Scott Gorham, and Brian Downey.
“A big reason why Phil and I became such good friends was because we trusted each other,” said Gorham later, as quoted by Classic Rock. “No names, but maybe with some of the other guys, he never quite trusted them. We always tended to agree, musically. Not always on album but definitely on stage. Also, I’ve never been worried about being a big star, so that never came between us either, where maybe it did with some of the other [guitarists].”
Bad Reputation reached No.4 in the UK, swiftly went gold, and was also a notable success with the band’s Scandinavian following, reaching the Top 10 in Sweden and Top 15 in Norway. Meanwhile, across the Atlantic, the album matched the 11-week chart run of Johnny The Fox and at least returned Lizzy to the Top 40 of the Billboard LP chart, at No.39. As a reminder of their earlier American fortunes, Jailbreak was then certified gold by the RIAA.
Buy or stream Bad Reputation.
These days we’re very used to the worlds of rock and classical music coming together. In 1969, for the most part, they lived at very different addresses. That was until the composing genius of Jon Lord brought them together in the groundbreaking Concerto For Group And Orchestra, performed on September 24, 1969 by the powerful combination of the Royal Philharmonic Orchestra and Deep Purple.Majesty and potency
The majesty of the orchestra, conducted by the revered Sir Malcolm Arnold, dovetailed with the commanding presence of Deep Purple as they were emerging as one of Britain’s finest new rock forces. There were brilliant solos by Lord, the powerful showmanship of Ian Gillan, rocksteady performances by bassist Roger Glover and drummer Ian Paice, and the potent playing of lead guitarist Ritchie Blackmore.
Purple performed the original Concerto once more, in California in 1970, this time with the Los Angeles Philharmonic, after which Lord’s score was, rather improbably and upsettingly, lost. After Dutch composer Marco de Goeij restored the score by annotating it from the video and audio recordings of the 1969 performance, the band were able to stage it again, this time with the London Symphony Orchestra but again at the Royal Albert Hall.A 1999 reenactment
The new staging took place 30 years almost to the day since the first concert, on September 25 and 26, 1999. There was a guest vocal appearance alongside Purple by Blackmore’s former Rainbow colleague Ronnie James Dio, as a triumphant night was reenacted.
The album of the full 1969 show became Purple’s first UK chart album, peaking at No.26 early the following year. In the US, where the band’s three early albums had all charted in 1968 and 1969, it reached No.149 in an eight-week run. Just six months after the live LP appeared, the band would release one of their studio classics, Deep Purple In Rock, as the legend of the Mark II line-up began to grow.
Listen to uDiscover Music’s Deep Purple Best Of playlist.
In September of 1966, the wicked Wilson Pickett may have been shaking up the soul scene with his “Land Of 1,000 Dances.” But the mighty Motown was still everywhere, and so were the temptin’ Temptations.
What a year the group were having: top of the R&B charts in April with “Get Ready,” then in June with “Ain’t Too Proud To Beg,” then again on the September 24 countdown with “Beauty Is Only Skin Deep.” The Tempts’ Christmas gift was a fourth R&B No.1 in a row, completing the best sequence of their career, with “(I Know) I’m Losing You.”
While “Get Ready” was a Smokey Robinson composition and production, both “Beg” and “Skin Deep” were songs written by the emerging Norman Whitfield with Eddie Holland of the H-D-H triumvirate. Whitfield came through the Motown ranks as a songwriter first, with Marvin Gaye’s “Pride and Joy,” before winning his production spurs on the Tempts’ “The Further You Look, The Less You See,” as well as Kim Weston’s “Love Me All The Way.”
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Listen to uDiscover Music’s Temptations Best Of playlist.
The huge success of “Ain’t Too Proud To Beg” — also a Top 15 pop single and the Temptations’ biggest UK hit to that point, at No.21 — increased Whitfield’s stock as a producer and landed him the honor again. He was also in the chair for that next No.1 triumph, “(I Know) I’m Losing You.”
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“Beauty Is Only Skin Deep” was a song that already had Motown history. Norman had started work on it two years earlier, intending it for the Tempts before the Miracles recorded it. That version was unreleased when the Temptations’ interpretation came out in early August, 1966. But, just after theirs hit the top (and gave them their first UK Top 20 hit, at No.18), the Miracles’ recording made it out, on their Away We A Go-Go album in November.
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Jimmy Ruffin, too, recorded a swinging “Skin Deep” before his brother David’s lead vocal helped to make the Tempts’ version definitive. Jimmy’s cut took another 17 years to emerge, on the album Motown Superstars Sing Motown Superstars.
Buy or stream “Beauty Is Only Skin Deep” on the album My Girl: The Very Best of the Temptations.
TONIGHT IN NYCPhilip Selway, ACME, Chris Vatalaro, Matt Pond @ Le Poisson Rouge Devon Gilfillian, Oh He Dead @ Racket Reverend Vince Anderson & The Love Choir @ Union Pool Romy @ Rough Trade (signing) DJ Fart in the Club, JM Moser, Hardwerker, DJ Temporary, deep creep, Oscar Huang, Yumi @ Bossa Nova Civic Club
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Toyah and Robert Fripp are back with an all-new episode of their Sunday Lunch covers series and this week they’re taking on Aussie grunge teens Silverchair‘s 1997 single which was their biggest UK hit. Things get a little freaky in their kitchen. Watch that and the video for Silverchair’s original version below,
The post Watch Toyah & Robert Fripp cover Silverchair’s “Freak” appeared first on BrooklynVegan.
TONIGHT IN NYCThe LOX, Tony Moxberg @ Irving Plaza The Soul Rebels, Louis Cato, Elena Pinderhughes, Ray Angry, James Carter @ Blue Note Jazz Club PC Music: Boat Yeah w/ DJ Warlord, Doss, GRRL, umru b2b DJ Fuck @ Circle Line Sightseeing Cruises Ithaca, Husbandry, Dreamwell @ Saint Vitus Bar Old 97’s, John Hollier @ The Stone Pony Nolan Potter’s Nightmare Band, Vintage Crop @ TV Eye BANDSKETBALL w/ Nappy Nina, Kahiem Rivera, Consumables, Monograms, Work Wife, canteenkilla (DJ set) @ 18th Ward Deakin (DJ set), Avey Tare (DJ set), Geologist (DJ set) @ Public Records (Isn’t It Now listening party) Young Marco, Tal @ Public Records (The Nursery) Justin Carter, Eamon Harkin @ Nowadays DJ Sundae, CZ Wang, Amourette @ tba Greenpoint loft Fatboi Sharif, Phiik & Lungs, Nakama., Maiya Blaney @ Bed-Stuy Art House
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The 2023 edition of Global Citizen Festival happens today (9/23) on The Great Lawn of Central Park in NYC, with Red Hot Chili Peppers, Lauryn Hill, Jung Kook, Anitta, Conan Gray, D-Nice, Sofia Carson, and Stray Kids side project 3RACHA (after three Stray Kids members were involved in a “minor car collision”). You can stream it live for free via Veeps starting at 4 PM EDT.
Watch video from previous editions of Global Citizen below.
TONIGHT IN NYCThe Breeders, Screaming Females @ Kings Theatre Global Citizen Festival w/ Red Hot Chili Peppers, Lauryn Hill, Jung Kook, Anitta, Conan Gray, D-Nice, Sofia Carson, 3Racha @ Central Park’s Great Lawn OSEES, Nolan Potter’s Nightmare Band @ Warsaw Joyce Manor, Loveseat Pete @ Crossroads Fiddlehead, Never Ending Game, Praise, Mary Jane Dunphe @ Webster Hall Islands, Kiwi Jr @ Bowery Ballroom PC Music: OH YEAH 2 w/ POBBLES, umru, DJ FUCK, Lil Data, tba guest @ The Meadows The Soul Rebels, G-Eazy @ Blue Note Jazz Club Kamaal Williams ft. Isaiah Collier, Ron Trent @ Knockdown Center Will Butler & Sister Squares, Jo Firestone, Foul Witch @ Elsewhere Zone One Radiator Hospital, Talking Kind, Goodbye Party @ Baby’s All Right Family Dinner, Carpool, Straightjacketfeeling, Grist Mill @ Bowery Electric OhGeesy @ Gramercy Theatre Ani DiFranco, Kristen Ford @ Le Poisson Rouge True Widow, Silent Mass @ The Meadows Empire State Bastard, Thoughtcrimes, Beinn @ Saint Vitus Bar New York Ska Night w/ Bad Manners, Out of Control Army, Adhesivo, Los Ladrones, The End Times @ Sony Hall Precious Human, Bellows, Dorio, Elihu Okay @ Alphaville OutpostFest w/ Nicole Atkins, Joe Pub, Freedy Johnston, Hodera, Debra Devi, Adam Falcon @ Van Vleck House and Gardens Just Friends, Young Culture, Save Face, Sad Park @ Racket Kendra Morris, Ben Pirani @ Union Pool Joseph Keckler @ David Rubenstein Atrium Bay Ledges, Mishegas @ Brooklyn Made Hot Tuna @ Beacon Theatre Aaron Pfenning, Phantom Signals, Holiem, Castle Black, Reclining Nude @ 18th Ward DJ Koze, Analog Soul, Renata Do Valle @ Elsewhere Rooftop DJ Fart in the Club, JM Moser, Simisea, The Large b2b Akanbi @ secret Bushwick location Abby Echiverri, Sybil, Priori, DJ Nobu, TT, Sedef Adasï, Eamon Harkin, Justin Carter, Myles Mac, DJ Possum @ Nowadays AGY3NA, Lauren Flax, Marie Montexier, Raw Unkut, Koloah, GIDEÖN @ Public Records Chris Liebing, Hiroko Yamamura, Cali Rose, Tone Troy, Max Parkinson, Neighbours, Amelia Holt @ Elsewhere
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Here’s a roundup of recent tour news. Check the Tour Dates category for more.
The Feelies don’t so much tour as play a weekend’s worth of shows, usually in the Northeast. They’ve got a few shows this fall: a hometown Hoboken show as part of the Hoboken Fall Arts & Music Festival on October 1 with Lenny Kaye’s Nuggets Golden Jubilee Band and The Bongos; and then a month later they’ll play Woodstock’s Colony on November 16 and Philly’s World Cafe Live on 11/17.
MAN ON MAN
Man on Man, the duo of Roddy Bottum and Joey Holman, are on tour now in support of their new album Provincetown with stops in Chicago, Denver, Boise, Portland, Vancouver, San Francisco, LA, Austin, New Orleans, Pensacola, and more.View this post on Instagram
CORY HANSON (WAND)
Wand frontman Cory Hanson is touring in support of his terrific new solo album Western Cum. The tour is with Slowhand, and kicks off October 30 in Denton, TX, including stops in Austin, DC, NYC (TV Eye on 11/6), Montreal, Chicago, Denver and more before wrapping up in Los Angeles.
Boston shoegaze greats Drop Nineteens release their first album in 30 years, Hard Light, in November, and they were scheduled to tour for it in October. While the album will still come out as scheduled, the shows have been postponed until April of 2024.
RIP DUNES / DEMOB HAPPY
RIP Dunes, aka Caveman frontman Matthew Iwanusa, will be on tour in October with Demob Happy, hitting DC, Philly, and Portsmouth before playing a hometown show at NYC’s Mercury Lounge on 10/19.
Don Giovanni Records is celebrating its 20th anniversary with a two-day festival in Philly on October 6 & 7. Screaming Females have been added as the 10/6 headliner with Weakened Friends, Paisley Fields, Chris Gethard, and more also playing. Meanwhile, Screaming Females are currently on tour with The Breeders and play Brooklyn’s Kings Theatre on Saturday (9/23). All dates, including other fall dates with Lip Critic, Dusk and more, are here.
FROM AUTUMN TO ASHES
After posting a teaser video on social media earlier this week, Long Island post-hardcore vets From Autumn to Ashes have announced their first shows since December of 2021. The East Coast dates happen in November and December.
Last year, Danny Wimmer Presents (Aftershock, Sonic Temple, Bourbon & Beyond, etc) launched a new country music festival in Sacramento, GoldenSky Festival, and it returns for its second year this fall, on October 14 & 15 in Discovery Park, the same location that hosts the hard rock/metal-oriented Aftershock festival two weeks earlier. The lineup includes Maren Morris, Eric Church and more.
Check our Tour Dates category for more.
The post Tour news: Screaming Females, The Feelies, Man on Man, Cory Hanson (Wand), RIP Dunes, more appeared first on BrooklynVegan.
So many artists, so many songs, so little time. Each week we review a handful of new albums (of all genres), round up even more new music that we’d call “indie,” and talk about what metal is coming out. We post music news, track premieres, and more all day. We update a playlist weekly of some of our current favorite tracks. Here’s a daily roundup with a bunch of interesting, newly released songs in one place.
DJ SHADOW – “YOU PLAYED ME”
This new DJ Shadow song from his upcoming album Action Adventure was partially inspired by an Ebay auction “of 200 tapes that were recorded from a radio mix station in the Baltimore/D.C. area in the ‘80s.” He says: “It’s an example of one of my favorite aspects of the music I make, which is just 100% serendipity. There are a thousand records sitting next to me that aren’t going to work; the right record got put on at the right moment to change the course of my album. It’s one of my favorite songs I’ve ever made.”
THE CALLOUS DAOBOYS – “PUSHING THE PINK ENVELOPE”
The latest single from The Callous Daoboys’ new EP God Smiles Upon The Callous Daoboys is the genre-defying and extremely chaotic “Pushing the Pink Envelope,” accompanied by a video directed by vocalist Carson Pace.
JB DUNCKEL (AIR) – “WHERE ARE THE KIDS”
Is this the most upbeat song any member of Air has ever made?
ROC MARCIANO – “CHRIS ANGEL”
New York rap lifer Roc Marciano has some shows coming up this hall, and ahead of them he’s dropped a new single, produced by Pete Rock.
A CERTAIN RATIO – 2023
Manchester vets A Certain Ratio just released a deluxe edition of their latest album, 1982, and with it comes this EP featuring a few remixes plus new song “Day by Day.”
JEAN DAWSON – “NO SZNS” FT. SZA
Having recently appeared on tracks with Justin Bieber and Drake, SZA joins Jean Dawson on the propulsive, genre-eschewing “No SZNs.”
KEVIN DREW (BROKEN SOCIAL SCENE) – “ALL YOUR FAILS”
Broken Social Scene frontman Kevin Drew’s new solo album Aging is out today but only on vinyl, and you’ll have to wait till November to stream the whole thing. But here’s another song to tide you digital-only fans.
070 SHAKE – “BLACK DRESS”
070 Shake has shared her first new music of the year, a dark alt-pop track which is also off her new, to-be-announced album.
TAKE THAT – “WINDOWS”
Robbie Williams and Jason Orange are not back for good — or at all — but Gary Barlow, Mark Owen and Howard Donald have announced a new Take That album, This Life, which they made in New York City. Here’s the first single.
DANCER – “LOVE”
Glasgow group Dancer, which includes members of Nightshift and Current Affairs, will release new EP As Well on October 13. Fans of scratchy post-punk and Life Without Buildings’ nebulous sprechgesang will probably love “Love.”
WIMPS – “CITY LIGHTS”
Seattle garage punk greats Wimps will release City Lights, their first new album five years, on October 13 via Youth Riot Records. Singer guitarist Rachel Ratner is one of the great chroniclers of everyday life, finding pathos and humor in the mundane and this album tackles the ups and downs of motherhood, boredom, loneliness and other subjects across 13 noisy, melodic rippers. Fun! Here’s the title track.
VOXTROT – “ANOTHER FIRE”
“‘Another Fire’ is about personal and universal regeneration,” says Voxtrot frontman Ramesh Srivastava of the band’s first new song in 14 years. “Hearing it come to life through my bandmates’ contributions was thrilling – just like old times, but unmistakably new.”
Looking for even more new songs? Browse the New Songs archive
Between our daily coverage, our Notable Releases and Indie Basement columns, and our monthly punk and rap roundups, we post tons of new music all the time here on BrooklynVegan. In an effort to keep track of all the new music we’re excited about, we’ve been posting a new playlist each week with many of the songs we love that were (mostly) released that week.
This week’s playlist includes new music by Chelsea Wolfe, The Breeders, bar italia, MIKE, Wiki & The Alchemist, Dollar Signs, Rome Streetz, Sleaford Mods, Little Brother, Zach Bryan ft Bon Iver, Doja Cat, Strange Joy, Lydia Loveless, Laura Veirs, The National, Slaughter Beach Dog, Loraine James ft. Corey Mastrangelo, Sincere Engineer, Wimps, Emma Anderson (Lush), CHAI, Art Feynman, Das Koolies, Baxter Dury, Devendra Banhart, and Crumb & Melody’s Echo Chamber.
Subscribe to the playlist and/or listen below…
BrooklynVegan Weekly Playlist 9/22/2023
Chelsea Wolfe – Dusk
The Breeders – Divine Mascis
bar italia – My Little Tony
MIKE, Wiki & The Alchemist – Mayors A Cop
Dollar Signs – Bless Your Heart
Rome Streetz – Fire At Ya Idle Mind (ft. Joey Bada$$)
Sleaford Mods – Big Pharma
Little Brother – Glory Glory
Zach Bryan ft Bon Iver – Boys of Faith
Doja Cat – Often
Strange Joy – Power Pop
Lydia Loveless – Poor Boy
Laura Veirs – Rocks of Time
The National – Deep End (Paul’s In Pieces)
Slaughter Beach Dog – My Sister In Jesus Christ
Loraine James – One Way Ticket To The Midwest (Emo) ft. Corey Mastrangelo
Sincere Engineer – Cinderblocks
Wimps – City Life
Emma Anderson (Lush) – Clusters
CHAI – GAME
Art Feynman – Early Signs of Rhythm
Das Koolies – Alligator
Baxter Dury – Crowded Rooms (Maximum Security Remix)
Devendra Banhart – Fireflies
Crumb & Melody’s Echo Chamber – Le Temple Volant
After posting a teaser video on social media earlier this week, Long Island post-hardcore vets From Autumn to Ashes have announced their first shows since December of 2021. The East Coast dates happen in November and December, and you can see all dates below.
FROM AUTUMN TO ASHES: 2023 TOUR DATES
Nov 19 Salty’s Beach Bar Lake Como, NJ
Nov 20 The Meadows Brooklyn, NY
Dec 17 Ottobar Baltimore, MD
Dec 18 Broken Goblet Bensalem Township, PA
Dec 19 Sonia Cambridge, MA
The post From Autumn to Ashes announce first shows since 2021 appeared first on BrooklynVegan.
Music streaming platforms have become integral to our lives in today's digital age. Among them, Spotify stands out as a frontrunner, capturing the hearts of millions of users worldwide.
One of the key factors behind Spotify's immense popularity is its remarkable ability to recommend music tailored to individual tastes.
In this post, we'll explore the magic behind Spotify's recommendation algorithm and dive into the innovative techniques / data-driven strategies that make it a powerful tool for music discovery.
Spotify's extraordinary success is rooted in its effective utilization of advanced personalization algorithms. These algorithms leverage extensive data analysis, encompassing user listening history, preferences, and behavior.
Through this comprehensive evaluation, Spotify generates highly accurate music recommendations that resonate deeply with each user.
The personalization approach of Spotify relies heavily on cutting-edge machine learning techniques. The platform fine-tunes its recommendations to cater to each user's unique preferences by identifying patterns and similarities among users with similar musical tastes.
This approach ensures that every user's music discovery journey on Spotify is tailored to their interests.
The impact of personalization on the user experience of Spotify cannot be overstated. The platform's ability to curate customized playlists and suggestions empowers users to effortlessly explore new artists, genres, and songs that align perfectly with their tastes.
In addition, it enhances user engagement and satisfaction, as listeners feel a stronger connection to the music they discover on the platform.
Spotify's commitment to delivering a personalized experience exemplifies the transformative power of data-driven insights in music streaming.
Spotify leverages the strength of collaborative filtering as a precise technique for music recommendation. This approach compares a user's listening patterns with those of other users with similar tastes, enabling Spotify to discover songs and artists that the user may find appealing.
By tapping into the collective wisdom of the user community, Spotify utilizes a vast network of musical preferences to uncover hidden gems and explore new genres.
The true power of collaborative filtering emerges from the continuous interaction of users with the platform. As more users engage with Spotify, the system becomes increasingly proficient at generating accurate and diverse recommendations.
Each interaction contributes to the collective knowledge base, allowing Spotify to refine its understanding of individual preferences and provide more tailored suggestions.
It transcends conventional boundaries, exposing listeners to various artists and genres they may not have otherwise discovered.Spotify's Dynamic Duo - Discover Weekly and Release Radar
Spotify's standout features, "Discover Weekly" and "Release Radar," consistently bring joy to users by providing personalized music experiences.
For an artist, getting on playlists like this is crucial to your overall success.
Updated every Monday, Discover Weekly analyzes a user's listening history to curate a unique and tailored blend of songs.
This playlist combines familiar favorites with exciting new discoveries, introducing users to fresh sounds and emerging artists while aligning with their preferences. It serves as a gateway to uncharted musical territories.
On the other hand, Release Radar focuses on new releases from artists that users already follow. Updated weekly, it keeps users up-to-date with the latest offerings from their favorite musicians.
Release Radar creates a curated experience that bridges the familiar and the novel by seamlessly merging existing musical preferences with real-time updates. It keeps users engaged and excited about the evolving music landscape.
Discover Weekly and Release Radar showcase Spotify's dedication to providing a personalized and immersive music discovery journey.
By consistently delivering tailored content that captures the essence of individual musical tastes, Spotify deepens the connection between users and their favorite music, fostering an enriching and enjoyable experience.
To learn more about Discover Weekly and Release Radar, check out our recent article on The Spotify Algorithm.Weaving Data and Context into Spotify's Musical Tapestry
Advanced techniques like natural language processing and audio analysis help Spotify understand the musical attributes and sentiment of songs.
Data and context are pivotal for Spotify's recommendation engine. The platform collects diverse data, including user interactions, playlists, preferences, and temporal information. This enables Spotify to personalize the music experience.
By combining this knowledge with user-specific data, Spotify comprehensively understands individual preferences. This allows the platform to deliver recommendations aligned with users' musical tastes, moods, activities, and even weather conditions.
Spotify's focus on data and context enhances the accuracy and personalization of recommendations, creating an engaging music discovery journey. By considering various contextual factors, the platform ensures that each user receives a tailored experience that aligns with their unique preferences and current circumstances.Conclusion
Looking to Promote your Music?
Spotify's ability to recommend music with precision and finesse has made it a beloved platform among music enthusiasts.
By harnessing the power of personalization, collaborative filtering, and contextual data analysis, Spotify has built a recommendation algorithm that offers an unparalleled listening experience.
Whether you're in search of a nostalgic throwback or an exciting new artist, Spotify's recommendations are there to guide you.
Reshaping the Melody
The world-shaking advancements in Artificial Intelligence (AI) have had a significant impact on various industries, including television, film, medicine, and notably, the music industry.
Throughout history, the music industry has been at the forefront of embracing and adapting to new technologies. The introduction of Apple's iPod and the iTunes Store revolutionized the way people purchased music, replacing physical formats like CDs and traditional vinyl records with digital mp3 downloads. The widespread availability of high-speed internet, facilitated by the expansion of fiber-optic broadband, paved the way for Spotify to establish itself as the dominant streaming service, fundamentally altering the landscape of music consumption.AI-generated image (Midjourney)
Now, AI is revving up to alter the music industry landscape all over again. The recent release of the AI-generated Drake song “Heart on My Sleeve” has sent shockwaves throughout the industry and has caused many to start thinking about what the future of the music industry looks like when generative AI models can teach themselves how to write, sing and produce music in the style of today’s biggest artists.
The emergence of AI-generated music raises several important questions. Current copyright law does not protect voice or musical style, so the major labels have very little retaliation abilities against anyone who uses AI to generate musical works in the style of an already established artist. This lack of legal protection raises concerns about artistic integrity and originality in the music industry.
This originality has many playlist curators and tastemakers concerned about the future of the music industry. What I’ve heard from playlist curators is that they do not accept AI music to their playlists as it lacks authenticity and originality and that these creators should “leave making art to humans”.AI-generated image (Midjourney)
Now, The Good
AI tools have the potential to democratize the music industry. Historically, major labels and industry gatekeepers have held significant control over what gets produced and promoted. With AI, aspiring musicians and independent artists can create high-quality music without relying on expensive studio equipment or industry connections. This opens up new avenues for creativity and allows a more diverse range of voices to be heard.
In 2019, singer-songwriter Holly Herndon famously released an entire album in which she harmonized with an AI version of herself.
Los Angeles-based electropop band YACHT trained a machine learning system on their entire catalog of music. “After the machine spit out hours of melodies and lyrics based on what it had learned, the band culled through its output and spliced together the most intriguing bits into coherent songs.” This earned the band its first Grammy nomination In their 20-year-old career.
There are numerous artists that are quicker to embrace the potential benefits that AI music brings to the table.
Artists can leverage AI tools to improve their compositions, refine their sound, or experiment with new styles.
Some of those top AI tools areChatGPT
Chat GPT can be used to generate song titles, brainstorm lyrics and melodies, write pitch emails, and social media posts, and give recommendations for promotion and marketing.Magenta AI
Magenta Studio is an open-source platform with a set of music plugins. Leveraging state-of-the-art machine learning methods for music creation, Magenta can be utilized either as a standalone application or as a plugin compatible with Ableton Live.Orb Producer Studio
Orb Producer is an advanced technology platform that assists producers in generating melodies, basslines, and wavetable synthesizer sounds. By utilizing cutting-edge techniques, it creates endless musical patterns and loops for musicians to draw inspiration from and develop their ideas. Loudly
Loudly's advanced playback engine blends 170,000 curated audio loops, following chord progressions in real-time. Expert systems and generative adversarial networks ensure meaningful compositions. Collaborating with ML experts, Loudly creates AI-generated songs within seconds.Boomy
One of the most well-known AI music companies is Boomy. Boomy is an AI music community where users can create original content and earn income through social media platforms. These user-generated songs can also be submitted to popular streaming platforms such as Spotify, TikTok, and YouTube, making Boomy an invaluable tool for AI-driven production.
In this context, AI is more of a collaborative partner rather than a replacement for human creativity. When used in this way, AI can serve as a powerful tool for artists to expand their creative horizons and explore uncharted territories.AI-generated image (Midjourney)
Tastemakers and playlist curators play a vital role in contextualizing music within cultural and social frameworks. They curate playlists that reflect specific moods, events, or subcultures, showcasing a deep understanding of the target audience's preferences. AI-generated music, while proficient at generating music that fits within predefined genre/style parameters, often lacks the ability to comprehend the broader cultural context in which music operates.
From what we’ve seen at Playlist Push, real Juice WRLD fans are not interested in hearing his voice on an AI-generated track.
This limitation hampers its ability to align seamlessly with the specific needs and tastes of different listeners. The lack of nuanced cultural understanding can make it challenging for AI-generated music to resonate with playlist curators and tastemakers who prioritize music's contextual relevance.
One of the primary concerns surrounding AI-generated music is its ability to evoke genuine emotions and establish an authentic connection with listeners. Music has a remarkable power to convey feelings and tell stories, often reflecting the experiences and emotions of the artist. Tastemakers and playlist curators value music that resonates deeply with the audience and showcases the unique perspective of the artist. AI-generated music, despite its remarkable ability to mimic various styles and genres, often lacks the emotional depth and personal touch that human musicians bring to their music. This deficiency in authenticity and emotional connection can leave tastemakers and playlist curators skeptical about the long-term impact of AI-generated music.
Melody in Flux: Navigating the Uncertain Harmonies of AI Music"
Like all new technological advances in the music industry, there are those who are afraid of how it will change the current music industry landscape and those who are creating new and innovative ways of using this technology to improve their music.
There are musicians who scoffed at innovations like the synthesizers (1950s), auto-tune (late 90s), and even the creation of Digital Audio Workstations (early 80s), and there are those who embraced the new technology and used it to raise the bar and enhance their craft.AI-generated image (Midjourney)
Ultimately, the future of AI music is uncertain. It is a rapidly evolving field that raises both opportunities and challenges. It will be crucial to find a balance that allows AI and human creativity to coexist while ensuring that artists are appropriately compensated for their work.
As technology continues to advance, it will be essential to have ongoing discussions about the ethical implications, legal frameworks, and the role of AI in the creative process. The music industry and the artists, labels, and listeners, need to come together to shape the future of AI music in a way that fosters innovation, protects artistic integrity, and supports the livelihoods of musicians.
We often get questions from artists about what to do with their TikTok account. Is it worth growing your TikTok channel? What type of videos should you post?
This article is for any artist who is interested in building out your own TikTok account. Let’s dive in.The benefits of building your own TikTok channel:You can build a new following and a free promotion channelYou’ll become a TikTok expert by learning the app from the inside outWhen your songs go viral viewers can find you on the appAs you develop your strategy, your TikTok presence can take offThe 5 Steps to Building Your TikTok Account
Step 1) Watch artist videos & immerse yourself in TikTok:Follow all of your favorite artistsFollow artists that are similar to your music/audienceFollow random accounts that appeal to you
Then start watching videos. Go through the artist accounts and watch their videos. Click on their TikTok sounds and see the videos being made with their songs.
Your goal here is to get an understanding of what works on TikTok, and how artists similar to you are using the platform.
You also want to get a feel for the general TikTok landscape and how the masses engage with the app.
One of the easiest ways to generate ideas is to look at what's working for other artists. As you’re doing step one, every time you find a video that you like, use the “add to favorite” button on TikTok. Build an archive of videos that you like.
Focus on things you can replicate, for example, if an artist you like is crushing it with recipe tutorials using their music in the background and you’d love doing this too, that could be a good fit. On the flipside, if they’re doing complex dance videos and you’re not a dancer, you can skip it.
Example Content Ideas:Preview your songsMake cover song videosShare the song creation process (writing, recording)Vlogs talking to your followersShare your daily lifeShare hobbies or passionsJumping on existing trendsDuet other artist's videos
Here are a few artists you can follow to get started:
This is a song I wrote about reminiscing... the happy memories that make you sad... It’s called “Letting Me Know You” 🙂♬ original sound - Eric Damiano @eyedress.tv
boaty got his drivers license n pulled up in the tesla truck with the bape on oh my daze♬ Something About You (feat. Dent May) - Eyedress Step 3) Learn the TikTok Basics
The basics of the algorithm are simple, TikTok rewards videos that grab user's attention and get them to watch the whole video. Beyond that, generating engagement, likes, shares, and comments, further boosts your video's viral potential.
Step 4) Build a Base of Followers
TikTok will keep showing your video to more people if it’s generating a high completion rate (watch time) and engagement. If not, they’ll just show it to a few of your followers and then stop.
We wrote an article that breaks down all of the details here.
This is easy. Do the following and you'll have a solid base to get you started.Follow your friendsFollow back people who follow youPromote your TikTok channel to your other social media accountsEngage with other accounts (comment, like, follow)Step 5) Post videos. Test until you find your groove.
Use the content ideas generated from step 2 and start posting videos. Don't worry if some videos flop, this is part of the testing process.
Keep trying different types of content until you figure out what videos are resonating.
Double and triple down once you find what's working and what you enjoy. You're off and running.
-Link to your Spotify in your TikTok Bio
-Comment on Videos that use your sounds
-Share your TikTok Videos on your other social channels
In the ever-changing world of music, few artists possess the ability to capture global audiences and shape the direction of a genre.
One artist making waves in this year's music scene is 24-year-old Peso Pluma. With his blend of traditional and contemporary genres, he is a trailblazer in the Latin music revolution.Peso Pluma is one of the biggest artists in the world
If you're not aware of Peso Pluma, have a look at the stats below. He's amassed millions of followers on every major platform with an explosive growth trajectory.Source: Chartmetric.comHis Mexican and American roots led to a unique sound
Here's the quick Peso Pluma bio. His real name is Hassan Emilio Kabande Laija. Born in Jalisco, Mexico, Laija’s passion for music began in his teen years by learning how to play the guitar. Although his music career did not take off until recently, he was always writing and trying to produce, never really imagining himself as a singer.
Attending high school in the States allowed Laija to blend his Mexican roots with American ones, influencing his music and relating to his many Mexican-American fans.
He is now recognized as Peso Pluma (featherweight) but the name was actually in reference to the original group’s members, a couple of “lanky” guys he started making music with.
Why is Peso Pluma so popular? His rise has come about with the resurgence of regional Mexican music which encompasses genres such as norteño, banda, and corridors.
While regional music has long been a part of Latin American culture, Peso Pluma takes a modern approach to corridos: a traditional Mexican storytelling ballad. Typically this style features instruments like trumpets, trombones, 12-string guitars, horns, and his very distinct raspy voice.
By incorporating trap, hip-hop, and other contemporary genres he has attracted a younger generation and a broader audience than others have before. Sometimes the best marketing is just being genuine.
Beyond Peso Pluma's individual success, the growing popularity of Latin music as a whole cannot be overlooked.
In recent years, Latin music has captivated listeners worldwide. Artists like Peso Pluma, Bad Bunny, J Balvin, and Karol G have brought Latin rhythms and melodies to the forefront of global music charts by shattering stereotypes and transcending cultural boundaries.
This year's Coachella festival showcased the rise of Latin music featuring artists of all genres. Peso Pluma was brought out by Becky G for their single “Chanel” and Bad Bunny brought out Grupo Frontera for their collaboration on “un x100to” (a norteño song that also topped the charts). Other regional artists performing included DannyLux and Conexion Diva.
As you can see below he currently has songs on over 138,000 Spotify playlists! This includes 119 editorial playlists. This has been at the core of his streaming domination.Source: Chartmetric.com
The rise of streaming platforms and social media has played a significant role in taking Latin music to new heights. Peso Pluma, like many other Latin artists, has utilized these platforms to connect with his fans and promote his music. Streaming services like Spotify, where he is currently #35 in the world, and YouTube have allowed artists to gain global exposure and attract international audiences.
He started off the year with around 10 million monthly listeners on Spotify but as of June, he is already over 50 million. After being featured on Eslabon Armado’s “Ella Baila Sola” in March, he made his way into the top 10 of Billboard’s Hot 100 by April and has maintained a spot since.
His other collaborations with Natanael Cano, Yng Lucas, and Bzrp also made their way to the top of the charts.
Peso Pluma's music continues to go viral on TikTok, racking up billions of views.
His song "Ella Baila Sola" has over 4.4 Million TikTok Videos made.@mickeyskateboarding #dogdance #dogskateboard #hote ♬ Ella Baila Sola - Eslabon Armado & Peso Pluma
"Bye" has over 440K videos made.@.marilynrosas Bye❤️🩹 #pesopluma #doblep #bye #concert #live #vivint #slc #healing ♬ Bye - Peso Pluma Peso’s latest move: launching his own label
With his newfound success, Laija announced the launch of his own label, Double P Records, signing three artists already. He hopes to find new talent and help them showcase their authentic selves.
He’ll continue to release music, already teasing an album to come by the end of summer. It is hard to say where regional music as a whole will go from here. Still, Peso Pluma's meteoric rise and the growing popularity of Latin music signify an exciting era for these genres.
As Latin music continues to captivate audiences globally, artists like Peso Pluma will play a vital role in shaping its future, evolving the genre, and captivating listeners with their talent.Looking to Promote Your Music?
TikTok’s #NewMusic feature recently launched as the official hub for music discovery on the platform. This is huge for independent artists as TikTok has become the most influential tool in the industry for promoting your music.
Since going live, The #NewMusic hub has amassed over 25 Billion Views. And this is not just from big pop stars. Anyone can get featured on the #NewMusic page, making this one of the most important marketing features on TikTok for you to embrace.
In this post, I’ll explain what the #NewMusic hub is, why it’s so powerful, and how to use it to promote your music.
What is the TikTok #NewMusic Hub?
TikTok's #NewMusic hub is a feature on the app that allows users to discover and explore the latest music releases. It serves as the primary place within TikTok where users can find trending songs, new releases, and discover upcoming musicians.
In the words of TikTok, the #NewMusic hub is:A dedicated space for artists around the world to showcase their new songs and for fans to discover their next favorite track. The #NewMusic hub will act as a destination for new music, highlighting new releases and making it easier for fans to discover the latest tracks from both new and established artists. (TikTok.com)
In the #NewMusic hub, users can browse through a curated selection of videos and sounds. The hub highlights popular songs and emerging artists, allowing users to stay up to date with the latest music trends and jump on related challenges.
How to Access the #New Music Discovery Hub?
1) Open TikTok and Tap on the Search Icon
2) Search “New Music”, “newmusic” or #newmusic
3) Explore the Featured, Trending, and Discover Tabs
4) Explore the #NewMusic hashtag
Why is the #NewMusic hub so powerful for music promo?
Promoting the #NewMusic hub is a major priority for TikTok, which means they support and push it to users.
TikTok wants to be known as the place where independent artists can blow up, and where music lovers find their new favorite artist.
TikTok’s focus on growing its influence on the global music culture is no secret. They are pouring resources and money into this area and it’s clearly working.
The New Music hub reaching 25 Billion views is the latest evidence.
Do TikTok videos lead to Spotify Streams? Learn about the TikTok to Spotify Pipeline.
The answer to this question is very simple. You must get as many videos made as possible using your sound with the hashtag #newmusic, and generate as many views as possible on these videos.
So how do you get videos made using the #NewMusic hashtag with your TikTok Sound?1) Post your own videos using #NewMusic in the description
Upload your own videos to TikTok using the sound you want to promote. For tips on what content to post check out this article. “5 Steps to Creating The Best TikTok Account for Artists & Musicians“.
Also, to learn how to get the most views with your videos check out “How to Get More TikTok Views | Tips on the Algorithm”
Educate your fans. You can tell them in your posts across TikTok, IG, and other platforms to always use #NewMusic when using your sounds. You can also put this recommendation in your TikTok bio.
Every time you launch a new song, post a TikTok video telling your fans to use it with some basic instructions. For example: “Show me your videos vibing out to my new song, and make sure to use hashtag #newmusic”
Working with TikTok creators who have large followings is the best way to spread your music across the app quickly. Many of the largest music acts pay TikTokers to use their music in their videos.
You can reach out to TikTok influencers directly or set up a Playlist Push TikTok promotion campaign to submit your music to hundreds of TikTok creators with just a few clicks.
Either way, the key is to ask the creators to use the hashtag #newmusic when they post each video.
When you run a Playlist Push TikTok campaign, getting on the #newmusic page is easy. Just apply for your campaign. Then add the #NewMusic hashtag on your campaign setup page (see image below).
This means that all of the creators on your campaign will be required to include this hashtag on the videos they make using your sound.
That’s it! We look forward to seeing your music blow up on the #NewMusic hub.Looking to Promote Your Music?
Have you noticed a drop in your monthly listeners or have you noticed your audience is slowly losing interest in you? Do you feel like you're possibly becoming irrelevant to your fans and don’t know what to do?
If so, this article was made for you. Sit back and take notes as we discuss common mistakes artists make which ultimately leads to you losing Spotify monthly listeners.
1) You Don’t Release Enough Music
Quick Tips: At a minimum, it’s recommended you release a new single every 3 months, an EP every 6 months, or a full album every 12 months.
For a moment, think about the feeling you get when you finish a new song. You’re filled with unmeasurable excitement to show the world your hard work and talent that you’re immediately contacting your music distributor and planning your next release.
This is where I ask you to slam your foot on the brakes and think about a couple of things first.
Do you currently have a lengthy backlog of songs that could be finished and released in the coming months/year?
Do you plan on releasing music every 3, 6, or 12 months and if you do, are you going to be releasing a single, EP, or album?
This is something most artists don’t think about when releasing music but it’s arguably one of the most important aspects you can plan for.
To plan this accordingly, try holding onto a small percentage of songs and strategize your release for them with the recommendations above.
This will ensure you constantly have a cycle of new content rolling out to your fans and this will also give them content to look forward to throughout the year(s).
2) Your Social Media Presence is Mediocre
Quick Tips: You can check out some good social media content suggestions below but there’s a much larger spectrum of ideas to pull from.
As we all know, social media has taken over our world by storm. It has allowed us to create a whole new way of marketing ourselves and has also allowed us to connect with our fanbase on a much more personal level.
Making great music and promoting it is only one piece of the puzzle. The other part is connecting, growing, and retaining your fanbase on Social Media.
Most commonly, artists run out of content ideas that they can share on their social media and this is quite understandable. However, if you get into the habit of not posting regularly, you will start to see your engagement trickle away and your fans will likely lose interest in you.
- Behind the scenes pictures/videos from a recent production of yours
- Live performance
- Quality photos of the artist/band
- Milestones you’re proud of
- Upcoming releases
- Tutorials or sharing a quick song you made (This doesn’t have to be a song you release)
You get the picture, the ideas here are endless. Just make sure the content you choose to share is relevant to you, your music, and your fanbase and don’t forget to have fun with it!
3) You’re Changing Genres
Quick Tips: If you’re getting tired of your primary genre, try creating music within the “Sub-Genres” that fall under your primary genre. (Example: Primary Genre: House | Sub-Genre: Float House or Tropical House)
As a musician, you don’t always think about the type of music you’re making until it’s time to release and promote it but this might be something you want to start thinking about beforehand.
Though it’s possible to make substantial genre transitions within your career, it’s recommended you stay within your primary genre so you don’t throw off your fans’ expectations and most importantly the Spotify Algorithm. (Examples of “Primary Genres” could be: Pop, R&B, Jazz, Country, Etc.)
Doing this will keep your music within the same ballpark but it will also create enough of a difference to retain your fanbase’s interest without making a substantial genre change.
4) Your Spotify Artist Profile Is Stale
One of the most straightforward tools at your disposal might be your Spotify Artist Profile. Here, you can promote future releases, upload custom imagery, create a personal bio, and link your social media.
To learn how you can optimize your Spotify Artist profile, check out this blog post.
However, the topic we’re focused on is staying relevant with your fanbase just like we’ve discussed in the previous points, and as mentioned, you want to avoid being stale and inactive.
- Update your bio semi-annually (Include milestones, influences, collabs, etc.)
- Update your header image, change your profile photo, and switch out photos in your image gallery quarterly / semi-annually
- Change your “Artist Pick” monthly (You can share an upcoming concert, playlist, or even a new/old release)
- Add a custom video canvas to your song(s)
If you follow all of the steps we’ve discussed, you will surely retain your fanbase and you’ll likely gain new fans en masse. Becoming irrelevant is an understandable fear but if you create the right game plan ahead of time, you’ll only set yourself up for success.
To quickly recap, check out the main focal points below:
1. Release music frequently (Single every 3 months, EP every 6 months, or Album every 12 months)
2. Post on your Social Media frequently with content that resonates with you or your fanbase
3. Keep making music under your “Primary Genre” and play around with the “Sub-Genres” if you get bored
4. Update your Spotify Artists Profile quarterly / semi-annually (Images, Bio, Artist Pick, Video Canvases for your song(s), etc.)
Currently Based In: New York City
Favorite Hobby: Abner: Yoga // Harper: Doomscrolling Memes
Favorite Artist(s): Tom Petty, Sparklehorse, Taylor Swift, Chet Baker, Third Eye Blind, HAIMWho is Eighty Ninety?
What is the story behind your artist name?
Hey, we're Abner and Harper James. We're brothers in an alt-pop indie band called Eighty Ninety.
We grew up in a small coastal town and ended up in NYC. We'd always played music, but when Harper started working at a studio in Brooklyn, it felt like the right time to see what we could do.
We did sessions between work and late at night until we produced our first song, "Three Thirty". At that point, we didn't even have a band - we didn't even know if we would release whatever we made.
We ended up with a sound that fuses more intimate storytelling with pop-leaning melodies and minimalist productions built on acoustic instruments and electronic sounds. We named the style (partly as a joke - but it stuck) “808s and telecasters".
We decided we liked "Three Thirty" enough to release it, so we put it on SoundCloud and Spotify and started emailing blogs. After a few months, someone at Spotify miraculously heard it and put it on fresh finds.
From there, it jumped to the viral charts - and that's when we were like, "I guess we're in a band now" — and started working earnestly on our first EP "Elizabeth".
Can you walk us through your creative process, from ideation to finished product?
We wanted a name that wouldn't box us into any specific genre. One that would fit no matter where our music led us.
There are a lot of different meanings behind Eighty Ninety — we've heard a lot of guesses, too — and we like all of them. Chances are we like your guess and that you're right, too.
How has your music evolved since you first started making music, and what changes have you noticed in your style or approach over time?
We're really collaborative throughout the entire process of writing, producing, and even mixing.
Generally, Abner will bring in a song he's written (or started writing), and Harper is the hands-on producer sitting behind the desk playing most of the instruments (give or take the occasional acoustic guitar or piano part) while Abner sings.
We'll usually have a conversation about the overall vision of the song, any important sonic or emotional ideas we want to explore.
Once the production begins, we'll throw out ideas and try things until they start to click, and then we'll keep honing the sound. A lot of times, production will become mixing without us even realizing it, and then we look up, and it's finished.
Sometimes we'll bring in friends (like writer/producer Gian Stone or mixer/producer Andrew Muary) to collaborate when we feel like their perspective would really enhance a given song.
When we first started, we nicknamed our style "808s and telecasters", which was both an accurate description of our first single, "Three Thirty" and a shorthand for our anything-goes vibe in the studio.
We try to let the song and emotion, not genre conventions, lead the sound. We're always walking the line between organic, song-based music and more experimental productions.
More recently, we've been leaning into a more natural and less "programmed" approach - because it's what feels fun at the moment.
@eightyninety8090 Small town kids know 🏠🌌 #singer #originalsong #indieartist #swiftie #swifttok #songwriter #smalltown ♬ 10K Summer Nights - Eighty Ninety If you could have your fans remember one thing about you, what would it be?
The very first time we got together to work on a song, we didn't even plan to release it, let alone start a band.
We just were having fun, chasing down sounds and ideas that were exciting. We're always trying to hold onto that approach because we're convinced it leads to the best results.
If you could collaborate with any musician, alive or deceased, from any genre or time period, who would it be and why?
If they remember a time when our music helped them in any way - through a hard moment, soundtracking a particularly great summer night — that's really the goal.
It might sound cliche, but it's really less about how they remember us and more about whether our music helps enrich their life.
What is the most significant lesson or realization you've had so far on your journey as artists, and how has it influenced your approach to music?
It's gotta be Taylor. We have so much respect for her as an artist, innovator, and songwriter. Even before she added us to her playlist, we were massive fans (that was the cherry on top).
If we ever had the chance to collaborate with her in any way, that would be the dream. This is our message in a bottle!
What fictional character(s) do you both identify with the most and why?
The more you stay true to what excites you — rather than what you think people might want to hear — the more people actually respond to it.
It's really good news, in our opinion. The more joy it brings us, the more joy it seems to bring others.
How has Playlist Push contributed to your growth as an artist?
Haha. Don't know if this counts, but growing up, everyone told us our family reminded them of the one from that show The O.C. Maybe because dad is a surfer.
Looking to Promote your own Music?
Playlist Push is one of the only tools we've found that does the only thing that really matters: help us get in front of real people who might like our music. We've seen real growth and actual fan conversion from our campaigns with playlist push.
Scared by how fast everything with AI is moving? Welcome to the club…but if you can push past this initial state of overwhelm, you’ll find some glorious opportunities for artificial intelligence to support your music career.
Using AI chatbots like Chat GPT as your on-call writing buddy or business assistant can help unlock your creativity rather than replace it.
In this post, we’ll focus on how you can use ChatGPT to help you as an artist or musician.First, some general Chat GPT Tips:
1) Understand that AI is a tool and it's worth your time to learn it
Most people will reject using AI or live in denial of its benefits, however, remember that it's just a tool and a powerful one. If you embrace it and figure out how it can fit into your process, you will likely learn to love it.
2) Have a conversation with ChatGPT
Just start asking it questions and then refining your question, asking for me detail, asking for tweaks and changes until you've received the result you're looking for.
3) Mess around with Chat GPT and have fun with it
Messing around with Chat GPT is one of the best ways to learn how to use it and get comfortable.5 Ways to use ChatGPT for artists
1) Help to generate song titles
Let's say you've already written a song, or you have an idea for a song. Simply ask Chat GPT for help with song titles and see what happens.
Check out the example below. The song titles that ChatGPT returned are actually pretty creative and cool.
Example:2) Help brainstorm lyrics and melodies
I wrote a song about finding myself through traveling the world. Can you suggest lyrics and melodies for this song?
OK, this is decently helpful, but these recommendations are pretty vague. So the move is to have a conversation with Chat GPT and keep digger deeper for the information you really need. See my follow-up below:4) Helping with writing important text communication (email, text, social media, 1 sheet)
Here's an example of writing an email to a club promoter.
This response was ok, but it didn't seem too convincing, and the tone seemed weak to me. So I asked Chat GPT to try again.
This one feels better. Not perfect, but you get the idea.5) Help writing copy (artist bio, social media, 1-sheet, etc)
If you ever feel stuck when writing copy, Chat GPT can be a great resource. Just give it a few pieces of info and some direction, then see what it comes up with.
Keep refining until you get what you're looking for.
Here's an example of creating a Spotify artist profile bio.Final Thoughts
If you're like most people (including myself) your initial inclination will be to avoid AI tools like ChatGPT, however, I strongly recommend pushing past this and getting comfortable with them.
Once you get comfortable using Chat GPT and it becomes your writing, research, and business assistant, you will likely come to love it.
It won't replace your creativity it will enhance it.
Related Article: How to use AI to create cover art for artists and musiciansLooking to Promote Your Music?
In this post, we’ll explain how to use two of the top artificial intelligence artwork generators - Midjourney and DALLE to help you make album art for your music.
In our recent post how to use Chat GPT for artists and musicians, we shared how AI helped brainstorm song titles, lyrics, and melodies for a hypothetical song about “finding yourself through traveling the world”.
In this post, we’ll continue to use the same hypothetical song for the cover art examples.Making Cover Art with Midjourney (Example):
Prompt: “Album art for a song about finding yourself through travel”
Midjourney will create 4 images for you. Then you will have the option to ask for upscaled high-quality versions (hit the U buttons) or more variations (hit the V buttons) of each image.
Here are the 4 images it gave me within a minute or two.
These all came out pretty cool and impressive. Not bad for a first try. So I went ahead and hit the "Upscale" button for each image. Results below.
These would all look great as a Spotify album or single cover.
Imagine the time it would take to make these from scratch.Midjourney Cover Art #1:Midjourney Cover Art #2:Midjourney Cover Art #3:Midjourney Cover Art #4:Making Cover Art with DALLE 2 (Example):
Next, I tried DALLE 2 to create cover art for the same song.
Here was my first attempt.
Not bad, but I wasn't satisfied with any of the options, so I keep refining the prompt and trying new things until I got some results that felt better.DALLE Cover Art #1:DALLE Cover Art #2:DALLE Cover Art #3:DALLE Cover Art #4:What are the legal implications of using AI-generated art?
This is a great question. With such a new and unprecedented technology, the legal situation seems to be fluid.
I’m no legal expert, but my general understanding is that while AI-generated art is not copyright protected, it can still be used for commercial purposes as long as this is within the terms of the AI company you are using.
However, since you cannot copyright it, this means you don’t own the art, it is public domain and can be used by others.
That being said, this is certainly a gray area and will continue to evolve in the coming months.Final Thoughts
These tools are exciting. At the least, I recommend trying them out and having some fun messing around. You may find that AI becomes a great resource for you moving forward.
Personally, Midjourney is my favorite tool as I prefer the artwork it creates, however, some may find it technically challenging to use. DALLE is easier to use.
Keep in mind, you can always use AI for inspiration and then create the artwork on your own in Photoshop or with a designer.Want to make your own AI cover art?
Try Midjourney: Go to the Midjourney Quickstart Guide to learn how to get started.
Try DALLE: Go to the DALLE website and sign up
Additional AI Art Generators:StarryAIGetimg.aiJasper.AiNight Cafe
Note: many of these are free to try.Looking to Promote Your Music?
Youtube Shorts launched in 2021 to compete with TikTok and has since developed into a massive platform for artists to promote their music - gaining over 50 Billion views per day (source).
In this article, we'll share the reasons why musicians can't afford to ignore Shorts anymore, backed by some impressive stats.
In addition, we'll share our simple guide for musicians on how to promote your song on YouTube Shorts.Part 1: The Reasons to Promote Your Music on YouTube Shorts
1) Shorts has enormous viewership and is growing fast
YouTube Shorts are very similar to TikTok or Instagram Reels, but they are directly associated with your YouTube channel/account. YouTube has been and will always be a massive platform for music consumption and listening, and activity and engagement there can be practically infinite.
This year, YT’s head of music, Lyor Cohen shared this quote in his blog post:“In January 2023, fan-created Shorts increased the average artist’s audience of unique viewers by more than 80%”
One of the benefits of focusing on YouTube Shorts is that the numbers are just higher and more fluid all around. It is easier for channels to get views, comments, subscribers, and activity than over any other platform, and it translates well.
According to YouTube, more than 1.5 BILLION monthly logged-in YouTube users are watching Shorts (source) - and this is just the beginning.Image Source: YouTube.com2) YouTube is prioritizing Shorts to compete against TikTok
Now that you understand the impact that YouTube Shorts has, let’s look at why it’s so important to keep your content flowing on this platform.“Shorts are nearly doubling an artist’s total reach, so artists can spend more time doing what they do best: making great music”. - Lyor Cohen
The universal acceptance and love for YouTube is strong and unwavering, so there is no reason this shouldn’t be translating over to shorts. People in all nooks and crannies of the world love YouTube. Think of the gap bridging long-form music videos or artist pieces, with TikTok creativity, and a splash of entertainment, engagement, and education - Shorts has it all.
It’s been said that the algorithm in Shorts works much more efficiently to gain new fans, listeners, and subscribers than anywhere else, so you cannot deny the clarity that this is so powerful in your content strategy as a musician, band, or artist.
Shorts is also a massive opportunity to play with different formats than commonly found and posted on TikTok or Instagram Reels. The options of content and style are endless and the algorithm is your oyster for success, so let your creative flag fly high and get those Shorts going for your career.3) YT Shorts can get you paid
YouTube has always been at the forefront of keeping its users happy via monetization and payouts. Now with Shorts going hard in the paint, you can utilize this aspect of the business without having to draw out long and complex videos.
For a musician or artist, telling your authentic story or promoting your authentic brand, can reach new fans and ears and eyes you would have never thought imaginable - and this could very well translate to streams, sales, and high-caliber payouts.
Revenue Streams from Shorts Views:Music Licensing FeesCreator Pool Fees
Additional Revenue from Shorts Viewers:YouTube Music streams (users that found you via Shorts)Music Video Views that found you via Shorts (users that found you via Shorts)4) Shorts benefits from the larger YouTube ecosystem
While TikTok is not directly connected to any other platforms or music streaming services (at least for now), YouTube Shorts has a whole ecosystem in place. It’s connected to all of YouTube.com and YouTube Music.
This quote from Lyor Cohen, global head of Music for YouTube and Google, in his public letter says it perfectly:“[Shorts] are the entry point, leading fans to discover the depth of an artist’s catalog, including music videos, interviews, live performances, lyric videos and more.”
If you are an artist with a YouTube channel that hosts your music videos and your music is distributed to YouTube Music (80 Million Subscribers), then YouTube Shorts can become a new traffic driver to seamlessly funnel viewers into your music videos and music catalog.
Image Source: YouTube.comPart 2: How to Promote Your Music on YouTube Shorts
1) Make sure your music is available on YouTube Shorts
How do you promote your music on YouTube Shorts?
The best way to make your music library available for YouTube shorts is through your distributor. Simply make sure your music is distributed to YouTube Music and it will become available for shorts.2) Make videos promoting your music
Examples:Share clips of music videosUpload your TikTok and Reels videosBehind-the-scenes videos (recording, live shows, etc)Share snippets of upcoming songsMusic video clipsAcoustic sessionsClips of new songs3) Get other creators to use your music
Collaboration is an enormous opportunity on YouTube shorts. Look for creators that use similar music in their videos or may have a similar type of audience. Reach out for opportunities to cross-promote.4) Create other Shorts content for your fans
Making content to directly promote your music is not the only option. You can simply use it as a platform to engage and share in various ways. You can view it as a way to build your audience as you would with any social platform.
Examples:Record cover songsShare content you're passionate aboutVlog things in your lifeShare funny content (i.e. your pets)Participate in trends or react to eventsPart 3) Getting paid from YouTube shorts:
How much does YouTube Shorts pay musicians?
The amount that YouTube Shorts pays musicians will fluctuate based on several factors, however, it can be pretty lucrative if your music is used in videos that generate a high number of views. You can also get paid as a creator for posting your own videos. Details are below:
Getting paid when your music is used: When a short is uploaded using an artist's song, 50% of the ad revenue from the video will be paid to the music rights holders. For example, if a video using your song (that you own 100% of the rights) generates $100 of ad revenue, you will be paid $50 for the video.
Getting paid as a YouTube creator: The other 50% of ad revenue from the video will go to the YouTube Creator Pool and be distributed based on your share of views. If the video has no music in it, 100% of the ad revenue will to the creator pool. If you are a musician that is part of the YouTube partner program you can monetize your Shorts and get paid for the views you generate.
For more details see this article from YouTube's help center.How much money is 1,000 views on YouTube Shorts?
According to a recent report, creators receive $0.04 to $0.06 per 1,000 views on average from the creator pool.
If the views are from monetized YouTube Shorts videos using licensed music, the music rights holders will receive 50% of the ad revenue generated.How much YouTube pays for 100K Shorts views?
An estimated $4 - $6 dollars is paid to the creator if they are a YouTube creator that monetizes their videos based on the rates shared by creators.
If the views are from monetized YouTube Shorts videos using licensed music, the music rights holders will receive 50% of the ad revenue generated.How much YouTube pays for 1m views on Shorts?
An estimated $400 - $600 dollars is paid to a creator generating 1 million views if they are a YouTube partner that monetizes their videos - based on the rates cited in this report.
If 1 million views are generated from monetized YouTube Shorts videos using licensed music, the music rights holders will receive 50% of the ad revenue generated.Looking to Promote Your Music?
Releasing new music can be overwhelming for independent artists. You have to make crucial decisions, including choosing which songs to record and determining the best approach for release.
One critical decision that requires careful consideration is whether to release a full album/EP or focus on releasing singles. This article will explore why indie artists should consider releasing singles and how it can benefit their music career.Building Momentum
Releasing singles has a significant advantage of creating buzz around your music and generating momentum. You can generate buzz and excitement by heavily promoting a single on social media, blogs, and other platforms, leading to increased engagement, downloads, and streams.
Building momentum around a single is easier than an entire album, particularly for new and emerging artists.
Singles are a cost-effective approach for indie artists. Recording an entire album can be expensive, especially when working with professional studios or producers.
Focusing on a single is more manageable financially, and the revenue generated from each release can be reinvested to fund future releases or other aspects of an artist's music career.
Another benefit of singles is the added flexibility it gives an artist.
Albums require a specific set of songs and a particular sequence. By releasing singles, artists can experiment with different styles/sounds and release songs as they finish them instead of waiting to complete an entire album.
This adaptability can help artists stay relevant and in touch with changing trends and preferences in the music industry.
Releasing singles can also improve overall fan engagement. When an album is out, some fans may prefer listening to specific tracks and not necessarily the full album.
Singles allow musicians to keep fans engaged more consistently, and they can release new music more frequently. This approach helps create a loyal fan base that is more likely to support the artist long-term.
Finally, singles can help increase exposure to the artist's music. Blogs, playlists, and other media outlets showcase singles more often than entire albums, which facilitates introducing the music to a broader audience.
Singles help artists target specific niches and audiences, helping to grow their fan base and increase their reach.
If you're an artist seeking to get your music featured on Spotify's Editorial playlists, releasing singles may be the optimal approach.
Spotify thrives on new releases, and having 10 singles can increase your chances of being featured on playlists such as Fresh Finds and New Music Friday.
By using the Spotify for Artists platform, you can directly pitch each single to Spotify's Editorial Team. I recommend doing this at least 28 days before the song's release date.
However, if you plan to release an album, your pitching options will be limited because only one song from the album can be pitched to Spotify's Editorial team, which may decrease your chances of being playlisted.
As a result, some artists focus on releasing singles instead of albums, especially until they have a stronger following and have demonstrated their appeal to Spotify's curators.
In conclusion, focusing on singles allows artists to build momentum, save money, experiment with different sounds, improve fan engagement, and increase exposure to music.
While full albums have benefits, singles provide more flexibility and are a more manageable approach, especially for new and emerging artists.
When navigating the music industry, consider the advantages of releasing singles and how it can help you achieve your goals.
In today's world, streaming has taken over the music industry, and radio's significance is being questioned. Streaming services like Spotify and Apple Music offer unlimited options for curated playlists and allow users to skip tracks they do not like.
Given the convenience offered by these services, one might wonder if the radio is still relevant in the streaming era. Surprisingly... the answer is yes. While streaming services have disrupted the industry in numerous ways, radio still remains relevant in the streaming era.
One significant advantage of radio is that it is a powerful medium for discovering new music. Although streaming services can introduce listeners to new artists and songs through curated playlists, these recommendations are primarily based on algorithms and user data.
In contrast, human curators, DJs, and tastemakers are responsible for introducing new music on the radio, adding a personal touch to the experience. This means that radio can introduce listeners to music that might not feature on a streaming playlist.
Furthermore, the radio remains a powerful tool for advertising. Although streaming services offer advertising options, radio still reaches millions of listeners daily, with many captive audiences during their daily commutes. This makes radio an essential tool for advertisers looking to reach a broad audience quickly and efficiently.
For example, tuning in to a morning show with colleagues or listening to a countdown of the week's top tracks with friends. This shared experience is something that streaming services cannot provide.
Most importantly, radio offers a shared experience that streaming services cannot replicate. While streaming services are excellent for individual listening, radio provides a communal experience that can bring people together.
Many radio stations have a loyal listener base that tunes in daily for news, traffic updates, and weather reports. This consistent engagement creates a sense of connection and belonging to the local station, thereby driving engagement and loyalty.
While streaming services have transformed the music industry, radio remains relevant. Radio's advantages include music discovery, community engagement, advertising, and shared experiences. Thus, we should not overlook radio's importance and value in today's world.Looking to Promote your own Music?
Having a correct and intriguing artist profile on Spotify is crucial when it comes to not only gaining new fans and listeners, but keeping them interested in your music! We're giving you some great steps that will guide you step-by-step on how to set up and optimize your Spotify artist profile.1) Claim your artist profile.
First and foremost, you need to claim your artist profile. This is very easy and can be done by visiting artists.spotify.com. Once you have delivered your music to your distributor, you should be given access directly from Spotify to log in and create your account. After you complete this with the correct email you will also be able to verify your account via Spotify. It is important to note that you cannot set up or claim your Spotify artist profile until you distribute your music via a music distributor like Amuse, Tunecore, etc. More on that here: https://playlistpush.com/blog/how-to-get-your-music-on-spotify-the-best-music-distributors/2) How to Write a bio for your Spotify Artist profile.
Writing a bio about yourself can be overwhelming and polarizing. But have no fear, we’ve come up with a Spotify artist bio template, which uses the concept of a past, present and future method. It goes as follows:
First paragraph is about your past as an artist and how you started. What inspired you to start creating and putting your music out there? This is a great chance to flex your musical tastes to your fans by tagging relevant artists and labels on Spotify! You can do this by typing @ which will activate Spotify search.
The second paragraph is where you are currently, at this moment. Maybe you are recording a new album or have an exciting collaboration coming up with @billieeilish. Use this paragraph to let your fans know you are still active as an artist. Use dates and concert locations to pique interest.
The third paragraph is where you want to be - your goals, dreams, and aspirations. “Catch me headlining Lollapalooza in 2025 or catch me playing the first live concert on Mars in 2080”. Have fun with it but use this paragraph to let fans know you are in it for the long haul and plan on having a massive career in music. You can also google Spotify Artist Bio Examples for more ideas.Spotify Artist Profile with tagged artists as examples3) Adding Social Accounts to Your Profile (Choose Wisely)
A common question among artists, musicians, and podcasters, is how to add social media links to their Spotify Artist Profiles. Social channels like Instagram and Twitter can be great for finding new fans and keeping them engaged, however, as an artist you should only be focusing on social channels you can commit to and post to regularly. For example, if you link to an old Facebook account where you haven't posted in a month, it could turn away a potential fan on Spotify. To add socials to your Spotify for Artists profile just click "more info" on the Edit Profile page.Adding Socials to Spotify for Artists4) Adding images to your Spotify Artist Profile.
On your Spotify Artist Profile, there are three different places to add images.
Avatar: This image is displayed as your main photo for listeners on mobile and as your artist avatar on search features on Spotify.Spotify Mobile View
Header: Your header image is what will be displayed on your profile when listeners are viewing your profile on Desktop.Spotify Artist Header Image
Gallery: These images are displayed in your "About" section at the bottom of your profile on the desktop version of the Spotify app. You can add up to six images to your image gallery.5) Creating your own playlists (VERY IMPORTANT)
If you are lucky enough to have a catalog of over 30 songs Spotify automatically creates a "This Is" playlist that features songs by you, including features.This is Playlist created by Spotify
If you are like most artists you will not have a playlist created for you by Spotify. Not to worry, because you get to create your own and share your unique musical tastes with new listeners! Watch the video below if you want detailed tips and hacks on creating your own playlists.
Your artist playlist should not only contain your tracks but should also contain artists you like and are similar to. This can also help your "Fans Also Like" section because listeners are streaming your music alongside artists you are similar to! Start small with your playlist and get around 30 tracks. Then you will want to keep it private until you get around 50 followers on the list. Set it as your "Artist Playlist" and you are off and flying!Fred again.. Spotify Artist Playlist6) Utilize your Artist Pick
At the top of your Spotify profile, you can link to a new record, a playlist, or even a relevant concert date for your listeners. It is important to keep this artist pick-up to date to signal to new listeners that you are an active artist. If you are a touring artist you can even integrate SongKick to display all upcoming shows and tickets!Closing Thoughts
As an artist it is always best to think not about yourself but about how you are perceived as an artist by others. Think outside the box and do any and everything to distance yourself from what others artists are already doing. Use these tips to create your artist profile on Spotify and be sure to follow us on YouTube for weekly uploads and more helpful tips!
Click here to check out our YouTube Channel: youtube.com/playlistpushLooking to Promote your Music on Spotify?