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.

View the original article to see embedded media.

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.

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.

c/o Press

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.

Facebook: facebook.com/romeinsilvermusic
Twitter: twitter.com/romeinsilver
Instagram: instagram.com/romeinsilver
Spotify: spoti.fi/2HcW0LH

After taking home the EDMA Icon Award earlier this year, VASSY is looking to retain her icon status after releasing "Krazy."

"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.

Website: vassymusic.com
Facebook: facebook.com/VASSY
Twitter: twitter.com/VASSY
Instagram: instagram.com/vassy
Spotify: spoti.fi/3hlBwNS

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.

c/o Soave

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.

c/o Soave

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.

Facebook: facebook.com/soaverecords
Instagram: instagram.com/soave.records
Twitter: twitter.com/soaverecords
Website: soaverecords.com

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.

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.

Instagram: instagram.com/ternionsound
Facebook: facebook.com/ternionsound
Twitter: twitter.com/ternionsound
Spotify: spoti.fi/46dWVSI

Knock2 and Dillon Francis have always been stylistic rule-breakers at heart. Now they're breaking barriers once again after releasing “buttons!,” an unpredictable fusion of disco and bass house.

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.

Facebook: facebook.com/dillonfrancismusic
Twitter: twitter.com/DILLONFRANCIS
Instagram: instagram.com/dillonfrancis
Spotify: spoti.fi/3ouSzRh

Twitter: twitter.com/knock2music
Instagram: instagram.com/knock2music
Spotify: spoti.fi/3OHeylI

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.

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.

You can find these tracks on EDM.com's Fresh Picks Playlist. Follow to stay up-to-date and submit tracks for consideration here.

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.

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.

“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

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.

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...

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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?

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 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

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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.

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 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.”

To stream the album, click HERE.

“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

“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
Luke Combs

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)
“Buy Dirt”
Songwriters: Jacob Davis, Jordan Davis, Josh Jenkins and Matt Jenkins

FEMALE VOCALIST OF THE YEAR
Lainey Wilson

MALE VOCALIST OF THE YEAR
Chris Stapleton

VOCAL GROUP OF THE YEAR
Old Dominion

VOCAL DUO OF THE YEAR
Brothers Osborne

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
Lainey Wilson

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.

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)

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.

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.

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:

Darkim Be Allah || Endemic Emerald || Planet Asia

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.

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.

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)

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

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:

This is a luxury champagne brand that produces the famous Ace of Spades, a bottle of which goes for $300.

This cognac brand is a partnership between Jay-Z and Bacardi, a large beverage company.

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.

Purchasing the streaming service back in 2015, Jay-Z relaunched Tidal, announcing other top artists (Madonna, Beyoncé, West, etc) as co-owners.

Jay’s impressive investment portfolio includes a decent stake in Uber.

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).

He owns an expensive collection of paintings and other valuable pieces of art.

Jay Z owns a number of real estate properties.

For sure, Jay-Z is a business, man; not a businessman.

#AipateForMusic

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.

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 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.”

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).

#AipateForMusic

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.

#AipateForMusic

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?

The post Do Student Loans Imply A Borrowed Future? 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.

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…

Please click the link below to read the full article.

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…

Please click the link below to read the full article.

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…

Please click the link below to read the full article.

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…

Please click the link below to read the full article.

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…

Please click the link below to read the full article.

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…

Please click the link below to read the full article.

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…

Please click the link below to read the full article.

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…

Please click the link below to read the full article.

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

'LISTEN: Bhaskar & JADED Deliver Groovy Spoken Word House Single, “When I See It” feat. The Vic

The post LISTEN: Bhaskar & JADED Deliver Groovy Spoken Word House Single, “When I See It” feat. The Vic appeared first on Run The Trap: The Best EDM, Hip Hop & Trap Music.

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

Stream here

'LISTEN: Luis Crucet Debuts New Alias With A GTA FLIP

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.

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!

Decadence: The Digital City – Tickets

'Decadence Colorado Announces Stacked 2023 NYE Weekend Lineup feat. Skrillex, Zeds Dead, Subtronics + More

The post Decadence Colorado Announces Stacked 2023 NYE Weekend Lineup feat. Skrillex, Zeds Dead, Subtronics + More appeared first on Run The Trap: The Best EDM, Hip Hop & Trap Music.

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.

Follow LAXX

Soundcloud | Spotify | Facebook | Instagram | Twitter

'FEATURE: Getting to Know Decorated Dance Music Producer LAXX

The post FEATURE: Getting to Know Decorated Dance Music Producer LAXX 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

'LISTEN: JVNA Delivers Stunning & Highly-Anticipated New Studio Album, “Play With You”

The post LISTEN: JVNA Delivers Stunning & Highly-Anticipated New Studio Album, “Play With You” appeared first on Run The Trap: The Best EDM, Hip Hop & Trap Music.

The host of All Songs Considered listens for the moments when the poetry of a song's lyrics seem woven into its sound. This year, his playlists overflowed.

(Image credit: Photo Illustration: Jackie Lay/NPR)

Hear our collection of now-classic holiday misadventures featuring All Songs Considered's Bob Boilen and Robin Hilton, with guest appearances by Taylor Swift, Steve Martin, William Shatner and more.

(Image credit: Mike Brinson/Getty Images)

Bubbly pop songs sidle up to filthy headbangers and dreamy ambient in a six-hour playlist of unexpected holiday music.

(Image credit: Illustration by Daniel Warren Johnson, Lars Gotrich/NPR)

In another unpredictable year of ups and downs, music once again came to the rescue. As we near the end of 2021, we want to know what albums (or EPs) resonated the most with you.

(Image credit: FrankRamspott/Getty Images)

Judges for the Tiny Desk Contest watched thousands of videos, and Weekend Edition is highlighting some of the standouts — this week: rapper Zhalarina's "Lala."

(Image credit: Courtesy of the artist)

Snail Mail's Lindsey Jordan and singer-songwriter Mac DeMarco joined WPLN News' Paige Pfleger in a live conversation about the album.

(Image credit: Tina Tyrell/Courtesy of the artist)

WBGO's Nate Chinen was joined by saxophonist Branford Marsalis and harpist Brandee Younger in a live conversation about this recently unearthed live recording.

(Image credit: Courtesy of Impulse! Records)

Every year, the Tiny Desk Contest attracts thousands of unsigned musicians from across the country. Yosmel Montejo impressed the judges with "La Caliente," a song that reflects on life in Cuba.

(Image credit: Courtesy of the artist)

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!

Listen to decades’ worth of one-hit wonders on the ONEderland channel

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!

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

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

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

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

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.

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).

Listen to Willie’s Roadhouse (Ch. 61), Willie Nelson’s classic country channel on SiriusXM

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.

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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Week 4 of the 2023 Big Ten Football season features a number of intriguing match-ups and the national spotlight for the conference:

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.

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.

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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.

Stream the Philadelphia Eagles broadcast (Ch. 825)

Stream the Tampa Bay Buccaneers broadcast (Ch. 829)

Stream the National broadcast (Ch. 964)

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.

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Channel 829 on the SiriusXM App

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Channel 825 on the SiriusXM App

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Channel 964 on the SiriusXM App

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 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.

Stream the Ohio State Buckeyes broadcast (Ch. 85)

Stream the Notre Dame Fighting Irish broadcast (Ch. 129)

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.

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.

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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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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!

Hear Taylor Swift and more pop royalty on SiriusXM’s Queens of Pop channel

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.

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.

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.

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.

Listen to the second GOP Debate on the SiriusXM App live

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.

To qualify for the second debate, Republican candidates for presidency must:

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.

Check out more politics on SiriusXM’s channel here.

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Pete Pistone will unveil Power Rankings each week of the NASCAR season. Check out this week’s edition of NASCAR Power Rankings below, and listen to SiriusXM NASCAR Radio (Ch. 90) on the SXM App now.

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

The post SiriusXM NASCAR Radio’s Power Rankings 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.

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).

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!

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).

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!

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).

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).

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.

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!

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!

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).

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 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).

The post Your Music Horoscope: Libra Season appeared first on SiriusXM.

Chris Stapleton and Snoop Dogg are taking football to new heights with their cover of “In the Air Tonight.”

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.

Listen to Chris Stapleton and more country music on The Highway

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?

The new Monday Night Football Anthem is HERE!@ChrisStapleton x @SnoopDogg x @Drumstress pic.twitter.com/hbuTMMHIT9

— ESPN (@espn) September 19, 2023

The post Chris Stapleton and Snoop Dogg Team Up for New Monday Night Football Theme Song 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.

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.

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.

Listen to the best of the Beach Boys on Apple Music and Spotify.

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.

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?

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.

“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.

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.”

Listen to the best of Tears For Fears on Apple Music and Spotify.

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.

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.

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.

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.

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.

Listen to the best Roy Ayers songs here.

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.”

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.”

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.

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.

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.”

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.’”

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.

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.

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.

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.

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.

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.

If you’d like to add to your jazz collection, head over to the Jazz Center Stage store today for the latest vinyl, CD and jazz merch.

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”

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”

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”

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”

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”

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”

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’ 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”

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”

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 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”

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”

‘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”

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 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”

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”

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”

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”

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”

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”

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”

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”

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”

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”

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”

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”

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”

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”

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”

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”

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”

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”

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”

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”

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”

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”

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”

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”

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”

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”

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”

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”

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” 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”

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”

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”

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”

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”

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”

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.

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.

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.

Pre-order Marking My Time.

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.”

“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.’”

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.”

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.

Listen to Sea Change on Apple Music and Spotify.

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.”

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.”

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.”

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.

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.”

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.”

Listen to the best of Beck on Apple Music and Spotify.

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.

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.

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.

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.

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.

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.

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.

TONIGHT IN NYC

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TONIGHT IN NYC

STAY IN TOUCH

Find BrooklynVegan on FACEBOOK and TWITTER and INSTAGRAM and YOUTUBE and SPOTIFY and TIKTOK.

Join our EMAIL LIST.

For even more metal, visit Invisible Oranges and follow them on Facebook & Twitter.

SHOP OUR STORE

The post What’s Going on Sunday? appeared first on BrooklynVegan.

TONIGHT IN NYC

STAY IN TOUCH

Find BrooklynVegan on FACEBOOK and TWITTER and INSTAGRAM and YOUTUBE and SPOTIFY and TIKTOK.

Join our EMAIL LIST.

For even more metal, visit Invisible Oranges and follow them on Facebook & Twitter.

SHOP OUR STORE

The post What’s Going on Saturday? 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.”

2023 EP by A Certain Ratio

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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.

Aging by Kevin Drew

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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.

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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.”

As Well by Dancer

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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

The post 12 New Songs Out Today appeared first on BrooklynVegan.

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.

There’s an NYC show on November 20 at The Meadows, and a Lake Como, NJ show on November 19 at Salty’s Beach Bar. Tickets to all dates are on sale now.

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 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.

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.

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.

Try our  Spotify Playlist Pitching and TikTok Music Promotion services.

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.

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:

Here are a few artists you can follow to get started:

Ella Jane

Eric Damiano

This is a song I wrote about reminiscing... the happy memories that make you sad... It’s called “Letting Me Know You” 🙂

Eyedress

boaty got his drivers license n pulled up in the tesla truck with the bape on oh my daze

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.

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.

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

Use our Spotify Playlist Promotion or TikTok Music Promotion service.

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.

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:

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.

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

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?

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.

Use our TikTok Music Promotion or Spotify Playlist Promotion service.

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".

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.

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.

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 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.

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!

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.

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.

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.

Use our Spotify Playlist Promotion or TikTok Music Promotion service.

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.

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.

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.

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.

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.