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Pop music blogs
20 June 2021Pop Music Blogs
KBS 2TV’s “Revolutionary Sisters” has released new stills previewing an emotional scene from tonight’s episode! A unique blend of mystery thriller, romance, and comedy, “Revolutionary Sisters” tells the story of an entire family becoming murder suspects after the family’s mother is killed in the midst of her divorce proceedings. Spoilers The previous episode saw Lee […]
The post Kim Kyung Nam Tears Up As Jeon Hye Bin Delivers An Emotional Blow In “Revolutionary Sisters” appeared first on Soompi
Congratulations to TWICE for winning first place with “Alcohol-Free” on SBS’s “Inkigayo”! Second place was aespa’s “Next Level,” and third place went to Heize’s “HAPPEN.” Watch the winner announcement below! This week’s performers were GHOST9, LIGHTSUM, GOT7’s BamBam, Brave Girls, UP10TION, EVERGLOW, N.Flying, ONEWE, WayV-KUN&XIAOJUN, WEi, GOT7’s Yugyeom, TXT, TWICE, and Ha Sung Woon. Stay tuned […]
The post TWICE Takes 2nd Win For “Alcohol-Free” On “Inkigayo” appeared first on Soompi
SEVENTEEN’s new album is performing well on charts around the world including Japan! On the day of its release, June 18, SEVENTEEN’s eighth mini album “Your Choice” sold 89,736 copies in Japan and took the top spot on Oricon’s daily album chart dated June 18. As revealed previously, SEVENTEEN almost doubled their previous first week sales record with “Your […]
The post SEVENTEEN Tops Oricon’s Daily Album Chart With “Your Choice” appeared first on Soompi
tvN’s latest making-of video for “Doom at Your Service” gives viewers an in-depth look at Shin Do Hyun’s character! “Doom at Your Service” tells the story of an ordinary woman named Tak Dong Kyung (Park Bo Young), who calls for ruin (myul mang) upon the world when she finds out she only has 100 days […]
The post Watch: Shin Do Hyun Gives A Tour Of The “Doom At Your Service” Set And Reflects On Life As Web Novelist appeared first on Soompi
A K-pop group’s title track isn’t always the best song on their album, even if it’s the one most people will hear. Sometimes, b-sides deserve recognition too. In the singles-oriented world of K-pop, I want to spotlight some of these buried treasures and give them the props they deserve.
Seventeen’s Ready To Love appears to be more polarizing than I would have expected. I’m still not completely sure how it will age for me. My review yesterday may have been a bit too generous, but we’ll see what happens in a couple of weeks. After all, that’s just in time for my annual “Risers and Fallers” feature to be published!
Opinion seems far less divided on b-sides Heaven’s Cloud and Anyone. I agree that they’re both incredibly strong — neck-and-neck when it comes to my own personal feelings. I think the performance team’s Wave is also very solid. In fact, the whole album is enjoyable.
In the end, Anyone feels like the more striking of the two songs. I love how seamlessly it weaves rock influences into Seventeen’s sound. And that chorus? For me, it’s the album’s strongest melody. It surges with atmospheric drama, tugging in all the right places. It’s simultaneously emotional and rhythmic, which can be a hard combo to pull off. The first time it pops up, the song almost stops in its tracks. The air clears, and that refrain holds us captive. But, I’m even more enamored with the beat drop that follows. Laced with haunting guitar, it conjures a fantastic groove – slightly menacing as that bass creeps along.
I wouldn’t usually care for verse two’s languid delivery, but I think it works very well within the context of a song like this. And for those missing a defining climax in Ready To Love, Anyone delivers the power-note-infused bridge you were hoping for. Still, it’s all about that chorus/beat drop combo for me.
Hooks 9 Production 9 Longevity 9 Bias 9 RATING 9
A K-pop group’s title track isn’t always the best song on their album, even if it’s the one most people will hear. Sometimes, b-sides deserve recognition too. In the singles-oriented world of K-pop, I want to spotlight some of these buried treasures and give them the props they deserve.
After a drought of strong K-pop albums, this week has delivered a host of great b-sides. As much as I love a knockout comeback track, an equally-great album makes the whole experience so much better. Brave Girls’ Summer Queen is all killer, no filler, with each track targeted specifically to the season. Chi Mat Ba Ram has already grown on me immensely, and I wouldn’t be surprised if it ends up being one of my favorite songs this month. But, Pool Party and Fever are nipping at its heels.
Ultimately, Pool Party is just too fun not to write about. Yes, it’s derivative – adhering to every K-pop summer trope imaginable. But, I adore K-pop summer tropes, so you’re not going to hear any complaining from me. The instrumental is frothy and fun, driven by swoops of refreshing synths and a big breakbeat. The track hits a high during the chorus, as the production becomes more robust and the girls offer a simple, swirling hook. “Pool party, everybody…” is hardly Shakespearian in its ambition, but that’s not the point.
This song was actually teased a few months ago on variety program I Live Alone, and I assumed it would end up being the album’s title track – especially since it fits the “summer queen” theme so strongly. In the end, I think they were smart to go with Chi Mat Ba Ram, which is more melodically complex and improves each time you hear it. But, I wouldn’t mind a fun mv for Pool Party as well. It would also let Brave Brothers promote his boy group DKB, whose E-Chan appears as guest rapper.
Hooks 8 Production 9 Longevity 9 Bias 9 RATING 8.75
“Doom At Your Service” veers off into murky waters this week as Tak Dong Kyung (Park Bo Young) discovers that there is no running away from fate. Her sweet respite with Myeol Mang (Seo In Guk) is abruptly cut short by a hasty decision with long-lasting consequences. Sonyeoshin’s (Jung Ji So) plans have never been more obscure. […]
The post 5 Bittersweet Lines From Episodes 11-12 Of “Doom At Your Service” That Broke Our Hearts appeared first on Soompi
Remember Bitty McLean? If you do, then this one’s dedicated to the one I love! Delroy ‘Bitty’ McLean was born in Birmingham, England in 1972 and was so named as he was the youngest of six children and for his small ‘standing’ compared to his older siblings. Nevertheless, he spent the early-mid 1990’s tempting us […]
The Korean Business Research Institute has revealed this month’s brand reputation rankings for individual girl group members! The rankings were determined through an analysis of the consumer participation, media coverage, communication, and community awareness indexes of 540 girl group members, using big data collected from May 20 to June 20. aespa’s Karina rose to the […]
The post June Girl Group Member Brand Reputation Rankings Announced appeared first on Soompi
Rock Music Blogs
20 June 2021Rock Music Blogs
Great White singer Mitch Malloy has shared a live acoustic cover of the Journey classic "Open Arms". Check it out below Malloy recently released an acoustic cover of the Aerosmith classic, "Dream On". Get the single here, and watch the video below.
The post Shakey DeVille unveil video for single “Shot’s Fired” appeared first on Sleaze Roxx.
Guitar legend Steve Vai has checked in with the following update: "We had the opportunity to volunteer at this wonderful compound called Animal Tracks, Inc. The good folks there take in abandoned and compromised exotic animals and care for them. Animal Tracks are in the process of having to move...
Nits - In the Dutch Mountains (1987)
Tracklist front / back album covers
Nits - In the Dutch Mountains
In the Dutch Mountains – 3:26
J.O.S. Days – 3:13
Two Skaters – 6:51
Pelican and Penguin – 3:57
In a Play (Das Mädchen im Pelz) – 3:35
Oom-Pah-Pah – 1:21
The Panorama Man – 3:29
Mountain Jan – 4:41
One Eye Open – 3:16
An Eating House – 5:53
The Swimmer – 3:50
Good Night – 2:42
Nits Band Members / Musicians
Henk Hofstede – vocals, guitar
Robert Jan Stips – keyboards, backing vocals
Joke Geraets – double bass
Rob Kloet – drums
Jaap van Beusekom – steel guitar
Jolanda de Wit – backing vocals
Saskia van Essen – backing vocals
Lieve Geuens – backing vocals
The Nits – producers
Paul Telman – engineer
The title song was covered by Dutch garage rock band Claw Boys Claw, on their 1988 album ‘’Hitkillers’’, and Dutch folk metal band Heidevolk, on their album ‘’Velua’’.
Classical Music Blogs
20 June 2021Classical Music Blogs
20 June 2021
The Comedy of Errors – Oregon Shakespeare Festival
Click here for tickets $15.00
Through June 26
Director Kent Gash set his finger-snapping 2014 staging of Rodgers & Hart’s blissful musical during the Harlem Renaissance. That adaptation of Shakespeare’s The Comedy of Errors, complete with all its great songs and goofiness, is now online, courtesy of the Oregon Shakespeare Festival.
To remind you, The Comedy of Errors and its offspring The Boys from Syracuse is the one with two sets of identical twins whose mistaken identities and slapstick comedy lend the laughs to Rodgers and Hart’s great musical.
Read more here
The post Ruth Leon recommends… Is the Comedy of Errors from Syracuse? appeared first on Slipped Disc.
20 June 2021
20 June 2021
We do love to celebrate and acknowledge “firsts”. A concert program that offers a premier performance of a colossal Australian composition is historically significant. Then, before Ian Munro came to the Steinway grand piano in Elisabeth Murdoch Hall, Melbourne Recital Centre CEO Euan Murdoch came to the stage to announce this event as the first in a new partnership with Melbourne Digital Concert Hall and 5stream. Any sadness from the lack of a live audience was banished by the beauty and colourful stage lighting of this magnificent venue, the incidental hues formed on the textured backstage panels, the precisely planned camera work and the fine acoustic of this recital hall.
Ian Munro, one of Australia’s most distinguished and internationally respected pianists, is a remarkably relaxed performer, modestly physically calm and stately. His fingers alone tell an epic story, producing a huge spectrum of colour and expression. Detailed program notes revealed the important comparative elements in emotion and form, and links between these three composers and Munro’s reflections, personal understanding and respect for them.
Mendelssohn’s six Songs Without Words, Book1 Opus 19, were delivered as ideal, classy textbook performances. Numbers 1 & 2, Fond Memories and Regrets, warmed our wintry weather with pleasing melodic expression, flowing motion and idyllic poetic lines. In No 3, Hunting Song, Munro produced a significantly more buoyant, crisper, cleaner and brighter tone, while the frequently played Venetian Gondola Song was nicely moving forward, clean and sparkling, without sentimentality. All six pieces were exemplary in detail, beautifully described in shapes and tones like six different paintings.
By opening the program with these miniatures, Munro was heralding his deep admiration of influential Russian composer Rachmaninoff, who modelled his Preludes on them. Each of Rachmaninoff’s Six Moments Musicaux reproduce a form and characteristics of a previous musical era, yet with individual themes and moods. Each piece was certainly an admirable concert piece of its own. No 1 Andantino revealed long, reflective melodies, which developed into a rapid climax with orchestral colourations and virtuosic runs, hinting at shades of Chopin’s Nocturnes. No 2 Allegretto showed Munro’s exciting virtuosity in the waves of cascading florid patterns woven around deceptively simple but powerful melodic themes. The contrasting No 3 Andante Cantabile was a deeply contrasting reflection of a funeral march, with a stirring melody built above a long earthy chordal sequence. A striking middle section of bass staccato pulses was reminiscent of the foreboding and percussive imitative bass drum elements of a past era. No 4 Presto was truly exciting, lavish, exuberant and rich in its expression and melodic intensity, and we felt Rachmaninoff’s homage to the spirit of Chopin. Most admirable was the remarkably calm ease and control Munro showed playing immense torrents of notes preceding the most brilliant acceleration to a double fortissimo conclusion. He broadened and enriched the tonal colours of No 5 Adagio Sostenuto as we felt the barcarolle form, enjoying a heartfelt aria-like melody and textures that conjured up a panoramic vista. No 6 Maestoso was a triumphant closing piece where robust, dense textures resounded fully down in the oceanic depths of the Steinway grand. Surging pulses and a powerful ebb and flow of expression were sensitively controlled yet powerfully striking. A final descending chromatic motive was repeated with a tragic, almost desperate acknowledgement of this great composer’s soul.
Lasting just under thirty minutes, Munro’s three-movement Piano Sonata No 2is a highly captivating and epic work. In his words, his sonata “deliberately follows in the footsteps of Prokofiev and Shostakovich, as an homage to them and to the Russian musical tradition which shaped his musical development”. Subtitled Moscow – 1986, this work embodies Munro’s respect for the greatness of Russian musical history, and his lasting memories of visiting Moscow as a young pianist.
The intriguing first movement Allegro Nervosa was indeed a brilliantly constructed testament, and listeners would enjoy and smile at the flavours of Rachmaninoff’s architecture and perhaps Beethoven’s Appassionata sonata, with brisk arpeggiated patterns and dramatic harmony being set into a modern framework. Melodic fragments developed into a dynamic 7-time chordal section, followed by clever derivatives of primary themes building into a heroic march. Many dazzling episodes explored extreme upper and lower regions of sound, before descending to a surprising and abrupt ending, lost in profound bass notes. We were left begging for more. Following a gentle, chordal fanfare in the introductory bars, the triplet rhythm of Largo took us briefly to a modern, barcarolle style. A surprising explosion of insistent dotted rhythms built up a new energy and tempo, until elegant Romantic melodies were broadened with expressive tender and reflective qualities. Schubertian shades of military motifs added colourful marching elements to precise and individual voices in an exciting Fugue a 4 for the third and final movement. Textures and momentum developed into an intense and furious explosion as orchestral timbres and percussive chords reached their finality in a single defiant and echoing cluster of sound. Rest, hope and spiritual resolution came with a coda of gentle high-pitched fragments and soft melodic simplicity.
Being able to re-watch the performance multiple times through streaming, added much enjoyment of this epic work and confirmed highest acclaim for Ian Munro.
Julie McErlain reviewed Ian Munros’s piano recital, presented as part of the Great Performers 2021 series and streamed in collaboration with Melbourne Digital Concert Hall from the Melbourne Recital Centre on June 16, 2021.
The post Melbourne Recital Centre, Great Performers 2021: Ian Munro appeared first on Classic Melbourne.
19 June 2021
En lugar de pensar (Instead of thinking)
“The name of the album is about this feeling that I have. I believe that playing music is a non-cerebral thought form; thought in the sense of being a channel to see, to reveal, a channel that opens through intuition, observation and attention but not through thinking.”
Argentinian composer Sergio Merce frequently records at home, but the results aren’t rough hewn as a result. Employing a microtonal saxophone of his own design, synthesizer, and an electronic wind instrument, Merce creates music that encompasses drones, layered sine waves, complex overtones, and periods of silence. The first piece, “Forma Circular” is an enclosed shape. It repeats twice on the recording. Often, a single interval is isolated for a period of time, to be followed by silence and then a more complex, microtonal sonority. An additive process of building from a simple interval to a stack of harmony is another common approach in the piece. Partway through, pitched pulsations animate the soundscape, moving the proceedings from a prevailing feeling of stillness to a mid-tempo presentation. Even when it is absent at the beginning of the second pass through the form, a subliminal urgency is still felt.
In “Forma Continua,” straight tone intervals are morphed with microtonal beating. Single sine tones act as interludes between each wave of distressed dissonances. Merce prioritizes seconds among the intervals, but nearly each one gets to take a turn at being central to the music. Silence plays less of a role than sustain in this piece, with one attack beginning while another sustained chord is held. At times the instruments are recognizable as distinct entities. At other points in the piece their textures overlap, creating beautiful blurred sounds. Merce’s hand-fashioned instruments and home recording practices are in service of sophisticated music-making.
19 June 2021
Finnish composers never seem to be able – or allowed – to escape the shadow of Sibelius. On the occasion of his 150th death anniversary in 2015 the Scottish Chamber Orchestra commissioned Lotta Wennäkoski to write a piece referencing his music. She found inspiration in En Saga and composed Verdigris. It will have its continental premiere on 21 June, when the Dutch radio station NPORadio4 will air a pre-recorded concert of the Netherlands Philharmonic Orchestra, conducted by John Storgårds.
On her website Wennäkoski writes: ‘How to refer to the music of Jean Sibelius in a way that would hopefully lead to something personal and fruitful in 2015? Not an easy task.’ She admits being a staunch admirer of his symphonies, because of their ‘solidity of material and the incredible economy with which this is processed’.
We must not take this as an abstract kind of professional admiration, though, she stresses: ‘The music actually speaks to me directly. It crystallises something essential of the human condition and comes across as pure spirit and emotion. It stops you and pierces you.’
Patina over music history
The title Verdigris refers to patina – a thin layer on a surface that is produced by age. This term is usually employed to describe the greenish haze covering bronze statues and refers to a pigment known as ‘green from Greece’, that was already used by the Romans. ‘Verdigris’ is a corruption of the French word vertegrez (vert-de-Grèce).
The idea of a hazy coating accumulated through age appealed to Wennäkoski: ‘Isn’t that more or less what composers do – write new layers over music history, even if their work explicitly refers to older music?’
Yet it was out of the question she would allude to or quote from his symphonies. Instead she sought inspiration in the tone poem En Saga. She feels attracted to its energy and found that some musical gestures match her own ideas about orchestral music, such as the string arpeggios and the back-beat rhythms. Thus inspired, she decided ‘to continue the fairy tale!’
To be or not to be capricious
Titillated by the lamentation of the critic Karl Flodin that Sibelius’s musical intuition in En Saga was a bit too ‘capricious’, Wennäkoski decided to ‘be as capricious as I can’ with the material she used from Sibelius’ original. This may manifest itself relatively innocently in placing quotes of single motifs in such a different context that entirely new melodies develop.
More daring are the written phrases sprinkled through the score that quote from and respond jocularly to the critique from 1893. These are spoken or whispered in cut-up repetitions by the musicians: ‘A critic found the work puzzling and his intuition too capricious’…. ‘papa removed some violent passages from the piece, now it is more civilised, more polished’…. ‘Finnish composers must be much more capricious.’chain of slowed-down Sibelius motif with ‘blurring’ harmonics
Enjoying herself, Wennäkoski impulsively decided to throw in a quote from yet another piece by Sibelius, Andante Festivo. ‘I couldn’t withstand turning this into a howl, by prescribing hysterical vibrati on harmonics from bar 235 onwards.’ Towards the end of Verdigris the strings weave a chain from a slowed-down Sibelius-melody, adding on an abundance of harmonics that ‘blur’ the original.
The premiere of Verdigris in Edinburgh in October 2015 was a success. The Scotland Herald lauded its ‘delightful Ravel swirls’, The Guardian heard an ‘absorbing new work’ from ‘a composer with play at the heart of her music. Here the joke is fondly on Sibelius, with some striking gossamer textures wrapped around fragments of his music’. – For good measure on 21 June the Netherlands Philharmonic Orchestra will perform his Suite nr. 2 from The Tempest.
Verdigris is part of an eclectic programme: apart from Wennäkoski and Sibelius there’s music by Webern, Stravinsky and Vasks. More info at Nederlands Philharmonisch Orkest. Wennäkoski is presently working on the opera ‘Regine’, commissioned by the Savonlinna Opera Festival 2022.
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19 June 2021
Name: Queen Hezumuryango Voice Type: mezzo-soprano From: Burundi Teachers: Rosemarie Landry and Catherine Sévigny Education: Université de Montréal Queen Hezumuryango is a mezzo-soprano whose experience and passion for music cover a range of styles, from opera to recitals and musicals. Among her credits are Huntsman in John Blow’s Venus and Adonis, Third Wood Sprite in Dvořák’s Rusalka and Venus...
19 June 2021
Chaired by Emmanuel Hondré, this year's jury did not award a first prize. Third prize was awarded to the Adelphi Quartet.
Both the Balourdet and Leonkoro Quartets will each receive €10,000.
The Audience Prize of €2,000 was awarded to the Leonkoro Quartet, while the Quartet Arete received the Special Prize of €3,000 for the best performance of the competition's newly-commissioned work,"UTA-ORI. Weaving Song for string quartet," by Toshio Hosokawa.
Reuning & Son Violins was pleased to provide the Balourdet Quartet with fine Italian instruments for the occasion.
19 June 2021
Ning was awarded 1st prize at the 2006 Paganini International Violin Competition.
19 June 2021
After 18 months away from live concerts, the New York Philharmonic will return to the stage this fall for a shortened 78-concert season.
Due to the $550 million renovations of David Geffen Hall, which is scheduled to reopen later this fall, the upcoming season's concerts will mostly take place at Alice Tully Hall and the Rose Theater at Jazz at Lincoln Center. The venues have 1,086 and 1,233 seats, respectively, compared to the approximately 2,200 seats that will be in the renovated Geffen Hall.
The orchestra will open on September 17 with a concert titled “From Silence to Celebration,” featuring soloist Daniil Trifonov performing Beethoven’s “Piano Concerto No. 4.” The concert will be the first of 50 at Alice Tully Hall.
The remainder of the season will include music by composers ranging from Schubert, Mahler, and Shostakovich to Eastman, Chen Yi, and Walker, in addition to several premieres. Featured soloists include pianist Yuja Wang, violinists Hilary Hahn and Joshua Bell, and saxophonist Brandon Marsalis. This year’s artist in residence is countertenor Anthony Roth Costanzo.
The orchestra will also present several special projects. In March of 2022, Gustavo Dudamel plans to conduct a Schumann symphonic cycle focusing on the relationship between Robert and Clara Schumann. The orchestra also plans to proceed with its third installment of Project 19, an initiative to commission and premiere 19 new works by 19 women composers, with pieces by Joan Tower and Sarah Kirkland Snider.
In total, the orchestra will present 78 concerts this season, compared to the approximately 120 concerts in a typical full season.
According to the New York Philharmonic’s website, the orchestra plans to closely follow city, state, and CDC guidelines regarding COVID-19. A New York Philharmonic ticket buyer survey from May 7 revealed that 89 percent of New York Philharmonic ticket buyers were at least partially vaccinated against COVID-19. Still, the orchestra is implementing contactless touchpoints for ticketing and entry, and there will be no intermissions through at least December.
“As we return to live orchestral concerts, the Orchestra and I cannot wait to greet our audiences with programs that are full of wonderful surprises, embracing the traditional and welcoming the new,” Music Director Jaap van Zweden wrote in a June 15 press release about the upcoming season, which will be his fourth at the helm of the ensemble.
The post New York Philharmonic to Resume Live Concerts in September appeared first on The World's Leading Classical Music News Source. Est 2009..
19 June 2021<img src="https://images.immediate.co.uk/production/volatile/sites/24/2021/06/who-is-film-composer-george-fenton-what-soundtracks-has-he-written-b5ec136.jpg?quality=90&resize=620,413" srcset="https://images.immediate.co.uk/production/volatile/sites/24/2021/06/who-is-film-composer-george-fenton-what-soundtracks-has-he-written-b5ec136.jpg?quality=45&resize=1440,959 1440w, https://images.immediate.co.uk/production/volatile/sites/24/2021/06/who-is-film-composer-george-fenton-what-soundtracks-has-he-written-b5ec136.jpg?quality=45&resize=1200,799 1200w, https://images.immediate.co.uk/production/volatile/sites/24/2021/06/who-is-film-composer-george-fenton-what-soundtracks-has-he-written-b5ec136.jpg?quality=90&resize=960,639 960w, https://images.immediate.co.uk/production/volatile/sites/24/2021/06/who-is-film-composer-george-fenton-what-soundtracks-has-he-written-b5ec136.jpg?quality=90&resize=720,479 720w, https://images.immediate.co.uk/production/volatile/sites/24/2021/06/who-is-film-composer-george-fenton-what-soundtracks-has-he-written-b5ec136.jpg?quality=90&resize=576,383 576w, https://images.immediate.co.uk/production/volatile/sites/24/2021/06/who-is-film-composer-george-fenton-what-soundtracks-has-he-written-b5ec136.jpg?quality=90&resize=360,239 360w, https://images.immediate.co.uk/production/volatile/sites/24/2021/06/who-is-film-composer-george-fenton-what-soundtracks-has-he-written-b5ec136.jpg?quality=90&resize=180,119 180w, " sizes="(max-width: 620px) 100vw, 620px" width="620" height="413" class="wp-image-154813 alignnone size-landscape_thumbnail" alt="British composer and conductor George Fenton of the show Frozen Planet in Concert poses in front of the Ziggo Dome in Amsterdam, on January 18, 2013. Fenton will conduct the Gelders Orchestra April 13, 2013. AFP PHOTO/ANP/ KIPPA FERDY DAMMAN netherlands out (Photo credit should read Ferdy Damman/AFP via Getty Images)" title="NETHERLANDS-MUSIC" /> <body><p>George Fenton is one of the most versatile and prolific composers for screen working today. The British composer has written music for everything from TV theme tunes to major motion pictures, with longstanding collaborations with directors including Richard Attenborough, Nora Ephron, Stephen Frears and Nora Ephron.</p> <p>Fenton has previously received five <a href="https://www.classical-music.com/features/articles/all-the-oscar-winners-and-nominees-for-best-original-score/"><strong>Oscar nominations for Best Original Song and Best Original Score</strong></a>, as well as several BAFTAs and Golden Globes.</p> <p>His <a href="https://www.classical-music.com/features/articles/all-the-oscar-winners-and-nominees-for-best-original-score/"><strong>Academy Award nominations for Best Original Score</strong></a> for <em><a href="https://www.amazon.co.uk/Ravi-Shankar-George-Fenton-Gandhi/dp/B01HQIOLNA/?tag=classicalm05c-21&ascsubtag=classicalmusic-0" target="_blank" rel="nofollow"><strong>Gandhi</strong></a> </em>(with Ravi Shankar, 1983); <em><a href="https://www.amazon.co.uk/Cry-Freedom-Soundtrack-Version/dp/B07GP33D8B/?tag=classicalm05c-21&ascsubtag=classicalmusic-0" target="_blank" rel="nofollow"><strong>Cry Freedom</strong></a> </em>(with Jonas Gwangwa, 1988, for which he was also nominated for Best Original Song); <em><a href="https://www.amazon.co.uk/Dangerous-Liaisons-George-Fenton/dp/B000026XW7/?tag=classicalm05c-21&ascsubtag=classicalmusic-0" target="_blank" rel="nofollow"><strong>Dangerous Liaisons</strong></a> </em>and <em><a href="https://www.amazon.co.uk/Fisher-King-Various/dp/B000002OGD/?tag=classicalm05c-21&ascsubtag=classicalmusic-0" target="_blank" rel="nofollow"><strong>The Fisher King</strong></a> </em>(1992).</p> <p>He has also received <a href="https://www.classical-music.com/features/articles/winners-of-bafta-for-best-original-score-all-the-winning-and-nominated-soundtracks-from-history/"><strong>BAFTA</strong></a> and <a href="https://www.classical-music.com/features/articles/winners-of-golden-globes-for-best-original-score-all-the-winning-and-nominated-soundtracks-from-history/"><strong>Golden Globe nominations for his scores</strong></a> to <a href="https://www.amazon.co.uk/Mrs-Henderson-Presents-Original-Soundtrack/dp/B000BYCAL2/?tag=classicalm05c-21&ascsubtag=classicalmusic-0" target="_blank" rel="nofollow"><strong><em>Mrs Henderson Presents</em></strong></a>, <em><a href="https://www.amazon.co.uk/Anna-King-Original-Soundtrack/dp/B076SR4T8B/?tag=classicalm05c-21&ascsubtag=classicalmusic-0" target="_blank" rel="nofollow"><strong>Anna and the King</strong></a> </em>and several of his scores for wildlife documentaries, among others.</p> <section class="highlight "> <div class="highlight__content editor-content"> <ul> <li><a href="https://www.classical-music.com/features/articles/winners-of-bafta-for-best-original-score-all-the-winning-and-nominated-soundtracks-from-history/"><strong>All the BAFTA winners and nominees for Best Original Score from history</strong></a></li> <li><a href="https://www.classical-music.com/features/articles/best-scores-natural-history-programmes/"><strong>The best scores to natural history programmes from history</strong></a></li> </ul> <p> </div> </section> </p><p>Fenton has worked on the <a href="https://www.classical-music.com/features/articles/best-scores-natural-history-programmes/"><strong>scores to various wildlife programmes and films</strong></a> over the years, including BBC’s <em><a href="https://www.amazon.co.uk/Planet-George-Fenton-Concert-Orchestra/dp/B079PDLDBM/?tag=classicalm05c-21&ascsubtag=classicalmusic-0" target="_blank" rel="nofollow"><strong>The Blue Planet</strong></a>. </em>This venture began many years ago, when he worked on the BBC’s series <em>Wildlife on One </em>and <em>Natural World. </em>Since then, he’s worked on numerous David Attenborough programmes, including <em><a href="https://www.amazon.co.uk/Planet-Earth-Original-Television-Soundtrack/dp/B079PGX6M1/?tag=classicalm05c-21&ascsubtag=classicalmusic-0" target="_blank" rel="nofollow"><strong>Planet Earth</strong></a>, </em><em>Frozen Planet </em>and <a href="https://www.amazon.co.uk/George-Fenton-Berlin-Philharmonic-Orchestra/dp/B001GU51D4/?tag=classicalm05c-21&ascsubtag=classicalmusic-0" target="_blank" rel="nofollow"><strong><em>Deep Blue</em></strong></a>, the latter of which was later performed by the Berlin Philharmonic Orchestra – the first film score the orchestra had ever recorded. The orchestra then recorded his subsequent score to <em>Earth. </em>We named George Fenton’s scores to the BBC’s original <em>Planet </em>trilogy as some of the <a href="https://www.classical-music.com/features/articles/best-scores-natural-history-programmes/"><strong>best scores to natural history programmes in history</strong></a>.</p> <p>He has longstanding collaborations with several major directors, including Nicholas Hytner, for whom he has scored all six films: <em><a href="https://www.amazon.co.uk/Madness-George-Soundtrack-Various-Fenton/dp/B00GG3YWHM/?tag=classicalm05c-21&ascsubtag=classicalmusic-0" target="_blank" rel="nofollow"><strong>The Madness of King George</strong></a>, <a href="https://www.amazon.co.uk/Crucible-Original-Motion-Picture-Soundtrack/dp/B08N5S2NN4/?tag=classicalm05c-21&ascsubtag=classicalmusic-0" target="_blank" rel="nofollow"><strong>The Crucible</strong></a>, <a href="https://www.amazon.co.uk/Object-My-Affection-Soundtrack/dp/B004JQZVXM/?tag=classicalm05c-21&ascsubtag=classicalmusic-0" target="_blank" rel="nofollow"><strong>The Object of My Affection</strong></a>, <a href="https://www.amazon.co.uk/Center-Stage-Original-Soundtrack/dp/B00004U56M/?tag=classicalm05c-21&ascsubtag=classicalmusic-0" target="_blank" rel="nofollow"><strong>Center Stage</strong></a>, <a href="https://www.amazon.co.uk/History-Boys-Original-Soundtrack/dp/B000IB0JUW/?tag=classicalm05c-21&ascsubtag=classicalmusic-0" target="_blank" rel="nofollow"><strong>The History Boys</strong></a> </em>and <em><a href="https://www.amazon.co.uk/Lady-Original-Motion-Picture-Soundtrack/dp/B013QJ45YI/?tag=classicalm05c-21&ascsubtag=classicalmusic-0" target="_blank" rel="nofollow"><strong>The Lady in the Van</strong></a>. </em></p> <iframe title="The Lady in the Van Movie CLIP - I'm Minding My Own Business (2015) - Maggie Smith Drama Movie HD" width="200" height="113" src="https://www.youtube.com/embed/-G0uJ5rupZs?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p>His most prolific collaboration is with British filmmaker Ken Loach, for whom he has scored 17 films to date. Loach’s films are known for their gritty social commentary about British life. Most recently, Fenton has scored Loach’s films <em>Sorry We Missed You </em>and <em>I, Daniel Blake.</em></p> <iframe title="SORRY WE MISSED YOU - Official Trailer [HD]" width="200" height="113" src="https://www.youtube.com/embed/ysjwg-MnZao?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p>He has also scored films for Nora Ephron including <a href="https://www.amazon.co.uk/Youve-Got-Mail/dp/B00000F1UP/?tag=classicalm05c-21&ascsubtag=classicalmusic-0" target="_blank" rel="nofollow"><strong><em>You’ve Got Mail </em></strong></a>and<em><a href="https://www.amazon.co.uk/Bewitched-Music-Motion-Picture-Soundtrack/dp/B01JT6U43I/?tag=classicalm05c-21&ascsubtag=classicalmusic-0" target="_blank" rel="nofollow"><strong> Bewitched</strong></a>.</em></p> <ul><li><a href="https://www.amazon.co.uk/Youve-Got-Mail/dp/B00000F1UP/?tag=classicalm05c-21&ascsubtag=classicalmusic-0" target="_blank" rel="nofollow"><strong>Buy score for <em>You’ve Got Mail </em>on Amazon</strong></a></li> <li><a href="https://www.amazon.co.uk/Bewitched-Music-Motion-Picture-Soundtrack/dp/B01JT6U43I/?tag=classicalm05c-21&ascsubtag=classicalmusic-0" target="_blank" rel="nofollow"><strong>Buy score for <em>Bewitched </em>on Amazon</strong></a></li> </ul> <iframe title="You've Got Mail (4/5) Movie CLIP - What If (1998) HD" width="200" height="113" src="https://www.youtube.com/embed/EVlaur-kEds?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p>Fenton’s music will also be familiar to anyone who has watched British news, because he composed the<a href="https://www.classical-music.com/features/articles/what-music-used-tv-news-programmes/"><strong> theme music to dozens of BBC news programmes</strong></a> in the 1980s and 90s including the <em>Nine O’Clock News, Newsnight, BBC World News </em>and BBC Radio 4’s<em> PM </em>programme. We talked a little more about the <a href="https://www.classical-music.com/features/articles/what-music-used-tv-news-programmes/"><strong>music and theme tunes behind the UK’s news programmes here</strong></a>.</p> <iframe title="How to write a TV theme tune - BBC Newsnight" width="200" height="113" src="https://www.youtube.com/embed/j0fMW8bqN0Q?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <p><em>George Fenton spoke here about how he writes a TV theme tune. </em></p> <p>Most recently, Fenton has written <a href="https://www.classical-music.com/features/articles/the-duke-with-jim-broadbent-and-helen-mirren-who-wrote-the-music-and-can-you-buy-the-soundtrack"><strong>scores to Roger Michell’s </strong></a><em><a href="https://www.classical-music.com/features/articles/the-duke-with-jim-broadbent-and-helen-mirren-who-wrote-the-music-and-can-you-buy-the-soundtrack"><strong>The Duke</strong></a></em>, which tells the story of taxi driver Kempton Bunton, who stole Goya’s portrait of the Duke of Wellington from the National Gallery. He has also written for several Andy Teenant films including <em>Wild Oats, <a href="https://www.amazon.co.uk/Hitch-Us-Original-Soundtrack/dp/B00076OML0/?tag=classicalm05c-21&ascsubtag=classicalmusic-0" target="_blank" rel="nofollow"><strong>Hitch</strong></a></em>, <a href="https://www.amazon.co.uk/Fools-Gold-Original-Soundtrack-Audio/dp/B00G2I92R6/?tag=classicalm05c-21&ascsubtag=classicalmusic-0" target="_blank" rel="nofollow"><strong><em>Fool’s Gold</em></strong></a>, <em>The Bounty Hunter</em> and <a href="https://www.amazon.co.uk/Sweet-Home-Alabama-Various/dp/B00006JCFX/?tag=classicalm05c-21&ascsubtag=classicalmusic-0" target="_blank" rel="nofollow"><strong><em>Sweet Home Alabama</em></strong></a>.</p> <p><em><strong>Top image credit: Getty Images</strong></em></p></body>
Country Music Blogs
20 June 2021Country Music Blogs
Two consecutive CMA Single of the Year winners from the nineties are among this set of ten.
Zac Brown Band, “Toes”
#1 | 2009
ZK: I generally enjoy their beach-inspired material – mostly because they offer more than just pure escapism, like here – but that they include at least one song like it on every album of theirs is telling of how much they’ve tried to recapture the magic of the original. I wouldn’t have it anywhere near here, though. Too High
KJC: Their best beach-flavored song, and a highlight of this country music subgenre overall. But it’s still Too High
JK: I like “Toes” better on principle than literally any one of Kenny Chesney’s hundred thousand Buffett-country hits because Zac Brown can actually sing on key, but I wouldn’t have ranked this higher than #900. Too High
Johnny Horton, “North to Alaska”
#1 | 1960
KJC: Ah, Johnny Horton. My father spun his Greatest Hits in the car more times than I can count. As great as “The Battle of New Orleans,” “Honky Tonk Man,” “Sink the Bismarck,” and “When it’s Springtime in Alaska” are, this is his very best single, and it’s ranked About Right
JK: As songs of this type go, it’s no “El Paso,” but what else is? The narrative is structured so well and Horton is such a terrific singer that I don’t even mind that it is perhaps so specific in its details, bound to a just awful John Wayne movie, that it lacks a real point of entry. About Right
ZK: The short-lived saga song trend is one of my favorites in country music history, mostly because the genre that prided itself on storytelling got super creative with its topics. Case in point. About Right
Jo Dee Messina, “Heads Carolina, Tails California”
#2 | 1996
JK: Messina never bettered her opening salvo. The devil-may-care narrative is perfectly matched to the optimism of what would become central to her artistic persona, and the song itself allows her to deliver an exuberant performance that doesn’t exceed her technical limitations. There are other hits of this era wildly misranked in comparison– “Strawberry Wine” waves from way, way too far back– and, as great a single as this is, it’s still Too High.
ZK: Going to have to side with Jonathan here, even though I do agree with Kevin that she’s had other great ones. There’s a natural urgency to this escapism that worked for Messina’s delivery. But, you know, we’re in the 100s, y’all, so … Too High
KJC: I love this record, too, but I will disagree with it being her best effort. Her pair of Phil Vassar-penned hits (“Bye Bye” and “I’m Alright”) were a perfect match for her particular cadence; she has to stretch out the melody a bit too much in the verses here, and it doesn’t sound as natural as those other two hits. Still a winner, though! Too High
Kenny Rogers, “Lucille”
#1 | 1977
ZK: Inconsistent as his overall discography is, Kenny Rogers at his best is arguably country music at its best. I love, love, love this and I still would rank it just behind “Ruby … ” and The Gambler.” But for a good representation of his country side, this is a placement that feels Too Low.
KJC: I’d have this as his highest-ranked record, with no shade intended to the other big hits that outrank it. Too Low
JK: “You picked a fine time to leave me, Lucille,” is one of the densest, most emotionally fraught lines in the genre’s history, delivered perfectly by Rogers, and what in the absolute fuck with this ranking. Shameful. It’s a top 20 record. Too Low
Chris Cagle, “What Kinda Gone”
#3 | 2007
KJC: “Laredo” at #919 was just fine as an acknowledgment of Cagle’s career. In my version of this list, there would be a ton of B- and C-list country stars with one song only, and in the bottom 200. This entry is gratuitous and unnecessary. So Wrong (Doesn’t Belong)
JK: Can we just start responding to things with images and GIFs? I have a whole bunch of Effing Birds memes just ready to capture my feelings here. So Wrong (Doesn’t Belong)
ZK: I mean, it was a career comeback record, sure, but did we really need more than one Chris Cagle single here? And this high?!? So Wrong (Doesn’t Belong)
John Michael Montgomery, “I Swear”
#1 | 1993
JK: I mean, it has to be on here on commercial impact, but there’s just absolutely no way JMM should be anywhere in the top 200 of a list like this. Too High
ZK: “I swear” I say the same thing about Montgomery every time he pop ups, so as far as overblown, sappy wedding songs go … yeah, fine. Whatever. I don’t want to see any others after this, though. Too High
KJC: This is the best of his romantic ballads, and its quality and historical impact make this ranking About Right.
Loretta Lynn, “Don’t Come Home a Drinkin’ (With Lovin’ On Your Mind)”
#1 | 1966
ZK: It’s right up there with “The Pill” as one of Lynn’s most important records, which means it’s far Too Low in the context of this list. What else is new, am I right?
KJC: I agree with Jonathan that this should be higher; I’d swap it with the Twitty duet at #87 because the Twitty duet at #87 somehow isn’t “After the Fire is Gone.” Too Low
JK: Impossible to overstate how radical a statement this was for a woman in the country music space– in any space– at the time. Or how radical a statement like this would be on country radio in 2021, given the way the genre still holds women in contempt. It’s one of my favorite of Loretta’s vocal performances, too. Far Too Low
Alan Jackson, “Chattahoochee”
#1 | 1993
KJC: Remember when this was Alan Jackson’s signature hit? Over time, other songs have stood the test of time better. But this was a Single and Song of the Year winner that had a massive impact and firmly established the playful persona that would be present in so many future hits. About Right
JK: Look, it’s catchy AF, and what I love best about it is Jackson’s command of the natural meter of the language– the rhythm of the line, “So I settled for a burger and a grape snowcone / I dropped her off early, but I didn’t go home,” is just perfect. But there’s no way I’d have it ranked this highly overall or even in the context of Jackson’s hits. Too High
ZK: It’s not Jackson’s fault, but it feels wrong to see a summer song ahead of the last selection. But … this is catchy, surprisingly more mature and nuanced than it’s ever gotten credit for, and benefits from Jackson’s affable charm. Dang it, I’m doing it. About Right
Willie Nelson, “If You’ve Got the Money I’ve Got the Time”
#1 | 1976
JK: I genuinely don’t remember if we’ve already covered the Lefty Frizzell version of this classic song. If so, WTF at Willie’s good but clearly lesser rendition being ranked higher. If not, we’d better see it eventually. Too High
ZK: If you, Sirius, have got the wack-ass methodology for the songs on this list, I’ve got the rankings. Too High
KJC: We saw Lefty already at #436. Swap them and call it a day. Too High
Thompson Square, “Are You Gonna Kiss Me or Not”
#1 | 2010
ZK: Kevin already made a good point about starting off his own list with C and B-list acts, so considering that literally no one remembers Thompson Square a decade later, slot it in the 900s and call it a day. Too High
KJC: Again, if I made this list, would I include it or not? I would. But there is no way on God’s green earth that it would be anywhere near #161. Too High
JK: A massive hit, sure, but an impactful or important one? Absolutely not. Slot this one in the first 100, but ranking it ahead of “Maybe It Was Memphis” is just heresy. Far Too High
Previous: #180-#171 | Next: #160-#151
Written by Sam Cooke
#1 (2 weeks)
August 4 – August 11, 1990
Radio & Records
#1 (2 weeks)
July 20 – July 27, 1990
Dan Seals charts his final No. 1 – and final top 40 – country hit.
The Road to No. 1
After a remarkable run of hits in the eighties, Dan Seals topped the charts earlier in 1990 with “Love On Arrival,” the lead single from his 1990 studio album, On Arrival. The label followed it with a cover of a classic Sam Cooke song.
The No. 1
It shouldn’t be a surprise, given the relentless charm of “Bop” and the seventies pop success Seals enjoyed as “England Dan,” that he knocks this cover out of the park.
“Good Times” is a thoroughly enjoyable listen, updating the soul classic with just enough Nashville trimmings for it to work as a country song. Seals is having a good time of his own singing it, and that radiates throughout the record.
It doesn’t reinvent the wheel, and it may seem almost slight in comparison to 1990 No. 1 hits like “Here in the Real World,” “The Dance,” and “When I Call Your Name.” But not every single needs to be “Here in the Real World,” “The Dance,” or “When I Call Your Name.” We need some moments of levity, too.
The Road From No. 1
Two more singles followed from On Arrival. Both “Bordertown” and “Water Under the Bridge” fell short of the top 40. Another studio album followed in 1991, but like last two singles of its predecessor, all four singles from Walking the Wire fell short of the top 40, with the final single not charting at all.
Seals released one final album for Warner Bros. in 1994, then moved to the independent label world, releasing two well-received acoustic albums under the In a Quiet Room banner. A final studio album was released in 2002, and Seals spent much of that decade touring with his brother Jim, who’d been part of the successful pop duo Seals & Crofts. A struggle with cancer led to his untimely passing in 2009 at age 61.
“Good Times” gets a B.
Previous: Randy Travis, “He Walked On Water” | Next: Vince Gill, “When I Call Your Name”
“He Walked On Water”
Written by Allen Shamblin
Radio & Records
#1 (1 week)
July 13, 1990
Randy Travis earns his second No. 1 single of the nineties with an ode to a late great-grandfather.
The Road to No. 1
As noted above, this single was preceded by another No. 1 hit, “Hard Rock Bottom of Your Heart,” which served as the second single from his 1989 studio album, No Holdin’ Back.
The No. 1
Country music can boast of some fantastic “ode to grandpa” songs. “Grandpa (Tell Me ‘Bout the Good Old Days)” by the Judds remains the gold standard. Kenny Chesney’s “Grandpa Told Me So” is criminally underrated. “He Walked On Water” is an earlier versoin of the latter approach to celebrating a family patriarch.
What makes “He Walked On Water” work so well is that it captures how a young child idolizes – and idealizes – an older family member. Despite being able to see the withering effects of age, they seem at once all-knowing and immortal. Never mind the mouth full of missing teeth. Their stories of their younger heroics still ring true.
But for me, the clincher is this verse right here:
Then he tied a cord to the end of a mop,
And said, “son, here’s a pony, keep her at a trot”
And I’d ride in circles while he laughed a lot
Then I’d flop down beside him
One of the reasons there’s often such a strong bond between a small child and a grandparent or great grandparent: they both have the free time to amuse each other. For me, it was my mom’s dad teaching me checkers and taking me up to the roof of their Bay Ridge apartment building to look at the Verrazzano Bridge. He’d tell me stories about the bridge being built while feeding me Andes chocolate mints. Then we’d go back down and he’d play me ABBA records, proudly talking about how they were from Sweden, too. Just like him.
Kudos to the songwriter, Allen Shamblin, for capturing something universal while writing about something so specific to one child’s memory. Our backgrounds couldn’t be more different, but our truths are the same.
The Road From No. 1
No Holdin’ Back became the first Warner Bros. album for Travis to only produce three singles, as the label moved on to a duets project called Heroes & Friends. We will see something from that set in 1991. Its first single, a duet with George Jones on “A Few Ole Country Boys,” went top ten.
“He Walked On Water” gets an A.
Thomas Rhett has released the ultimate “dad” song just days before Father’s Day.
“Things Dads Do” is written by Thomas, his dad Rhett Akins, along with Chase McGill and Matt Dragstrem.
Talking about the new song, Thomas says “We all have those moments as adults when we recognize ourselves doing things that our parents did our entire lives and finally start to understand. This one is for the dads and is out now. Happy early Father’s Day y’all.”
Listen to “Things Dads Do” right here…
Photo Courtesy of Thomas Rhett, Rhett Akins, and The Grand Ole Opry
Elvie Shane‘s current single “My Boy” is climbing the country airplay chart with its autobiographical story of the relationship he has with his son.
Elvie shares the story of how his wife, and son came into his life at just the right time, “I met my wife in Bowling Green Kentucky we had both going to western Kentucky University and we just couldn’t figure out what we wanted to be when we grew up. So I met her she was working at a bar that I would go and play pool at all the time . I was playing guitar on the weekend doing some little bar gigs and stuff making a little bit of money and playing pool all day during the week with my friends. When I met her, found out she had a little boy, I was ready for a big shift in my life and they became two big reasons to make that shift.”
Elvie says that when it comes to the song “My Boy” – it was Garth Brooks who helped him and his cowrites zero in on the tone and message of the track, “There’s an old Garth Brooks song that says ‘blood is thicker than water, but love is thicker than blood’. That’s the message we were trying to get out with this song, ‘My Boy.'”
Elvie Shane made his second appearance on the Grand Ole Opry this weekend – but it was in late April during his Opry debut that he got to play his song “My Boy” and share the story with the crowd…
Photo Courtesy of BBR Music Group
Did you know that “Would Have Loved Her” from Chris Bandi was inspired by his grandfather?
Chris is lucky to have had his grandfather in his life, but this Father’s Day weekend, he’s also very happy to have his father still around.
Chris is very thank for having the dad he does, “I know that I will never be able to say thank enough to either one of my parents for everything they have done for me. My dad was the kind of dad that never missed a game or practice! He was always pushing me to be the best that I could be in whatever I set my mind to. I think Father’s Day is just a great way show appreciation to the role models who helped us get to where we are today!”
With his schedule usually having him on the road, Chris appreciates anytime – but especially Father’s Days that he gets to spend with his own dad.
Like most fathers, all Chris Bandi’s dad ever wants as a present is just time with his son…but Chris recalls a year when he got just the right Father’s Day gift, “My dad was always the kind of guy that when you asked him what he wanted as a present he would always say ‘for you to be happy’ so that made getting presents pretty difficult but one year I got him a signed Ole Miss jersey by his favorite football player and had it framed.”
For every winner — Chris says there’s also a present that misses the mark…
“The worst present is probably the nest doorbell camera I got him that’s still sitting in the box!”
We hope Chris and his dad are having a great Father’s Day weekend this year.
Check out this special stripped down version of “Would Have Loved Her” from Chris Bandi…
Photo Credit: Midtown Motion
Additional Photos Courtesy of Chris Bandi
After all of his years of performing on stage, Jay DeMarcus had a first this past week…he got to perform with his son.
Jay shared “Well, this is one for the books: got to perform with my boy Dylan last night for the VERY FIRST time-and I may be biased, but I’d say he KILLED it!!!”
The moment was captured by Allison DeMarcus – Jay’s wife, and Dylan’s mom – and we think he did great…
Photo Courtesy of Jay DeMarcus
Being a father is less about DNA and more about love.
Chris Young knows that better than anyone else.
Chris shares, “My dad, I think I tell the same story every time, everybody is like, ‘Oh! Y’all look so much alike!’ And he’s my stepdad, but that’s who I refer to as my dad.”
Chris adds, “He’s just an incredible man, I’m so lucky that that guy is my dad. Basically, from the time he came into my mom’s life, my life, my sister’s life… He’s always treated me like a son. It’s pretty incredible to have somebody that you look up to and that you’ve got a lot of respect for. He and I kinda have this relationship where sometimes we’ll kinda rib each other back and forth a little bit. I don’t know that there’s a whole lot of people that I respect more than I do him.”
Although Chris does admit there’s one thing that his dad did that will always leave as a challenge for Chris every February. He jokes that no matter what he does on Valentine’s Day for his someone special, he’ll always feel like he’s in his dad’s shadow…Chris explains, “My favorite story about Valentine’s Day is everybody’s like, ‘So, what are you gonna do special?’ or, you know, kind of, ‘What do you have in your back pocket on Valentine’s Day?? And I can never live up to my stepdad, because he asked my mom to marry him on Valentine’s Day, and then called us down from upstairs and asked me and my sister permission. So, pretty much anything I do, he made me look like a punk for the rest of my life (laughs) on Valentine’s Day”
But we think Chris is OK with that.
Chris’ dad even appeared in one of his music videos – check out the video for Chris Young’s number-one hit “Voices” and you’ll see his dad as one of the guys under the hood of the car at the start of the video.
Photo Credit: Jeff Johnson
For most Father’s Day is a great time to connect with your dad and do something special, or simply just spend time together…but for others the day is left to just memories.
Matt Stell‘s father is no longer with us, but he shares one of his favorite memories of a trip he took with his dad.
Matt recalls, “So, it would have been sometime around 2016 or so. I got my dad for his birthday tickets to go out to the Barrett Jackson auction out in Scottsdale, Arizona. We’ve always watched it on TV and we’ve always been really into cars and stuff like that. I got to go out there with him and a couple of his buddies and man that’s a memory that always stuck with me and he since passed, but that’s something that every time I think about it, I smile because we had a great time. And you know that that love of cars and things like that is is still with me today.”
Photo Credit: Matthew Berinato
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20 June 2021
Rapper/Producer/Lawyer/Philanthropist Ducati James (real name Eric Poston) has been mixing/mastering hip hop tracks for 15 years and has been a rapper for about 5 years. He runs the Chalmers Poston lawyer in South Carolina and has been on local TV channels across the state of South Carolina for the most publicly-known cases he has taken.
Many cases have been referred to Eric Poston’s firm because lawyers are notoriously hesitant to speak about their cases on TV or through social media. Eric has provided consultations to lawyers of all ages/levels of experience who have taken on publicly-known cases and need his advice on handling the news/media.
Eric is also the founder of The Poston Foundation, a 501(c)(3) not-for-profit organization d/b/a Carolina Cares that has provided direct, targeted assistance to the homeless community in South Carolina.
Ducati James’ track “Innocent (Sidney Moorer)” is featured on WorldstarHipHop’s YouTube page and was inspired by his client, Sidney Moorer, who was wrongly convicted of kidnapping. This case has been on Dateline NBC several times and an updated Dateline special will air after Eric files the lawsuit, with whom Eric has signed an exclusive agreement to provide his first post-lawsuit filing interview.
The video to the Innocent video: https://www.youtube.com/watch?v=9I0h8wuYr2k
20 June 2021
Lord Kuda is an emerging independent Hip-hop artist based in New York City. Born in the Dominican Republic and raised in Harlem, Kuda proudly brings Latin vibes to the world of Hip-hop. He started writing songs when he was still in middle school and made his professional debut in 2018. Since then has released a steady string of singles.
As a rapper, engineer and producer in the Hip-hop collective “Young Misfits,” Lord Kuda has impacted with Hip-hop fans around the world. His tracks have racked up tens of thousands of spins on multiple platforms. His most successful single to date is his newest collaboration with fellow Young Misfit, Hoodicide.
“Excommunicado” is the latest single from Lord Kuda, released worldwide to all major streaming services on December 20, 2020. The track rides on a hard Trap beat paired with a sample of percussive Asian music and deep, subterranean bass. Over that infectious groove, Lord Kuda and Hoodicide deliver an ensemble rap that is one part drill and one part fun freestyle Hip-hop posturing. Each emcee kills it. The song ends with a fun skit to add a little levity.
Check out the “Excommunicado” video below. You can also hear the song on the Deep Indie Beat playlist. Follow the links below the video to connect with Lord Kuda. Get on his socials and get in the loop on all of the great music on the way from this multi-talented artist.
My goal is to bring the best music I can… mixed with my Hispanic heritage.Lord Kuda
19 June 2021
Craig Adam Johnston is a singer/songwriter making is solo recording debut in 2021. In the short time since the release of his album “After it All,” Criag’s music has found its way into some high profile placements. His songs have been featured in television shows and commercials on both sides of the Atlantic and he has performed live on BBC radio and at gigs in support of artists like The Hoosiers & Beth Rowley.
These successes have not come overnight, however. After a nomadic childhood moving between the contrasting cultures of Glasgow and Bahrain, the Scottish musician moved to London to pursue a career in music. There he hooked up with famed Jamiroquai producer Mike Nielsen. The two worked together to create “After it All,” a nine song collection that explores the ins and outs of interpersonal relationships.
Musically, “After it All” is a beautifully recorded and performed collection of stylistically diverse Indie-Pop. The record is a rich mix of organic acoustic instrumentation and occasional electronic flourishes. From the warm, acoustic arrangements of tracks like “Fool” and “Made of Stone” to the quirky Talking Heads Alt-Pop vibe of “Faking Machine,” Johnston and Nielsen easily navigate the many alternate byways of modern popular music.
The record dips into a cool bit of R&B Funk on the song “Stop,” and a U2-meets-Coldplay Alternative Rock feel on “Wherever I Fall.” “Two Words’ ‘ is a real highpoint with a slick acoustic Jazz arrangement and some really nice playing. Throughout the record Craig Adam Johnston wields complex, multi-part vocal harmonies as an effective songwriting and arranging tool.
Lyrically Craig Adam Johnston navigates the many highs and lows of romantic love, family and friendship. From Pop ballad torch songs like “Come Back” to the devotion of the self-effacing “Fool,” the singer opens his heart to share raw, authentic emotion. His narratives of joy, confusion and pain are made all the more real with the pairing of real, organic instrumentation. Craig’s perfectly radio-ready Pop tenor invites the listener to draw parallels in their own lives to his songs.
Check out the video for the song “Stop” below. You can also hear the track “Two Words” on the Deep Indie Dive playlist. Follow the links below the video to connect with Craig Adam Johnston. Get on his socials and get in the loop on all of the exciting music coming from this talented artist.
19 June 2021
Kirrah Amosa is an award winning Australia/Samoan singer, actor, dancer and philanthropist. She launched her career as an entertainment professional at just 7 years old and has been working ever since. She has worked extensively in Australian theater in high profile productions like ‘Hamilton,’ ‘The Bodyguard,’ ‘Rent’ and ‘Legally Blonde.’ She has made numerous appearances on Australian television and is a proud ambassador of The Cure Brain Cancer Foundation of Australia.
As an independent musician Kirrah Amosa has performed in clubs and at festivals all around her home country and in the US. She has performed in support of major artists like; Rita Ora, Jess Glynne, James Arthur, and Conrad Sewell. In 2018 she began releasing her own original music. Throughout the subsequent three years the singer has dropped a steady string of releases including her debut EP and a series of singles. Her sound finds the talented beauty lending her soulful voice to tropical rhythms and Pop hooks.
My mission is to drive my passion for music, specifically Pop / R&B and infuse it with a little bit of my homegrown culture of Australian and Samoan to bring the world vibrant, soulful, tropical, and fresh sounds.Kirrah Amosa
“(Don’t Want To) Start Again” is the latest single from Kirrah Amosa, released worldwide to all major streaming services on June 11, 2021. After a vocal and percussion intro, the low hum of bass tones is met by a downtempo island groove. Deep ambient synths and a subtle use of percussion create a mellow, dark and sultry mood. The song’s understated arrangement leaves a wide open space for Kirrah’s hypnotizing harmonies and excellent lead vocal as she pleads with her lover to resurrect their troubled relationship. The song is paired with an equally captivating video featuring Kirrah Amosa and two dancers in perfectly synchronized choreography.
Check out the “(Don’t Want To) Start Again” video below. You can also hear the song on the Deep Indie Dive playlist. Follow the links below the video to connect with Kirrah Amosa and get in the loop on all of the new music to come from this exciting young artist.
19 June 2021
Never heard of THE BASTERDS? Fair enough, I hadn’t either. But trust me, hear their EP “Bad Motherfuckers” once, and it’ll never stray far from your media player. The New Zealand based duo is made up of rapper and producer Jordan Hopa, and his brother Joe Delays. Their setup is a simple one – battle-hardened sounding raps and slamming beats, with lyrics that pays homage to film, television, music and all artistic geniuses. It celebrates all the legends that have inspired them. The whole thing is accessible. It’s not commercial at heart, but the duo is slick enough to persuade even occasional hip-hoppers to further investigate their projects.
All these things said, THE BASTERDS are at the peak of their lyrical abilities on this record with some of the finest lyrical prose seen throughout the entire new wave hip-hop scene in quite some time; with the flows remaining consistent throughout the record’s running time, it could be argued that the record is far more focused on the lyricism than on the production, as the duo’s lines are filled with strong imagery, wordplay, and wit. But that’s not the case at all.
The banging beats are perfectly curated and not too overstuffed with sounds and effects, concentrating more on the rhythmic drive needed to propel the rapping over the top. Having said that, there are many sonic embellishments going, they just don’t get in the way of the rhyming, which is the real essence of hip-hop…well at least until mumble rap came along. The “Bad Motherfuckers” EP is a rapper’s rap record.
The EP kicks off with “Da Blaze”, which is built on a throbbing beat and an aggressive throaty delivery. The overall aura of the soundscape is very reminiscent of a blend between horrorcore rapping and an industrial beat. The space-laced soundboard is also peppered with ululations and adlibs, which add more echoing dynamism to the track. It’s a captivating and convivial archetype for THE BASTERDS’ tandem work.
The title track, “Bad Motherfuckers” hits even harder, while the thesaurus flows fill every ensnaring moment on top of the rumbling 808’s. It finds Jordan Hopa and Joe Delays firing on all cylinders, as they open themselves up to the scrutiny of their independent peers and succeed with compelling verve. As a dynamic duo THE BASTERDS excel at making each other better with innovative beats and rhymes that vary from rapid-fire to reserved, and rapacious.
The final track, “Mayo”, is the perfect convergence of bumping styles, attacking the listener’s jugular with a powerful lyrical thrust, cynical observations, and an out-and-out assault on modern hip-hop’s standards. The flow here is just amazing, it’s fast on the occasion, but you can easily understand what is being said. The rhyming expertise will have your head spinning in exhilaration.
Overall the “Bad Motherfuckers” EP is thought provoking, interesting, intelligent, gritty, humorous, and just so…listenable. In a music genre that is completely saturated and focused on hyped-up, oddball characters with no talent or ingenuity, THE BASTERDS may never get the attention they deserve. But again, they have enough intelligence and aptitude, to probably not even care.
19 June 2021
19 June 2021
Two friends from Sweden, one a house music producer, John Dahlbäck, and the other one a 3D animator, Erik Ande, decided to work together on a music/motion art project as a way to abstract themselves from their hectic lives that involve, according to them, too many children and dogs around. This project is heartaake, and as you can probably guess already, its music style is basically #lofichillout. John and Eric say that their biggest influence is the silence that surrounds them when they make music.
However, unevershowmeløv –I got no clue what it means but the song is about taking it easy– is not your typical chill out tune. It has personality. Sounds and a melody that make it easily identifiable, which is not something I can say of many chill-out tracks. Also, at just 01:46 minutes, it does not overstay its welcome. As implied by the animation below, unevershowmeløv is a great track to listen to while driving. The artists behind heartaake say that this music is their chill zone and I think they manage to transport the listener to that place as well. What else could we ask for? Welcome to the chill zone!
Featured on the following mixtapes:
19 June 2021
Thre3dee is Hip-hop/Pop artist from the United Kingdom. The Birmingham rapper, songwriter and poet has been involved in music for years. 2021 marks his return to the scene. With 20 years of lyrics and poetry under his belt he recently started collaborating with producers to find beats for his songs. The Thre3dee project was born.
“Happy Face” is the debut single from Thre3dee, released February 9, 2021. The tune is a Dark Pop examination of the many societal woes the world faces in the 2020’s. The song opens on the chorus. A minor key piano plays as a female vocalist sings of putting on a “happy face” in public, masking the pain she is dealing with internally. Delivering a moving and authentic view of the life of those suffering through mental health issues like depression and anxiety she sings, “I smile through the pain. Don’t know why I can’t just make it go away.”
In the verse, producer Freek Van Workum drops the beat. A slow and low Trap beat continues the song’s melancholy mood. Thre3dee enters the mix with a global view of the issues causing people all over the world to experience the kind of depression expressed by the song’s female protagonist. Over the downtempo groove he inventories the ills of the world, from the pandemic to racism. Ultimately the rapper offers us advice, that we need to come together and, “Be supportive in the fall, not just the rise.”
Check out the “Happy Face” video below. You can also hear the song on the Deep Indie Beat playlist. Follow the links below the video to connect with Thre3dee. Get on his socials and get in the loop on all of the many creative projects from this multifaceted artist.
19 June 2021
“Trust” is the latest single from singer-songwriter Amarrah. It is the follow-up to her excellent release “No Surrender”, which received critical acclaim from both critics and fans. One of the major strengths with all of her material, is Amarrah’s ability to tell stories and paint evocative imagery with her songwriting – be this via the music or the words. This track is just one of many where her writing manages to be nothing short of mesmerizing. In “Trust”, Amarrah has a bone to pick with the complex mechanics of love, and the amount of trust it requires to resist, persist and thrive. “Will I ever trust? Trust love. Will I ever love? I don’t know. In a world like this, if a woman like me loves a man like you. Will I ever trust? Trust us, Trust us, trust love,” she asks in the song.
Amarrah is a rare kind of musician who consistently delivers thoughtful, personal music. Her latest single, “Trust”, shines as another example of her preternatural talent and style. Written in response to the emotional strain of doubting the powers of real love and trust, and how others interpret these values, the song feels cathartic and therapeutic. The mythic quality of Amarrah’s voice transports the listener, fully enveloping you in her world.
There is something hypnotic and enthralling about the way Amarrah is able to convey the nuances of loneliness, vulnerability and doubt, through her songwriting. And when she turns to poetic expressions, she is simply majestic in the literary articulation of her emotions: “Sea of faces in black masks. Shifting eyes and hearts of glass. I can’t take much more of this. Idle talk and fake bliss.”
The music too, is impressive. The effect is feminine and intimate, ambient and other-worldly, but somehow still grounded, and able to build into epically vivacious crescendos. A knack for storytelling and a predisposition for languid atmospheres define her music, but somehow this formula becomes dynamic in Amarrah’s hands. She hovers between rock, folk, ambient, and cinematic, dancing just outside of any genre.
After the introductory piano tones, the charging guitars and lush strings are a jolt of energy, supported by the forceful percussion. As the song unfolds it offers numerous twists and turns. These reveals ultimately serve to take us further and further into the themes in question: “Will I allow myself to feel? Will I run when it gets real? Will you be strong enough to heal? And cut through the wall of steel?”
The music arrangement maintains a sense of atmosphere and emotion, thanks to Amarrah’s harmonic intuition, nuanced timbre changes and voice layering. None of the ornamental instruments distract from Amarrah’s songwriting chops. The distant strings, jangling guitars, and brawny drums, actually support the piano’s melodic structure. While its atmosphere is potent and its instrumentation is powerful, “Trust” always circles back around to Amarrah and her voice.
“Trust” creates another incandescent moment, another breathtaking, true-to-form chapter, in Amarrah’s ongoing musical pathway. Expect to see her stunning new video, which is filled with all the elements so precious to Amarrah – fantasy, animals, and nature. There are wolves and owls – each representing different aspects of the song’s lyrical theme – appropriate costuming, and spectacular scenery, for a full immersion experience within rich textures and raw emotions.
19 June 2021
An enthralling rocker from Little Lungs, “Better In Blue” shows a no-frills, hooky sound from the Baltimore-based quartet. Catching guitars pulse with infectiousness, capped by a steady punctuating twang. The emotive vocals open with the line “‘do you ever think about the past?’ you ask,” — driving to a peppier turn past the one-minute mark, brightening with strong melodic pull. Added guitar emphasis, with a new sequence and heavier distortion, takes place past the two-minute turn, adding a heavier satisfaction to the sound as the track comes to a satiating close.
The band comprises songwriter Leena Rhodes, guitarist Ethan Salem, bassist Jordan Mercer, and drummer/producer Erik Schwarzenberg. Their new EP Better In Blue releases this summer.
Little Lungs provide the following about the track:
“‘Better In Blue’ is a song about growth. It challenges the idea of romanticizing sadness because of the belief that happiness lacks the same substance or sentiment. It is a song about moving past your cyclical bad habits and changing the pattern instead of repeating it. ‘Better In Blue’ combines rollicking bass, pulsating drums and airy, confident guitars that convey a sense of movement and vibrancy.”
“Better In Blue” and other memorable tracks from this month can also be streamed on the updating Obscure Sound’s ‘Best of June 2021’ Spotify playlist.
The track is also featured in the genre-based, best-of Spotify compilation Emerging Indie Rock.
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