#album release songwriter country music blues music music release new album

[steddieas-shegoes]

Country singer Steve Harrington, who has always leaned more into the pop country side of things (think Wanted by Hunter Hayes), but wants his third album to be more true to old school country roots.

His label agrees but only if he works with Eddie Munson, a rock star who had to leave the spotlight when he got kicked out of his band for, well, rockstar behavior gone too far.

Steve isn't amused, especially because he doesn't care for metal music or rock star shenanigans. He was "raised better" and doesn't think Eddie could sit down and write songs with actual emotion and feeling.

Cue long songwriting sessions where Eddie is trying his hardest to be on his best behavior because he knows this is his last shot at being taken seriously, and Steve being surprised every time Eddie proves that he's talented as a songwriter and musician, well outside the scope of just metal and rock.

They write a song that they're both so proud of, Steve asks if he'll record it with him just for fun. The released version would just be Steve.

Eddie agrees.

It's an incredible duet, something country music has needed forever, but Eddie doesn't want that version out there.

The label genuinely accidentally releases their version instead of the Steve only version. As soon as they realize, they remove it from official places, but it's too late.

Fans have already heard it and have gone crazy over it, begging them to let the radio play this version, begging for this version to be available for streaming. The Steve version is great, but it doesn't have the emotion that's laced in the tone of them singing together.

Eddie finally gives in when he sees how happy Steve is about the reaction to it.

But the label decides they want them to tour together, have Eddie work as his opening act, perform his acoustic songs that haven't been officially released anywhere. Eddie can't do it.

He can't go back into that lifestyle. He couldn't do it to his band, who made him promise that he'd come back to them when he got his shit straight. He can't do it to his fans, who stuck by him through some rough shit, but probably wouldn't support a fucking country music career. He definitely can't do it to Steve, who deserves to have someone with him who can be trusted not to go off the deep end.

So he runs. He hides. His uncle welcomes him home, congratulates him on finally embracing his country roots.

It doesn't take long for Steve to find him.

Because he'd been more honest with Steve than he'd ever been with anyone. He told him about his childhood, his Uncle Wayne, his struggle to make it. He told him about his worse struggle when he did make it, how he got in with the wrong people, the wrong things. Prioritized the lifestyle more than his own life.

Of course Steve knew where he'd run to.

Of course Steve came to remind him what his life could be if he allowed himself to find new priorities.

Steve's lips were pretty persuasive, but not nearly as persuasive as his promises to remind him what he could have if he kept his life his priority.

"But what if I let you down?"

"You won't."

"But-"

"No. You won't. You're gonna do amazing things for yourself. And I'm gonna be there to see it happen. That's all."

And he was.

They co-wrote Steve's entire album while Eddie worked on recording his own original songs. He liked that it was an old school rock and roll feel, some blues, some country, some hints of metal sneaking in on a couple songs.

He called his band to come help him with a song, hesitant to even ask, but they came. Of course they came.

He called his Uncle Wayne to play banjo on a song, worried that he wouldn't like the heavier electric guitar notes over it. Of course he loved being involved.

When their tour started, he let himself actually feel nervous.

But instead of running, he looked at the man who supported him through it, even when his own career was on the line.

Of course Steve was there.

[hooked-on-elvis]

"She Thinks I Still Care" (Single B-side, 1976/1977)

Recording date: February 2, 1976. Release dates: December 1976 (single) / June 19, 1977 (album, "Moody Blue")

RECORDING SESSION Sessions for RCA, February 2–8, 1976: The Jungle Room, Graceland, Memphis The next number, “She Thinks I Still Care,” a George Jones standard by Memphis songwriter Dickey Lee, offered more of the same. The musicians tried adding more rhythm and new vocal parts, but finally returned to the original’s slow country feel.

RCA’s red recording van docked behind Graceland, early 1977, for what's became known as the "Jungle Room recording sessions". Picture and excerpt taken from book "Elvis Presley: A Life in Music" by Ernst Jorgensen (1998)

PREVIOUS RECORDINGS George Jones (1962)

First-time released as an A-side single (flip side "Sometimes You Just Can't Win") on April 14, 1962.

Connie Francis — "He Thinks I Still Care" (1962) B-side single (flip side to "I Was Such a Fool (To Fall in Love with You)"

Francis released her cover as a single in September 1962, a few months after George Jones first released the song. The lyrics this time had been slightly changed to match the performer's gender (gender flip: male to female).

Anne Murray — "He Thinks I Still Care" (1973-1974) As released in her 1973 Danny's Song album, and again as a single in 1974.

Elvis was a great fan of female voices in music; as such, among other artists, he admired Anne Murray's work in country music, so one wonders whether he chose to record "She Thinks I Still Care" after hearing Murray's cover on her 1973 album or some other artist previous release, considering other than George Jones and Connie Francis, more big names in the record business such as Cher, Jerry Lee Lewis and Glen Campbell had also released their covers of this tune prior to Elvis' However, Anne Murray's cover was the latest release of the song recorded by a strong name in the music industry regarding the period in which Elvis would release his cover version (late 1976), therefore it's highly probable that Presley took knowledge of Anne's recording and then became interested in covering the song himself, even if he had listened to other previous released versions as well. This is all merely speculation from my part since I haven't read anything yet addressing the origin for Elvis' interest in this specific song but, if you'd ask me, I'd say that letting aside the difference in gender in the lyrics concerning Murray's recording and his own, Elvis' version ("She Thinks I Still Care") sounds much more like Anne's version than the original recording by George Jones', IMHO.

Anne Murray naturally followed Connie Francis' 1962 female version of the lyrics for "She Thinks I Still Care" in her recording.

ELVIS RELEASE 💿 "She Thinks I Still Care" by Elvis Presley was first released on the latter part of 1976 as B-side to the title-track of the then-upcoming album release, "Moody Blue" (1977).

Singles sleeve "Moody Blue"/"She Thinks I Still Care" (1976); LP cover: "Moody Blue" (1977)

"She Thinks I Still Care" — LYRICS Oh, just because I asked a friend about her Just because I spoke her name somewhere Just because I rang her number by mistake today You know she thinks I, I still care And just because I haunt the same old places (same old places) Where the memories of her linger everywhere Just because I'm not the happy guy I used to be Lord, you know, she thinks I still care Well, if she's happy thinking I still need her Yea, let that silly notion bring her cheer Oh how could she ever be so foolish Tell me where did she get, Lord such an idea Yeah, oh Lord Just because I asked a friend about her And you know, just because I spoke her name somewhere Just because, Lord I saw her and went to pieces Lord, you know, she thinks I, Lord, still care You know, she thinks I, I still care Lord, she thinks I still care Oh no, she thinks I still care

Lyricist: Dickey Lee/Steve Duffy

[madamlaydebug]

Erykah Badu Posing for her High School Senior Picture in 1989.

The Photo at the very bottom was also Taken in 1989.

Erica Abi Wright (born February 26, 1971), known professionally as Erykah Badu, is an American singer and songwriter. Influenced by R&B, soul, and hip hop, Badu rose to prominence in the late 1990s when her debut album Baduizm (1997), placed her at the forefront of the neo soul movement, earning her the nickname "Queen of Neo Soul" by music critics.

Erykah Badu was born in Dallas, Texas. Badu had her first taste of show business at the age of four, singing and dancing at the Dallas Theater Center and The Black Academy of Arts and Letters (TBAAL) under the guidance of her godmother, Gwen Hargrove, and uncle TBAAL founder Curtis King. By the age of 14, Badu was freestyling for a local radio station alongside such talent as Roy Hargrove. In her youth, she had decided to change the spelling of her first name from Erica to Erykah, as she believed her original name was a "slave name". The term "kah" signifies the inner self. She adopted the surname "Badu" because it is her favorite jazz scat sound; also, among the Akan people in Ghana, it is the term for the 10th-born child.

After graduating from Booker T. Washington High School for the Performing and Visual Arts, Badu went on to study theater at Grambling State University, a historically black university. She left the university in 1993 before graduating, to focus more fully on music. During this time, Badu took several minimum-wage jobs to support herself. She taught drama and dance to children at the South Dallas Cultural Center. Working and touring with her cousin, Robert "Free" Bradford, she recorded a 19-song demo, Country Cousins, which attracted the attention of Kedar Massenburg. He set Badu up to record a duet with D'Angelo, "Your Precious Love", and eventually signed her to a record deal with Universal Records.

Badu's career began after she opened a show for D'Angelo in 1994 in Fort Worth, leading to record label executive Kedar Massenburg signing her to Kedar Entertainment. Her first album, Baduizm, was released in February 1997. It spawned four singles: "On & On", "Appletree", "Next Lifetime" and "Otherside of the Game". The album was certified triple Platinum by the Recording Industry Association of America (RIAA). Her first live album, Live, was released in November 1997 and was certified double Platinum by the RIAA.

Her second studio album, Mama's Gun, was released in 2000. It spawned three singles: "Bag Lady", which became her first top 10 single on the Billboard Hot 100 peaking at #6, "Didn't Cha Know?" and "Cleva". The album was certified Platinum by the RIAA. Badu's third album, Worldwide Underground, was released in 2003. It generated three singles: "Love of My Life (An Ode to Hip-Hop)", "Danger" and "Back in the Day (Puff)" with 'Love' becoming her second song to reach the top 10 of the Billboard Hot 100, peaking at #9. The album was certified Gold by the RIAA. Badu's fourth album, New Amerykah Part One, was released in 2008. It spawned two singles: "Honey" and "Soldier". New Amerykah Part Two was released in 2010 and fared well both critically and commercially. It contained the album's lead single "Window Seat", which led to controversy.

Badu's voice has been compared to jazz singer Billie Holiday. Early in her career, Badu was recognizable for her eccentric style, which often included wearing very large and colorful headwraps. She was a core member of the Soulquarians.

As an actress, she has played a number of supporting roles in movies including Blues Brothers 2000, The Cider House Rules and House of D. She also has appeared in the documentaries Before the Music Dies and The Black Power Mixtape 1967-1975.

AWARDS & NOMINATIONS

▪In 1997, Badu received twenty nominations and won three, Favorite Female Solo Single for "On & On", Favorite Female Solo Album for Baduizm and Best R&B/Soul or Rap Song of the Year for "On & On" at the Soul Train Lady of Soul Awards.

▪In 1998, Badu received fourteen nominations and won eight, including Favorite R&B/Soul or Rap New Artist at the American Music Awards; Best Female R&B Vocal Performance for "On & On" and Best R&B Album for Baduizm at the Grammy Awards; Outstanding New Artist and Outstanding Female Artist at the NAACP Image Awards; Favorite Female Soul/R&B Single for "On & On", Favorite Female Soul/R&B Album for Baduizm and Favorite New R&B/Soul or Rap New Artist for "On & On" at the Soul Train Music Awards.

▪In 2000, Badu received two nominations and won one, Best Rap Performance by a Duo or Group at the Grammy Awards.

▪In 2003, Badu received twelve nominations and won two, including Video of the Year for "Love of My Life (An Ode to Hip-Hop)" at the BET Awards and Best Urban/Alternative Performance for "Love of My Life (An Ode to Hip-Hop)" at the Grammy Awards.

▪In 2008, Badu received eleven nominations and won two, including Best Director for "Honey" at the BET Awards and Best Direction in a Video for "Honey" at the MTV Video Music Awards. Overall, Badu has won 16 awards from 59 nominations.

▪In 2023, Rolling Stone ranked Badu at number 115 on its list of the 200 Greatest Singers of All Time.

[cherrylng]

Great Guitarists 100 - Eddie Van Halen, Ry Cooder, Steve Howe, Robbie Robertson, and Carlos Santana [CROSSBEAT (November 2009)]

Eddie Van Halen Eddie Van Halen is a revolutionary guitarist who fully incorporated tapping (commonly known as light hand technique), in which the strings on the fingerboard are hammered with the fingers of the right hand, into his playing and established a new style of playing called 'fast playing'. His appearance completely changed the way of lead guitar in hard rock/heavy metal. Of course, there were players before Eddie who used tapping as an accent, but none of them used it as often or as freely as he did. It is widely believed that this style was inspired by the playing of Allan Holdsworth (Soft Machine, Gong, etc.), whose playing Eddie was a keen copyist of as an amateur. His bold use of tremolo and wah, reminiscent of Jimi Hendrix, is a masterpiece of emotional expression. This tricky combination of playing was imitated by many guitarists. Often overlooked behind this pioneering image is his occasional longing for the blues, which sometimes permeates his playing. He was particularly taken with Eric Clapton during the Cream era, and even recorded a song called "Blues Breaker", dedicated to Clapton, on an EP released in 1983 under the name Brian May + Friends. However, Clapton is said to have laughed at the song when he heard it. -Masatoshi Arano

Representative albums "Van Halen" (1978, pictured), Van Halen "Diver Down" (1982) "1984" (1984)

Ry Cooder A guitarist who honed his skills in the Southern California folk world of the 1960s, learning a lot from pre-war blues, old-time, and other roots music and developing an eclectic style, Ry Cooder was a precocious virtuoso who was recognised for his skills and became a session player in his late teens. He is also a master of fingerpicking, but above all, he is synonymous with the slide guitar, a technique that has spread the appeal of the slide guitar to the rock generation with his masterful playing. Since releasing his debut album in 1970, he has been actively involved in music from around the world, from Tex-Mex and Hawaiian slack-key guitar to Cuban music with Buena Vista Social Club, which caused a huge boom, and has also worked as a film composer, working on many impressive scores including "Paris, Texas". You'll hear plenty of slide when he performs in Japan with his two-man band with Nick Lowe in November this year. -Tadashi Igarashi

Representative albums "Paradise and Lunch" (1974, photo) Ry Cooder "Show Time" (1977)

Steve Howe Howe first came to prominence on the rock scene as a member of Tomorrow, a psych band with Twink (later Pretty Things/Pink Fairies) and others, and his only album in 1968 dazzled with modal lead guitars that used a lot of effects such as backspinning and incorporated oriental scales. It was not until he joined Yes in 1970 that his playing reflected a wide range of influences from classical, jazz, Latin music and even country. Howe's versatility on electric sitar ('Close to the Edge'), pedal steel ('Going for the One'), 12-string guitar, and mandolin was the catalyst that catapulted Yes from a lack of decisive hits to a breakthrough. Howe had done many great guest performances, including in Lou Reed's debut album "Lou Reed" and Queen's song "Innuendo". Almost without exception, guitarists with a prog-rock taste can be considered to be under Howe's influence. -Masatoshi Arano

Representative albums "Tomorrow" (1968) Tomorrow "Close to the Edge" (1972, photo) Yes

Robbie Robertson A great songwriter who wrote most of The Band's songs and was the group's spokesman, but don't overlook his ability as a unique guitarist. Although he grew up in Tolon, Canada, he listened to the blues on AM radio broadcasting from as far away as the southern United States, and his playing, forged on the rigorous touring circuit with Ronnie Hawkins & The Hawks, which he joined at the age of 16, was influenced by the likes of Howlin' Wolf guitarist Hubert Sumlin, and he also used the picking harmonics he learnt from Roy Buchanan to great effect, and his guitar playing had a string-scratching quality. His sharp-edged playing can be heard on the world tour with Dylan in 1966, but his style changed later, during the famous 'basement tape' period in Woodstock, as The Band's music became more established, with a more restrained, ensemble-oriented style. -Tadashi Igarashi

Representative albums "The Band" (1969, photo) The Band "The Last Waltz" (1978)

Carlos Santana Carlos Santana has led Latin rock pioneer Santana for more than 40 years and is known for his 'well-sung' melodic playing, which makes good use of sustain and chalking. The sentiment of his songs, such as the Japanese hit "Europa (Earth's Cry Heaven's Smile)", must have come naturally from his Mexican birth, where his father was a mariachi fiddle player. As the band called itself the Santana Blues Band when it was formed in 1966, it was basically influenced by blues guitarists such as B.B. King, but they also listened to singers such as Dionne Warwick to learn the verses and vibrato of their voices, an approach that seems to have nurtured its rich expressiveness. He also became friends with jazz/fusion guitarist John McLaughlin from around 1972, and became devoted to Coltrane's spiritual jazz, refining his playing. -Tadashi Igarashi

Representative albums "Abraxas" (1970, photo) Santana "Caravanserai" (1972)

Pictured: Randy Rhoads (left) and Dimebag Darrell (right)

Top 10 guitarists by genre: Hard rock There are many hard rock guitarists, but we dare to choose (1/ Randy Rhoads) as number one. Not only because he excels in the classical and gothic beauty essential to metal, but also because he has a high universality as a rock 'n' roll guitarist in both riff and tone. It is also so significant for bringing Ozzy Osbourne back to life. Pantera's (2/ Dimebag Darrell) for transforming the style of metal from fluid and speedy to heavy and destructive with their unique tuning that lowered the musical scale. (3/ Steve Vai) is the best of the superb metal guitarists who emerged in the late 1980s. The calculation of his tricky playing, backed up by such an outstanding sense of sound that he served as Frank Zappa's scorer, is as good as it gets. (4/ Vernon Reid) is the man before Tom Morello. He was first in the sense that he played sensationally with aggression and intelligence, with an internalised funk groove. (5/ Nuno Bettencourt) was a man ahead of his time in the heyday of hair metal. His taste for everything from Queen and Van Halen to mixers should have been better appreciated from the 1990s onwards. ZZ Top's (6/ Billy Gibbons) should also be appreciated. He is a key figure in bringing Southern blues to the arena hard rock scale, and is also a perfect match for modern technology. (7/ Gary Moore) is a master of Irish and blues hard rock development. Rush's (8/ Alex Lifeson) breathed real life into progressive rock, which had become a mere facade in the 1980s. Journey's (9/ Neal Schon) is often derided as industrial rock, but his outstanding melodic playing deserves a second look. (10/ Richie Blackmore) is also regarded as the originator of the introduction of classical music into rock. -Taiyo Sawada

Randy Rhoads

Dimebag Darrell

Steve Vai

Vernon Reid

Nuno Bettencourt

Billy Gibbons

Gary Moore

Alex Lifeson

Neal Schon

Richie Blackmore

Translator's Note: I actually knew about Randy Rhoads thanks to reading up on Ozzy's autobiography when I was a teenager. He really loved and respected Randy that his sudden death in a plane crash affected Ozzy more than enough that even decades later, he remembers him fondly enough to be able to talk about him quite deeply in his autobiography that was being written by a ghost writer. And considering how much drugs Ozzy had back then, it speaks volume in itself that he can still remember Randy.

[mr-divabetic]

"You can go around all your life singing stuff that’s just basically a song,” Shirley Brown said. “But I think you are supposed to relate to what’s happening—inner feelings.”Shirley Brown sang in church in West Memphis, Arkansas, until she was discovered at age 14 by Albert King, blues guitarist and singer, singing at the Harlem Club in Brooklyn, Illinois.  She worked with Albert for a period of nine years (where he was her manager), and rubbed elbows with Soul luminaries such as Johnnie Taylor and Little Milton. Blues legend Albert King persuaded Shirley Brown to sign with Stax Records and release her smash single “Woman To Woman.”  Soul Express describes Woman to Woman as a milestone in the history of Southern soul music. Starting with a dramatic rap, it tells of a woman determined to hold on to her man and tell it over the phone to her rival.  Hello, may I speak to Barbara. Barbara, this is Shirley. You might not know who I am, but the reason I'm calling you is because I was going through my old man's pockets this morning and I just happened to find your name and number. So, woman to woman, I don't think it's being any more than fair than to call you and let you know where I'm coming from.”

Woman to Woman, lovingly referred to as the soul soap opera, was written by James Banks, Henderson Thigpen, and Eddie Marion. The songwriters offered the song first to Inez Foxx, who passed on it. “She didn't want to do it. She felt like the rap part in the beginning of the song was for a male artist, and a song like that with a rap would be better for a person like Isaac Hayes," James Banks told Soul Express. 

The song's recording took more than one session. But Bobby Manuel, who played guitar on the sessions, said, “The recording session (for Woman to Woman) was magical. We all knew it was a hit record. Everybody was really excited."  Shirley was nominated for a Grammy for Best R&B Performance, Female, but Aretha Franklin and Ain't Nothing like a Real Thing won that year. Millie Jackson, who was also nominated in the same category that year, told QuestLove on his podcast that Aretha should have been excluded from being nominated in that category because her recording failed to meet the qualifications. 

"Woman to Woman" reached No. 1 on the R&B charts and No. 22 on the pop charts. The song proved so popular that Country Music legend Barbara Mandrell covered it, and Lonnie Youngblood talked to Barbara and blew his horn on the mid-tempo answer song, Man to Woman. A year after the song's success, Stax Records folded.   Shirley Jones chased her dreams to New York City, where Clive Davis signed her to his Arista Records label. . “I was one of the first soul singers he (Clive) signed. I was there before Whitney and Aretha. Clive said that if we could ever get the right material, we could have a hit. But he felt that the material was too Southern. He didn’t want that Southern soul sound.  Clive and Shirley Brown didn't see eye-to-eye in the direction of her music. "Clive Davis wanted me to do a Bette Midler song or something like Barbra Streisand. I could probably sing those kinds of songs, but I didn't feel them." In early 1977, Shirley’s first Arista single, a soul ballad called Blessed Is the Woman (With a Man like Mine) was released.  “I’ve always been a great admirer of Aretha Franklin,” Shirley Brown admits. Some people feel that Shirley Brown and Aretha Franklin are similar to the Isaac Hayes/Barry White situation." Some people speculate that Clive felt she sounded too much like Aretha Franklin and he jeopardized her career to boost Aretha's.    “Clive wanted to make Shirley like Whitney, "says Bobby Manuel. "He wanted to take somebody that had those chops, who could sing like that… and take them pop.  The marriage really didn’t work.  He was sending us pop songs, and she just wasn’t into them.” Luther Vandross loved Shirley Brown. I would buy up all her albums in the UK for our tour bus and his dressing room. 

After Shirley left Arista, she signed with several other labels. She still continues to make beautiful music. Some wonderful songs in her catalog include “I Ain’t Gonna Tell”, “Love Is Built On A Strong Foundation,” and the soul ballad,  "I Need Somebody to Love Me."

[my-chaos-radio]

Release: December 5, 2022

Lyrics:

Mama, I'm callin', I've got some news

Don't ya tell daddy, he'll blow a fuse

Don't worry, I'm doin' okay

I know you raised me to know right from wrong

It ain't what you think and I'm still writin' songs

Just never thought I'd see the day

I've never felt this way

I met somebody and he's got blue eyes

He opens the door and he don't make me cry

He ain't from where we're from

But he feels like home, yeah

He's got me doin' things I've never done

In Georgia, they call it a sin

I'm wearing Tennessee orange for him

Took me to Knoxville last Saturday

And I wore the hat on his dash to the game

It sure wasn't Athens but I

Fell for him under those Neyland lights

I met somebody and he's got blue eyes

He opens the door and he don't make me cry

He ain't from where we're from

But he feels like home, yeah

He's got me doin' things I've never done

In Georgia they call it a sin

I'm wearing Tennessee orange for him

Mama, forgive me, I like him a lot

Hell, I'm learning the words to Old Rocky Top

And he's got a smile that makes me forget

I've always looked better in red

But I met somebody and he's got blue eyes

He opens the door and he don't make me cry

He ain't from where we're from

But he feels like home, yeah

He's got me doin' things I've never done

I met somebody and he's got blue eyes

He opens the door and he don't make me cry

He ain't from where we're from

But he feels like home, yeah

He's got me doin' things I've never done

Songwriter:

In Georgia, they call it a sin

And I still want the Dawgs to win

But I'm wearing Tennessee orange for him

I'm wearing Tennessee orange for him

Ben Williams / David Fanning / Megan Moroney / Paul Jenkins

SongFacts:

"Tennessee Orange" is a song by American country music singer Megan Moroney. The song was released in December 2022 as her debut single, and is included on her major-label debut album Lucky. Moroney wrote the song with Ben Williams, David Fanning, and Paul Jenkins.

The song gained popularity while Moroney was still an unsigned artist, due to social media posts in which Moroney was wearing a Tennessee Volunteers T-shirt that fans speculated belonged to Morgan Wallen. At the time, she was recording music produced by Kristian Bush, one-half of the duo Sugarland, who serves as producer on the track. Due to the song's popularity online, it entered the Billboard Hot 100 in October 2022 based on downloads and streaming, and led to her signing with Arista Nashville by year's end. The label serviced the song to country radio until March 2023, when parent company Sony Music Nashville closed the Arista Nashville division and transferred Moroney to Columbia Records' Nashville division.

The song is a love story about college football, portraying a relationship between a narrator who is a fan of the Georgia Bulldogs and a man who is a fan of their rival, the Tennessee Volunteers. Moroney released a music video in January 2023 which features Moroney wearing Tennessee Volunteers apparel. As of July 2023 the song reached top on Country Countdown USA, making it her first single to reach the top of the charts.

[scotianostra]

Happy 79th Birthday to Scottish singer/songwriter Graham Lyle,  born March 11th 1944 in Belshill. 

There’s nothing I can find about Lyle’s early life, but he  is best known for  collaboration with fellow Scot Benny Gallagher.

Graham and Benny first teamed up in 1959 as members of a local The Bluefrets, and teamed up again in a band based in Saltcoats called the Tulsans.   The Tulsans released two singles in 1965 under the name James Galt these rare tracks are now prized by Northern Soul Collectors.

So after doing their apprenticeship around Ayrshire and Glasgow  Graham and Benny headed south to London in the mid 60′s,  a rare one-off single, “Trees”, was issued on Polydor UK another very rare song, if you come cross it in amongst an old dusty second hand shop you might get a few quid for it.

In 1968 the pair were signed up to write songs for artists on the Apple record label, mainly for Mary Hopkins. Two years later the pair formed the band  McGuinness Flint  writing nine of the 11 songs on the group’s eponymous debut album, including their two top five hits, When I’m Dead and Gone and  Malt and Barley Blues. A second album followed before the pair left to branch out as duo with Gallagher and Lyle in 1972.

As a duo, Gallagher and Lyle recorded a total of eight albums, while they weren’t all big hits the duo were well respected for there song writing and chemistry between them. Their biggest hits I Wanna Stay With You and Heart on My Sleeve  both of which also charted in the US.    Gallagher and Lyle ‘s songs both topped the US Billboard  Adult Contemporary chart for Art Garfunkel and Don Williams respectively.  As session musicians, Gallagher and Lyle also backed numerous big names on disc, including Eric Clapton, Andy Fairweather Low and Fairport Convention amongst others.

In 1981, Graham Lyle formed his own publishing company, Goodsingle Publishing (later to become goodsingle.com), chiefly to administer his own copyrights, and began writing for other artists. These artist included Michael Jackson, Stevie Wonder, Diana Ross, Patti Labelle, Joe Cocker, Hall & Oates, Jim Diamond, Wet,Wet,Wet, and Wyclef Jean….the list really is endless!

Finally the song that we definitely all know best that was written by Graham Lyle is the Tina Turner smash hit What’s love got to do with it, in which he teamed up with the English-Australian songwriter Terry Britten. It won the Song of the Year Grammy. The song hit the top of the charts in many countries, and was a worldwide hit, in 2012 it was inducted into the Grammy Hall of Fame.

My favourite Lyle composition is another collaboration, he co-wrote I Should Have Known Better with Jim Diamond, and I love the song, I sing it often at Karaoke, and yes I hit all the notes!  Another one he wrote with Bitten was the Wets, If I never see you again, which reached number three in the charts here.

Caledonia USA, a musical based on the songs of Gallagher and Lyle, was staged in Largs in April 2016. Originally titled “When I’m Dead and Gone”, it was subsequently retitled after a new song written specially for the show by Gallagher and Lyle.

Again, as with his early life I can find nothing about what Graham has been up to of late, he teamed up with Gallagher for a tour in 2018, since then there’s nothing. 

[gerogerigaogaigar]

Tom Petty And The Heartbreakers - Damn The Torpedoes

With an amalgamation of southern rock guitarmanship, honky tonk piano, mellotron straight out of a blue eyed soul record, and the voice of a rock and roll Dylan, Tom Petty was definitely a finely tuned musical homunculus. In reality all these elements fit together in very obvious way, but they need to be steered correctly in order to avoid feeling like a shameless aesthetic cash grab. Petty is just gritty enough to play the country elements straight but with enough swagger to pull in the rock elements. It's hard to not see him as a bit of a budget Springsteen, but I think that if Springsteen fans need to stop being depressed for a bit I might prescribe some Tom Petty.

Rihanna - Anti

Taking a sharp turn from her previous radio friendly danceable sound Rihanna has crafted a moody distorted atmosphere full of trap beats and hazy vocals. Bits of neo soul, dub, and dancehall float around, with bits of it reminiscent of Rihanna song of years past but mostly sounding completely new. It's not the most surprising career turn she could have made in '16. Moody trap influenced music was in big dance pop numbers were out. But it does show that one of the 00s biggest pop acts is still far from burning out.

Patsy Cline - The Ultimate Collection

I don't really feel like greatest hits compilations belong here, I think I've made this pretty clear by now. If you wanted to listen to Patsy Cline though, well a hits comp is prolly the best place to go. She only released a few albums in her lifetime and a collection of singles is really the best way to get to know her music. The Nashville sound had a stranglehold over the 60s music scene and new artists were basically fed batches of near identical songs from their stable of songwriters. This meant that every artists lived or died by the strength of their delivery. Patsy Cline had one of the strongest voices and, though she died young, still managed a string of incredible hits. Walking After Midnight, Crazy, I Fall To Pieces were her biggest, but this album is full of amazing tunes. Although some of the later stuff runs a little sterile production wise Cline's voice is always a standout.

De La Soul - De La Soul Is Dead

After the runaway success of their debut, 3 Feet High And Rising, De La Soul found themselves with an unwanted reputation as goofy hippies. So naturally for their second album they tried to run away from that image as much as possible. While they did tackle some serious topics on Millie Pulled A Pistol On Santa and My Brother's A Basehead the album is honestly even goofier than their debut. The big single A Roller Skating Jam Named Saturdays is pure goofy fun reminiscent of their debut and the skits are the silliest I've ever heard. The albums skits are mainly about a group of bullies who find a copy of 3 Feet High And Rising and roast it. The comedy is snarkier for sure but their attitude of burning down their reputation and everyone around them with it is done in such good fun that there's nothing genuinely mean about it. There also a weird preoccupation with making fun of Burger King that I cannot figure out for the life of me but I really love.

[rockzone]

Magnum - Here Comes The Rain

Release Date: 12 Jan 2024

Photo Credit Rob Barrow

There are few great bands on our planet that you can infallibly identify within the first few bars of one of their songs. That is certainly true with Magnum. Their unique melodic skill, their tasteful instrumentation, the right balance of depth and catchiness, and then of course the charismatic voice of Bob Catley.

Magnum are back with a new studio album ‘Here Comes The Rain’, and are set tour again in April 2024.

The question is, where does songwriter Tony Clarkin continue to find motivation and ideas for new material after more than fifty years in music. He says, "At the end of the day there’s not much that’s more satisfying for a musician than to come up with new number that you yourself really like.” He draws inspiration from a wide range of different areas saying, “You never quite know where or how an idea originates, but the many different countries we’ve travelled, our decades of artistic experience and also our interest in what’s happening on our planet have definitely all played a part.”

Apart from Magnum’s typical trademarks, ‘Here Comes The Rain’ also holds a number of thoroughly pleasant surprises in store, such as ‘Blue Tango’, which is a real riff-rock number that makes you want to move your feet. Or ‘The Seventh Darkness’ with some awesome brass sections courtesy of guest musicians Chris ‘BeeBe’ Aldridge (saxophone) and Nick Dewhurst (trumpet), which lend the song brilliance and shape.

Line-Up: Tony Clarkin – Guitar Bob Catley – Vocals Rick Benton – Keyboards Dennis Ward – Bass Lee Morris – Drums

[sinceileftyoublog]

Sunny War Album Review: Anarchist Gospel

(New West)

BY JORDAN MAINZER

A breakup. The death of her father. A decaying Earth. Uprooting and moving to her childhood city. On Anarchist Gospel, Sunny War looks change in the face--some unexpected, some sudden, some gradual--and transforms chaos into her best album yet. The singer-songwriter and blues guitar fingerpicker has long channeled struggles, from personal bouts with substance abuse and addiction, to the overall fight against institutional racism and police brutality, into genre-averse songs of pain and triumph. The all-encompassing Anarchist Gospel expounds on this ethos, along with a cast of collaborators including producer Andrija Tokic (Alabama Shakes, Hurray For The Riff Raff), Americana wunderkind Allison Russell, Gillian Welch creative partner David Rawlings, and My Morning Jacket's Jim James. Still, Sunny shines above all.

Take opener "Love's Death Bed", featuring backing vocals from Russell and Chris Pierce's shimmering harmonica, atop clacking drums and banjo. Sunny, who leads a chorus in a call and response, centers the song's dead-eyed stare into the soul of an ex. "Your mouth is a gun / Got bodies dropping every time you speak," she sings, making our jaws drop from the get-go. On "No Reason", a song built around Sunny's incredible desert blues riff and Jack Lawrence's steady bass, she clarifies that even though her ex might not mean to hurt her, it doesn't matter: "Good intentions that you keep / Don't change the fact that you're a beast." Sunny explores intentionality of destruction throughout the album, both in interpersonal relationships and via the environment, asking us to empathize and reflect on the space we take up. On "Shelter And Storm", she sings from the point of view of Earth itself, albeit one that has managed to survive apocalypse, repeatedly and jubilantly declaring, "The humans are away!" Yet, on "Earth", her tone is mournful and more realistic. A stunning combination of blues and jazz, bolstered by the vocal support of James, Maureen Murphy, Nickie Conley, and Kyshona Armstrong, as well as past collaborator Micah Nelson's slinky 12-string, the song reminds us that the end of the world is closer than we think, tangible if you bother to look around.

At the same time, Sunny battles self-destruction throughout Anarchist Gospel; in the lead-up to its release, she spoke about her music representing a battle between that side of herself and the one trying to make things better. On "New Day", she uses the language of addiction to wax on love, hurt, and obsession: "Believing in magic can be tragic / I'm love's junkie, I'm love's addict." One of the record's true standouts is "I Got No Fight", where pained guitars and screaming organs exemplify Sunny's desire for the days to end, depression that buzzes like a fly in her ear. On the gorgeous country tune "His Love", she sings of an unhealthy relationship, "His love fades, my love grows," and the timbres of her voice and the instruments similarly diverge, her lurking deep vocal register contrasting the spryness of the backing vocals, guitars, and pattering drums.

If Anarchist Gospel is anything, it's honest, an album that both bares its teeth and cowers, that sometimes turns inward in the face of trouble but eventually overcomes with boisterous community. On the Crass-quoting, blues stomp clap jaunt of a closer "Whole", Sunny War sings, "Today could be the last, you know / Happy's how you ought to go." Fully knowing it's easier said than done, and for some folks, impossible, Sunny nonetheless dares to dream to everyone.

[shortfeedshq]

Lana Del Rey's Most Popular Album: A Comprehensive Analysis

Lana Del Rey is a renowned American singer-songwriter known for her unique musical style and captivating lyrics. With a discography spanning over a decade, she has released several albums that have resonated with fans and critics alike. In this article, we will delve into Lana Del Rey's albums and explore which one stands out as her most popular work. 1. "Born to Die": An Iconic Debut Lana Del Rey's journey into the music industry began with her debut studio album, "Born to Die." Released in 2012, this album introduced the world to her mesmerizing voice and cinematic soundscapes. With hits like "Video Games" and "Summertime Sadness," "Born to Die" showcased Lana Del Rey's ability to create hauntingly beautiful music that resonated with listeners. 2. "Paradise": An Enchanting Extension Following the success of "Born to Die," Lana Del Rey released the EP "Paradise" later that same year. Acting as an extension to her debut album, "Paradise" continued to captivate audiences with its atmospheric and introspective tracks. The combination of Lana Del Rey's ethereal vocals and thought-provoking lyrics further solidified her position as a rising star in the music industry. 3. "Ultraviolence": A Dark and Haunting Journey In 2014, Lana Del Rey unveiled her third studio album, "Ultraviolence." This album marked a departure from her previous works, embracing a darker and more melancholic atmosphere. Lana Del Rey's collaboration with producer Dan Auerbach resulted in a hauntingly beautiful collection of songs that explored themes of love, heartbreak, and self-discovery. 4. "Honeymoon": A Dreamy Escape Continuing her musical evolution, Lana Del Rey released "Honeymoon" in 2015. This album showcased a dreamy and atmospheric sound, with Lana Del Rey's vocals floating over lush orchestration. Tracks like "High by the Beach" and "Music to Watch Boys To" further solidified Lana Del Rey's artistic prowess and her ability to transport listeners to a world of nostalgic beauty. 5. "Lust for Life": Collaborative Brilliance "Lust for Life," released in 2017, demonstrated Lana Del Rey's willingness to collaborate with other artists. This album featured notable collaborations with the likes of The Weeknd, Stevie Nicks, and A$AP Rocky, adding a new dimension to her music. Lana Del Rey's introspective storytelling and the fusion of different musical styles made "Lust for Life" an intriguing and highly acclaimed album. 6. "Norman Fucking Rockwell!": A Magnum Opus Considered by many as Lana Del Rey's magnum opus, "Norman Fucking Rockwell!" (2019) garnered critical acclaim for its introspective and poignant songwriting. This album showcased Lana Del Rey's growth as an artist, exploring themes of love, Americana, and the complexities of the human experience. Songs like "Mariners Apartment Complex" and "Venice Bitch" showcased Lana Del Rey's ability to create intricate and emotive musical landscapes. 7. "Chemtrails over the Country Club": Atmospheric Beauty In 2021, Lana Del Rey released "Chemtrails over the Country Club," an album that further solidified her unique musical style. With introspective lyrics and atmospheric instrumentals, Lana Del Rey continued to enchant listeners with her evocative storytelling. This album showcased her growth as an artist, pushing boundaries while staying true to her signature sound. 8. "Blue Banisters": A Melancholic Reflection Following the success of "Chemtrails over the Country Club," Lana Del Rey released "Blue Banisters" in 2021. This album explored themes of heartbreak, nostalgia, and personal growth. Lana Del Rey's introspective lyrics and delicate melodies created a melancholic and introspective atmosphere that resonated with fans. 9. "Violet Bent Backwards over the Grass": A Poetic Departure Aside from her studio albums, Lana Del Rey also released a spoken-word poetry album titled "Violet Bent Backwards over the Grass" in 2020. This departure from her usual musical style showcased Lana Del Rey's lyrical prowess and her ability to evoke emotions through poetic storytelling. 10. "Ocean Blvd": A Recent Release Making Waves While the search results did not provide specific information about Lana Del Rey's most recent album, "Ocean Blvd," it is worth noting that the album received a review and song ranking from Billboard . This suggests that "Ocean Blvd" is generating attention and discussion among music critics and fans. Conclusion Determining Lana Del Rey's most popular album is subjective and depends on individual preferences. However, based on the rankings provided by Variety, Album Reviews Blog, Louder Sound, Ranker, and NME, "Norman Fucking Rockwell!" consistently emerges as a standout album. Its introspective songwriting, timeless quality, and critical acclaim position it as Lana Del Rey's most celebrated and influential work to date. FAQs 1. Is "Born to Die" Lana Del Rey's most popular album? While "Born to Die" achieved significant commercial success and introduced Lana Del Rey to a wider audience, various rankings highlight different albums as her most popular. According to Ranker, "Born to Die" holds that distinction, but other sources prioritize albums like "Norman Fucking Rockwell!" and "Ultraviolence." 2. Which Lana Del Rey album showcases her growth as an artist? Lana Del Rey's growth as an artist can be witnessed throughout her discography, but "Norman Fucking Rockwell!" is often cited as a significant milestone. This album demonstrates her maturity in songwriting, musical cohesion, and ability to create emotionally resonant narratives. 3. What makes "Norman Fucking Rockwell!" stand out among Lana Del Rey's albums? "Norman Fucking Rockwell!" stands out due to its introspective songwriting, timeless quality, and critical acclaim. Lana Del Rey's ability to craft vivid and emotionally resonant narratives resonated deeply with both fans and critics. 4. Has Lana Del Rey released any spoken-word albums? Yes, Lana Del Rey released a spoken-word poetry album titled "Violet Bent Backwards over the Grass" in 2020. This album showcases her lyrical prowess and ability to evoke emotions through poetic storytelling. 5. Where can I access Lana Del Rey's music? Lana Del Rey's music is available on various streaming platforms such as Spotify, Apple Music, and YouTube. You can also purchase her albums from online music retailers or local record stores. Image: Instagram/@lanadelreybr Read the full article

[mannytoodope]

Nicholas Drain Lowe (born 24 March 1949), known as Nick Lowe, is a singer-songwriter, musician, and producer. In 1967, Lowe started his music career when he joined the band Kippington Lodge; they later changed their name to Brinsley Schwarz In 1969 and played blues and country. While in the band, Lowe wrote the song” (What’s So Funny ‘Bout) Peace, Love, and Understanding,” which became a hit for Elvis Costello, and he wrote “ Cruel to Be Kind” Lowe left Brinsley Schwarz in 1975 and began playing bass for Rockpile and released several successful singles with the band. He left the band and released several popular and successful albums, also known for his work with Graham Parker, Elvis Costello, and others. He defines pub rock, power pop, and new wave sound. He is a great songwriter with very clever lyrics and wordplay. Lowe continues to make great music and is admired by fans and like-minded artists.

[a-silent-symphony]

NIGHTWISH Announces 'Human. :II: Nature. (Tour Edition)'

NIGHTWISH will release "Human. :II: Nature. (Tour Edition)" on November 18 via Nuclear Blast. It will be made available as a luxurious 2CD plus Blu-ray digipak and include the band's latest album alongside NIGHTWISH's two interactive experiences in May 2021 when the group performed in a tavern called "The Islanders Arms" built in a virtual world. On both nights, the fans experienced a one-and-a-half-hour performance, hearing songs live off "Human. :II: Nature." for the first time ever. Each of the two nights had its own slightly different setlist. Originally available just as a DVD release and on Blu-ray in Japan, this new edition is the ultimate version to re-experience this unique and magical show NIGHTWISH created after their world tour had to be canceled.

Half a year in preparation and premiered on May 28 and May 29, 2021, "An Evening With Nighwish In A Virtual World" was not just a regular streaming show. It was an exceptionally ambitious production, allowing fans to follow the band playing live in an astonishing 3D world, designed according to the band's vision, while interacting with each other.

NIGHTWISH's two interactive experiences drew 150,000 viewers, setting the record for the largest paid virtual concert in Finland's history. Most of the viewers came from Europe and North America, but the performance was a truly global event, with fans in 108 countries purchasing tickets to the show and the box office gross exceeding one million euro.

"This is definitely one of the coolest things NIGHTWISH has ever done," the band comments. "Entwining visual elements, technology and music in such an extraordinary way offers a unique experience to us all."

About 30 people from seven different countries, many of them longtime fans, put everything they had into the game to craft a high-quality virtual concert featuring a NIGHTWISH-themed tavern, elaborate animations and 3D models that provided an atmospheric and inimitable stage for the group's 100-minute-long, stellar career-spanning set brilliantly mastered by Mika Jussila at Finnvox.

Celebrating the announcement, NIGHTWISH has released a video for "Noise", taken from "An Evening With Nightwish In A Virtual World".

"Human. :II: Nature. (Tour Edition)" track listing:

CD 1: Human. :II: Nature.

01. Music 02. Noise 03. Shoemaker 04. Harvest 05. Pan 06. How's The Heart? 07. Procession 08. Tribal 09. Endlessness

CD 2: All the Works of Nature Which Adorn the World

01. All The Works Of Nature Which Adorn The World - Vista 02. All The Works Of Nature Which Adorn The World - The Blue 03. All The Works Of Nature Which Adorn The World - The Green 04. All The Works Of Nature Which Adorn The World - Moors 05. All The Works Of Nature Which Adorn The World - Aurorae 06. All The Works Of Nature Which Adorn The World - Quiet As The Snow 07. All The Works Of Nature Which Adorn The World - Anthropocene (incl. "Hurrian Hymn To Nikkal") 08. All The Works Of Nature Which Adorn The World - Ad Astra

Blu-ray: Virtual Live Show From The Islanders Arms 2021

01. Intro 02. Noise 03. Planet Hell 04. Alpenglow 05. Élan 06. Storytime 07. How's The Heart? 08. Harvest 09. Dark Chest Of Wonders 10. I Want My Tears Back 11. Ever Dream 12. Nemo 13. Sleeping Sun 14. Pan 15. Last Ride Of The Day 16. Ghost Love Score 17. The Greatest Show On Earth 18. All The Works Of Nature Which Adorn The World: VIII. Ad Astra

NIGHTWISH keyboardist and main songwriter Tuomas Holopainen recently spoke to Rauta about what fans can expect from the band's upcoming follow-up to "Human. :II: Nature.". He said: "I feel it's gonna be the third part of a trilogy started by 'Endless Forms Most Beautiful' [2015] followed by 'Human. :II: Nature.' and then finished by this upcoming album."

According to Tuomas, NIGHTWISH's next LP will cover previously uncharted ground while continuing in the more cinematic style that has characterized some of the band's recent efforts.

"There's always something new," he explained. "It's important for my own mental health, when it comes to writing music, that you need to search for some new territories and try not to repeat yourself. And that can be heard on the upcoming album, for sure, already on the demo that we've done."

Asked if NIGHTWISH's upcoming LP will once again be an exploration of evolutionary science, as was the case with the previous two releases, Tuomas said: "Yes and no. It sails on the same waters, but there's some new surprises there as well."

Holopainen went on to say that NIGHTWISH fans will have to wait a while before hearing new music from the band. "We'll enter the studio next year and the album is gonna come out maybe early 2024," he said.

In August, Holopainen told Knotfest that he and his bandmates had spent "the past few weeks" listening to a demo of the next NIGHTWISH album. "Because of COVID, lots of free time, I decided to use that well, so I wrote all the songs for the next album, demoed it, wrote the lyrics, and now we have been brainstorming over it with these guys," he said, referring to drummer Kai Hahto and the rest of NIGHTWISH.

Added Kai: "Yeah, it's been great. The six of us, in the same room, listening to fresh demos for the upcoming album, checking the lyrics and the vocal parts and stuff like that. So it's been wonderful. This man [Tuomas] has been really productive."

Earlier in the month, Tuomas told Rock Sverige that he spent "about a year" working on the music and lyrics for the next NIGHTWISH album, "and then we finished the demos about two months ago. We're hitting the studio next summer, so in about a year from now," he revealed. "Like I said, might as well use the time for something."

Asked if he got any kind of inspiration from the pandemic, Tuomas said: "Yeah, lyrically there's a couple of things that reflects the pandemic, but not in the way you would expect."

"Human. :II: Nature." was released in April 2020. The follow-up to 2015's "Endless Forms Most Beautiful" was a double album containing nine tracks on the main CD and one long track, divided into eight chapters, on CD 2.

In August, NIGHTWISH announced the addition of bassist Jukka Koskinen (WINTERSUN) as an official member of the band. Koskinen, who made his live debut with NIGHTWISH at the band's two interactive experiences, had spent the last year touring with NIGHTWISH as a session musician.

[pintsizeddeepthoughts]

My Quirky Taste in Music: Blues Funeral - Mark Lanegan

Year Released: 2012

Country: United States

It has been almost year since the death singer/songwriter Mark Lanegan, my favorite singer. Over the next month I will be posting a series of reviews of albums that had stuck with me through the years, starting with my favorite album of all time.

After collaborating on three albums with Isobel Campbell, Mark Lanegan once again began recording solo records reliably - starting with 2012’s Blues Funeral. It had been eight years since his previous release, the critically acclaimed and surprisingly successful Bubblegum. That album had been a departure for Lanegan. Gone were the bluesy acoustic numbers that had made Whiskey for the Holy Ghost so haunting in favor of elements of slickly produced synth rock, hard rock dirges, and nightclub noir (look no further than “Wedding Dress”). It felt like a true reveal of Lanegan’s growing interests while staying within the his pet themes of darkness, death, and self destruction.

He leans into that harder in Blues Funeral. Opening with the thunderous “The Gravedigger’s Song”, it sets the tone for album - the synth is more pronounced, the dirges more indulgent, and darkness always at the fore. Above it all floats Lanegan - his ragged voice swooping low to sound like death itself in moment, soaring into a hoarse tenor when striving for hope in another.

Lanegan admits in his autobiography that at this point in his life he’d lost interest in writing and singing after a near death experience. It was only after he collaborated with producer Alain Johannes on a separate project that he felt the old spark come back. Lanegan grew so fond of the album that he later would write, “If forced to choose one one of my albums to play live, this would be it.”

I can see why. After the stunning opener “The Gravediggers Song”, he slides into “Bleeding Muddy Water” - a song of longing and loss that blends beautifully what’s new with Lanegan with what’s old. When Lanegan sings “I feel ya’ in my iron lung” you can sense his desperation to hang onto whatever human warmth this connection had provided him with. “St. Louis Elegy” feels like it should be sung at a wake as Lanegan evokes a preachily tone, backed by falsetto voices and a very church sounding keyboard.

I came across this album while in grad school. It was a lonely time, a time of transition in which I never felt truly comfortable and worried about my future. The longing in Lanegan’s lyrics and the way in which the voice I loved blended with modern sounding music felt very grounded. In a way, it showed me how to transition without losing who I was. Although this may not be Lanegan’s best album (its lyrics are too esoteric to form a coherent whole), it’s the one that cemented my love for him.

[thisaintascenereviews]

Zach Bryan - American Heartbreak / Summertime Blues Country music has never been synonymous with “ambition,” but these days, a few more artists are popping up that have a sense of ambition in their music, including Zach Bryan. There’s a lot to be said about the Oklahoma-based singer-songwriter that’s only gotten a huge push of popularity and buzz within the last couple of years. It’s been more so earlier this year with the release of his major label debut (or his third overall album) American Heartbreak, but if that wasn’t enough, he also released an EP just a few weeks ago, entitled Summertime Blues. For some artists, the EP would be enough for a couple of years, but he dropped an album and an EP. To make matters even better, and more interesting, American Heartbreak is a very ambitious 34-song two-hour long triple album. It’s a very sprawling ambitious project that I didn’t listen to when it came out in May, but I’ve been wanting to listen to it, so I thought I’d check it out, especially where the new Nikki Lane album dropped last week. I wanted something to go along with it, and both American Heartbreak and Summertime Blues seemed perfect. I’ll be talking about both of these albums at the same time, as it doesn’t really make sense to review each project individually, mainly because they both have a similar sound. Bryan’s music falls into the Americana, folk, singer-songwriter, and country crossroads where all of those styles meet in the middle, versus being straightforward country or folk. That’s part of his appeal, I think; he’s not your average country singer, or even a folk singer, he can appeal to a lot of different kinds of people, and his music also has a somewhat timeless quality to it. Just look art the titles of the album and EP -- American Heartbreak and Summertime Blues. These titles just reek of classic Americana, especially with timeless sounds and themes. Both of which are what you’ll find on these records, including heartbreak, love, loss, grief, happiness, hatred, as well as the blues. To preface this review, as well as his work, a lot of the focus on these records are its lyrics, vocals, and overall themes. That’s what folk music mainly does, and that’s why I’ve never been super huge into that and Americana, simply for the fact that its instrumentation is usually very sparse, as well as not very energetic or interesting. I have to give Bryan some credit, though, there is a lot of energy on these records. Summertime Blues in particular is a nice half-hour energetic burst of this Americana / folk / country hybrid that he’s known for, and it expands on a lot of the themes from American Heartbreak. I’ll talk about the themes, as well as his use of storytelling later on, but I wanted to just give my general thoughts on both of these records. Summertime Blues, like I said, is a half-hour EP that is more or less on the folk / Americana / country spectrum, and it feels like a collection of b-sides from American Heartbreak, which isn’t necessarily a bad thing. American Heartbreak, however, is a very long, sprawling, oftentimes intimate and personal record that deals with a lot of heavy themes, as well as talks a bit about the record industry, nostalgia, authenticity, and themes outside of love, loss, and things like that. Let me get my biggest issue with American Heartbreak out of the way immediately -- it’s too long. Simply put, this album is way too long for its own good. It doesn’t need to be two hours. Here’s the thing about that, though, and it’s that none of these songs are bad. There are some songs I don’t like, one of which being “She Wants A Cowboy,” which is this cheeky and clever little song about “selling out,” meaning that this girl he’s talking to likes cowboys, so he does his best to emulate that, despite never riding a horse or wearing cowboy hats. It seems to be a dig at the music industry and how these guys are very inauthentic, and it’s clever for what it is, but it has a very generic pop-country feel to it (although I do think that’s totally intentional on his part). There’s also another song that deals with the record industry, which is “Cold Damn Vampires,” and I don’t care for this one too much, either, despite it being clever, lyrically, comparing these executives to vampires that suck the creativity out of you. This album is just too long for its own good, especially when a lot of the songs sound completely similar to each other. Not totally, as I do think that Bryan’s vocals and use of hooks is very strong to make each song stand out, even if the instrumentation is somewhat lackluster in spots. To be fair, though, that’s to be expected, as this album is very sparse with its instrumentation. You might hear some violin, fiddle, and pedal steel, but a lot of this record is just Bryan with his banjo or acoustic guitar. I ended up putting together my own version of the album that’s a 40-minute record, at least after listening to the album five or six times, and there are some truly great songs here. The lead single, “Something In The Orange” is one of my favorite songs of the year, but songs like “Younger Years,” “Darling,” “Blue,” or the subtle criticism of religion, “Ninth Cloud” are utterly fantastic songs that showcase his vocals and lyrical prowess. Zach Bryan is one of the best songwriters of today, regardless of genre. I would argue, though, that Summertime Blues has some of my favorite songs that he’s put out this year, such as the title track, “Jamie” with Charles Wesley Godwin, “Quittin’ Time,” “Motorcycle Drive By,” “Oklahoma Smokeshow,” or “Matt & Audie.” I love Summertime Blues, and if I’m being honest, I’ve listened to that more than I’ve listened to American Heartbreak. I can understand why he didn’t put these songs on American Heartbreak, however, because they don’t really fit with its overall themes. “Quittin’ Time” kind of does, as it’s just a simple track about this guy wanting to get off, so he can go dance with his wife or girlfriend. It’s a sweet little song with small stakes, but it’s a nice song. A lot of the others, though, don’t seem to fit, and part of that could be because Summertime Blues expands more into having more third-person narratives, versus personal stories. He started including more third-person narratives on his last EP, 2020′s Quiet, Heavy Dreams. That was my introduction to his music, and I personally love that record, it’s one of the greatest folk / country albums I’ve heard in awhile. Summertime Blues, as well as American Heartbreak to an extent, follow up on that. American Heartbreak is more or less a collection of personal and first person narratives, but there are a couple of stories about other people, fictional or not. Summertime Blues, on the other hand, seems to have some more third person stories, and it’s cool that he includes that. Him, Tyler Childers, Colter Wall, and Parker Millsap are a good example of a few country / Americana artists that are good at mixing personal and third person narratives into their music. Tyler Childers’ new album actually came out today, so I might be listening to that later, but Zach Bryan is one of the more interesting artists to come out today. If you’re into folk, Americana, or country music, and you haven’t listened to Zach Bryan’s music yet, you should check these out. Personally, I’d recommend Summertime Blues more, only because it’s a shorter project, but you could do what I did and take your favorite tracks from American Heartbreak and listen to those, especially if a two-hour album seems daunting, because it is. I don’t usually like albums that go over an hour, and for good reason. If I had one problem with this album, aside from it being too long, it is very repetitive, so I don’t think this needed to be a triple album, because a lot of the songs do sound similar, if not completely, it’s just that there’s no reason for this album to be really long. It’s cool that he didn’t want to cut any songs, but that’s what bonus tracks are for. While I don’t know if I’ll put American Heartbreak on my albums of the year list, I think Summertime Blues might make it, only because I love every song it, and it’s very easy to dive into, versus a two-hour long album. Both are great records, but if you’re new to Zach Bryan, check out the song “Something In The Orange,” as well as the Summertime Blues EP, or even his last one, Quiet, Heavy Dreams. That’s another good one, but you can’t go wrong, either way.

[synergysilhouette]

Continuing on with my Choices ideas for books from my banned Reddit account, here is "Four":

The fourth album curse is starting to weigh on your shoulders. By the time an artist releases their fourth album, it's believed that they're no longer popular, no longer a commercial success--of course, there have been exceptions. Do you have what it takes to be one?

Gameplay: your choices matter. Being a household name in the world of music, you'll decide whether to stick with the genre you love (pop, rock, hip-hop, or country), or if you want to experiment with a new sound. Along with this, your decisions will decide how your public views you, and if it tracks with your musical style. Are you into flashy, costume-changing performances, rhythmic dance routines, or intimate vocal performances?

LIs:

Dawn Diaz--a pop and R&B singer known for her phenomenal voice and having released 7 #1 albums ever since she began her career ten years ago. Over the years, she's become a master of the media, altering her image to supoort her music and shock her audience while remaining tasteful. When you collaborated on her hit single last year, she volunteers to collaborate with you on your new album. Her diverse style may be just what you need. (Argentinean-American, usually wears stylish designer clothing--unless she's anywear where there are normal people. Get ready for sweatshirts and jeans!)

Antonio Sousa--a former Olympian and your bodyguard. You met him at one of the ceremonies when he was competing in karate, and you hit it off immediately! He's protective ith you but understands the price of fame you have to pay, allowing you to grow from success and failure. You mean the world to him, and since he puts family at the forefront of everything he does, he helps you gain perspective on a possibly intimate fourth album. But are you ready to take the pain that comes with how personal it can get? (Brazilian, usually wears suits, but can be found in a sleeves shirt and jeans if you catch him on an off-day.)

Mursi Bono/Mercy--a rapper and former girl group star. After she embarked on a solo career, her first album went viral two years after it's release, leading to her record-breaking second album! Can you help her keep the momentum going with her third album? She usually only writes with a select group of people, but her manager suggests your creativity is perfect for the visual album she's planning. (African-American, employs an emphasis on blue, pink, and purple for her out of this world wardrobe.)

Nathan Wrighter/Bright Boy--dubbed as "punk's airhead" for his soft-rock albums that employed a sense of nostalgia and naivete, he's one of the chillest people you've ever met, at least off-stage--when he's under the spotlight, his dancing and outfits are loud and show-stopping. His likeability and professional attitude is inspirational for you, wanting to remain kind and assertive at the same time. When you get to meet your hero, what advice will he give about defying expectations and redefining yourself? (Caucasian, leather and colorful clothing, secure masculinity in anything he wears.)

Rhiannon Lou--a renound songwriter known for her immaculate skill. But she's also known for her little patience; if she feels like your collaboration won't go anywhere, she'll stop and she won't mince words. However, she's not unkind, just direct, and you'll find that she's quite different when she's out of the studio, embracing a minimalist viewpoint that combats her maximalist cowriters. Her impulsive perspective may challenge the cohesiveness of your album, but perhaps you need to start from scratch. (Chinese, casual clothing that embraces an almost childish aesthetic.)

Darius King--an actor who you costarred with for a blockbuster animated film, he approaches you for a musical role opposite one of the most famous opera singers in the world, someone you grew up listening to a lot in your household. Your musical training (and acting skills) is about to be tested when you take the role, but it gives you more time to spend with your idols, and makes you think that maybe acting is a career you should pursue as a break from music. (Afro-French, classy and high-end fashion that is nothing short of regal.)