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Hear.This [New Music Thread - Part 12]
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Lianne La Havas - ''Green & Gold'' (Official Video)
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Nile Rodgers - Speakeasy - Interview With Valerie SimpsonBBC Nile Rodgers The Hitmaker
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More Upcoming ReleasesKemi Ade – Thecoffeeshop (2015)
. . . [Edited 11/5/15 10:13am] Just Music-No Categories-Enjoy It! |
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Here’s a preview of Erykah Badu’s new single “Phone Down”: | |
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New Music Friday: See the Hottest Albums Released November 6th, 2015Find out what new releases you need to pick up today November 6, 2015
 Grimes, Ellie Goulding, Tim McGraw and more have new albums out today. Gary Burchell/Getty
It’s another New Music Friday. Here are the biggest, coolest and otherwise most noteworthy albums released today, November 6th, 2015. 45 Best Albums of 2015 So Far »Grimes, Art Angels: This is the Canadian art-pop auteur’s first album since signing a management deal with Jay Z’s Roc Nation. It features guest appearances from Janelle Monae and Aristophanese (the Taiwanese rapper, not the ancient Greek comedian).
Billy Gibbons and the BFG’s, Perfectamundo: The ZZ Top guitarist’s first solo album ever has the best title possible for a solo album by ZZ Top’s guitarist.
Ellie Goulding, Delirium: The U.K. dance-pop talent continues her ascent on album three.
Tim McGraw, Damn Country Music: The reliable country singer’s new album features a duet with his daughter Gracie.
Sara Bareilles, What’s Inside: Songs From Waitress: The singer-songwriter penned original music and lyrics for this upcoming Broadway musical, which opens next spring. The show is based on the 2007 film of the same name. Björk, Vulnicura Strings: An alternate version of her searingly honest 2015 album featuring only string arrangements and her voice. Floating Points, Elaenia: London neuroscientist Sam Shepherd completed his visionary debut LP at the same time as working toward his PhD.
Hunter Hayes, The 21 Project: The fresh-faced country star’s latest album is a 3-CD concept set which features seven songs recorded three ways: in the studio as usual, acoustic, and live.
Little Mix, Get Weird: The U.K. girl group, who are big in their native land, are on their third album.
Seal, 7: Longtime producer Trevor Horn returns for Seal’s latest project. Angie Stone, Dream: This is the neo-soul singer’s seventh album.
Upcoming Album Release CalendarAll dates are for U.S. releases unless otherwise noted. Release dates are subject to change, and often do.
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I love this. Raury is certified. thanks for sharing. "I made a friend in North Korea, she taught me to meditate, I made a friend in Venezuela, Broken home but he's okay" - Raury
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[Edited 11/7/15 7:43am] “It means finding the very human narrative of a man navigating between idealism and pragmatism, faith and politics, non- violence, the pitfalls of acclaim as the perils of rejection” - Lesley Hazleton on the first Muslim, the prophet. | |
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 audio Chris Isaak It's been six years since Chris Isaak released an album of new material, so maybe that's why First Comes the Night is bursting with life. Even at its most languid, the Nashville-and-noir-inspired album is packed with swagger, heart and foot-stomping fun. You can listen to First Comes the Night above, one week before its release, and pre-order the record here.
The first single, "Please Don't Call," is a brilliant break-up jam that's dark and brooding, stuffed with damning lyrics ("We won't change so why should we pretend?") and a great melody. There's so much great territory to explore here and it's obvious that Isaak is having a ball, deftly switching gears from "Reverie," a twangy, torch number, and the tango-like "Kiss Me Like a Stranger," to the charmingly weird and high-octane "Don't Break My Heart" and the ivory-burning piano-driver "Running Down the Road." First Comes the Night offers up a looser-limbed and more vibrant Isaak than we've seen in a long time. All hail the ever-inspiring powers of Nashville, Tenn. Tracklist 1. "First Comes the Night" Deluxe:
Listen to the album: http://www.npr.org/2015/1...-the-night Just Music-No Categories-Enjoy It! | |||||
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Upcoming Music Releases:
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She's good ain't she? Did you see the pics I posted in thread Part 11? Super hot and can sang too. Just Music-No Categories-Enjoy It! |
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A towering standout on Carla Morrison’s new album, Amor Supremo, "No Vuelvo Jamás" is a pining anthem that opens with the Mexican singer-songwriter delivering a cascade of wordless syllables that sound less like a human voice than a wind instrument. Her overture is punctuated by an emphatic drumbeat and ominous piano chords, then an electric guitar crashes down around her. Yet, she remains unfazed by the commotion, as she half-whispers lyrics about losing herself in lovelorn madness ("locura desmedida") and succumbing to a yearning that hurt worse ("más dolor") than physical wounds. Morrison’s voice wavers and twirls, suggesting a less forceful Florence Welch or a more grounded Jeff Buckley. This is pop music with a healthy sense of grandeur.
The song itself is one long, careful, patient crescendo, and by the halfway point, it seems to have reached its climax. But then something unexpected happens: Rather than let the momentum subside, Morrison and her band coast on that cresting wave for several more minutes, maintaining that tension without sacrificing any nuance in her vocals or resorting to ostentatious melodrama. It’s a big moment on an album full of big moments—on an album that is, in fact, all about big moments. These wounded love songs evoke great wellings of despair and desire, amplifying and ennobling those emotions in a way that ought to be comprehensible and relatable even to those listeners who don’t speak Spanish.
A native of the Baja California region of Mexico, Morrison has been a central figure in the extremely tight-knit and defiantly independent Mexican pop community for just six years, releasing a steady stream of EPs and LPs and winning two Latin Grammys for her 2012 album Déjenme Llorar. Although she has recorded with a range of Mexican artists—including the singer-songwriter Natalia LaFourcade, the Monterrey band Kinky, and Tijuana producer Alejandro Jiménez, better known as Jandro—Morrison may be best known to American listeners from her cameo on Calexico’s Edge of the Sun earlier this year or from the 2012 documentary Hecho en México, about the Mexican indie scene. Both showcased her distinctive vocals, but neither suggested Morrison was capable of something as impressive as Amor Supremo.
In fact, nothing in her catalog sounds anything like this album. Her previous work has generally adhered to acoustic instruments and mixed new rock and pop sounds with older Mexican bolero and ballad traditions. With each subsequent release, however, Morrison has grown bolder and more adventurous, and the title of her 2013 EP—Jugando en Serio—sums up her approach perfectly. That sense of playing seriously culminates on Amor Supremo. As she explained to Billboard in September, she recorded the album over eight months in a house near the beach in Playas de Tijuana, "where we could hear the ocean all day." There she worked with producers Jandro and Demian Jiménez as well as a rotating group of musicians to find a new sound—one rooted in Mexico but embracing international trends and ideas.
First single "Un Beso", released in September, heralded a dramatic change and introduced the elements that color Amor Supremo: the disembodied drums, the shimmery synths, the cathedral organ, and the stabs of Lynchian guitar. What’s remarkable is how much mileage she gets from these few instruments. They provide the foundation for every song, but there’s always a twist, always some new combination that prevents the music from becoming repetitive or tired: the Middle Eastern strings on "Cercanía", the prismatic synth theme on "Mi Secreto", the weightless rhythms of "Tú Atacas", even the crackle of guitar on "Azúcar Morena", which sounds like a fuse being lit. Even when the production becomes gauzy and blurred around the edges, it’s usually to emphasize the emotional specificity of her vocals, which are forceful but not overpowering, wounded yet strong, pleading but never whiny. Even the way she sings a simple word like "tí" can stop you short.
Morrison commands these songs, cuts across the language barrier, makes you understand something beyond the words. And the words are important here. In shedding her old musical palette, she embraces trends and traditions that sound more international in scope, and these songs draw from a range of influences, including American soul and European pop. And yet, she continues to sing exclusively in Spanish, even when an English-language album might have more commercial potential.
It’s a crucial decision, one that implies there are certain emotions and ideas—certain big moments—that are specific to Mexico and expressible only in her native language, whether it’s the particular sugar she tastes on her lover’s skin ("Azúcar Morena es tu piel") or a personal struggle she knows she must overcome ("Esta lucha es solo contra mi"). All moments are big moments, and that epiphany makes Amor Supremo one of the most rewarding and genuinely moving pop albums of 2015. Just Music-No Categories-Enjoy It! |
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New York singer songwriter is back with a follow up to her lush, dreamy EP "SEVEN" with "THE SWITCH", a collection of songs that often pay homage to the vocal and msuical stylings of none of than The Kid himself, Prince. Had the good fortune of meeting this dynamic young lady after a concert performance last year, not only is she a solid, cohesive artist with the sweetest soprano, but she is absolutely gracious and warm in spirit...total salt of the earth:
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Tom Jones announces new album Long Lost SuitcaseListen to covers of The Milk Carton Kids and Gillian Welchby Ben Kaye
on October 30, 2015, 2:40pm
 Tom Jones released his new autobiography, Over the Top and Back, earlier this month via Blue Rider Press. Today, the iconic Welsh singer has announced a companion album, Long Lost Suitcase, due out on December 4th. Coming from S-Curve Records, the 13-track album features 11 cover songs alongside a pair of new original tracks. Jones began working on the album alongside producer Ethan Johns, son of frequent Rolling Stones producer Glyn Johns, right around the same time he signed on for Over the Top and Back. When Jones noted that the songs they were recording lined up to moments in his own life, “Ethan said, ‘It’s like a bloody autobiography,'” Jones revealed in a press release, “and I said, ‘Well, funny you should say that, because I’m actually working on one at the moment.'” From there, the pair began picking songs that specifically fit into Jones’ life story. Some of the covers chosen include “Everybody Loves a Train” by Los Lobos, “Why Don’t You Love Me Like You Used to Do?” by Hank Williams, The Rolling Stones’ “Factory Girl”, and Willie Nelson’s “Opportunity to Cry”. The album also features Jones tackling The Milk Carton Kids’ “Honey, Honey” and Gillian Welch’s “Elvis Presley Blues”, both of which have been released as previews of the record. Take a listen below.
Long Lost Suitcase Tracklist:
Sir Tom Jones' autobiography is sadly not a kiss and tell- Book reviewsIN the tradition of so many autobiographies these days, Tom Jones’ doesn’t tell you what you really want to hear. 00:01, Fri, Oct 2, 2015
THE VOICE: Working-class hero Tom Jones was a breath of fresh air There is just one line on alleged affairs on the road despite a long marriage to childhood sweetheart Linda: “The road will set temptations in front of you that are hard to resist.” What you are left with is a riotously enjoyable story of Jones “The Voice” which nicely doubles as the story of British pop and light entertainment from the Sixties onwards. Our young hero is born into a warm, working-class family in Pontypridd in 1940, who liked to show off by singing at family parties.
It wasn’t until he was taken ill with tuberculosis aged 12 and was quarantined at home that he started to take music seriously. The family found him a THE VOICE: Working-class hero Tom Jones was a breath of fresh air rare TV to keep him amused but it was the “large, brown electricpowered radio” that nourished him in those days. “This would have been the first time I listened to music properly – not just hearing it, but attending to it, absorbing it.”
The young soul fan rapidly became a husband and father when Linda fell pregnant with only child Mark and to keep the family, he mixed jobs on building sites, in a factory and selling vacuum cleaners with fronting a rock band who did well locally. The band were spotted by ambitious manager Gordon Mills whose wife’s opinion of Jones was: “I’ve never seen anything so male in my life.”
And from Mills’ composition It’s Not Unusual onwards, which allowed Jones to grind those hips around the world, it was a showbiz career of colourful ups and downs. Jones and co-writer Giles Smith have penned a manly but not overtly macho book from a classic working-class hero packed with the kind of showbiz tales you don’t get any more.
No drugs for Jones, even when dished up in a heap at a party at Lulu and Maurice Gibb’s house. Tom is a pint-in-a-pub man and more likeable for all that. It seems to have given him a better memory than some memoirists.
There’s a great incident where Mills decides to build a primate house for rescued animals in the grounds of his country home. “I called it a monkey house once he didn’t like that.
I said, ‘But it’s where you keep your monkeys’. He said, ‘They’re not ******** monkeys’.” Said “monkeys” ripped off women’s clothing, tried to chat up Linda and sexually assaulted Tom. Rum old days, the Seventies. Jones contrasts the success and excess he found in showbiz with the darker times.
At the opening of the book, it’s 1983 and he’s playing the dinner circuit in the States. Knickers are still thrown “albeit now in a kind of low-key, heritage way”. About the same time, Michael and La Toya Jackson knock on the door of Jones’ LA mansion because they’ve always wanted to look inside. After being shown pictures of Jones with The Beatles, Dusty Springfield, Elvis and Frank Sinatra, Jackson says, “Wow, Tom.
You’ve had a great career.” Jones immediately corrects him. “I’m having a great career.” And, following his rediscovery in the Nineties, he really was. Jones is a charming, matey voice and the book is a terrific, star-studded journey through the world of entertainment.
Even after meeting some of the greats, such as Elvis (who asks him what drug he takes to keep normal) and Sinatra (who takes an interest in Jones’ parents), Jones still retains an innocence and freshness that is rare in an international sex symbol.
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New Album Of Previously Unheard Jeff Buckley Recordings To Be Released
November 12, 2015 5:02 AM ET
 1990s revivalism may be entering its dwarf-star phase without ever having shed proper light on itself. Last week, the 22-year-old rapper Vince Staples argued that for his generation, hip-hop's official Golden Age matters less than the viral onset of 21st-century stars like Soulja Boy. A flash of outrage was followed by the acknowledgment that Staples had made a perfectly reasonable point. Meanwhile, the only arguments assessing why people are now bingeing on the Spice and Gilmore Girls are either blithe listicles (even the inevitable vaguely ironic New York Times think piece, by Kurt Andersen, said little more than, "Hey, the Clinton era was awesome") or fretting about millennials' "early-onset nostalgia." Deeper questions about what made the 1990s distinctive remain largely unaddressed. Maybe that's because we think we know what made the 1990s special, particularly when it comes to music. Nirvana! Biggie and Tupac! If you're a raver, Daft Punk! The decade's icons seemed to each move in his or her own stream; though movements/marketing strategies like grunge, Lilith Fair and backpack rap had occasionally intersecting audiences, at first glance they don't add up to a movement the same way the 1960s counterculture or even various takes on 1980s New Wave did. In fact, they can seem deeply divided geographically, in terms of demographics and even in ruling principles. 1990s rock was a rebellion against excess while Golden Age rap expanded in response to new resources and opportunities. Feminist singer-songwriters called for self-respect and self-nurturing while ravers indulged in chemicals and infantile pleasures.
Sometimes, though, it's useful to consider a figure who's something of an outlier, a singular talent less bound by ties to a particular scene, to better grasp the underlying character of a particular artistic moment. Jeff Buckley stands out that way. The artist's latest posthumous release, You and I, is a collection of very early recordings coming out on Legacy Recordings in March (you can see the complete track list at the bottom of this page). These songs, mostly covers including the version of Sly and the Family Stone's "Everyday People" you can hear in full on this page, illustrate a quality found in many 1990s cultural touchstones: a responsiveness to history that both acknowledged a debt and insistently moved beyond its often oppressive shadow. Buckley, an extravagantly gifted singer-songwriter who released one studio album, 1994's Grace, before drowning in the Mississippi River at age 30, stood apart from the milieus that now epitomize his time. He learned his craft in New York City, not Seattle; he made lush, jazz-influenced rock disconnected from the punk ragers and hip-hop battle rhymes favored by his peers. His florid crooner's wail and unabashed emotionalism make him kin to female peers like Tori Amos and P.J. Harvey, yet these affinities remained mostly implicit. "As it happened, Grace was received with mixed feelings from critics who probably thought they were getting the next great alt-rock savior, and instead felt they'd received dinner theater for the moody crowd," Dominique Leone wrote in Pitchfork when the album was re-released in 2004. Beyond his considerable cult, Buckley came off as something of an oddity: an astounding performer who didn't know how (or couldn't muster the will) to focus and fit in. In death, Buckley remains that singular figure, his reputation burnished to a glow by time but not quite absorbed into history.
Yet Buckley did share a particular subject position with Kurt Cobain, Tupac Shakur and Polly Jean Harvey. He was born in 1966 to parents enmeshed in the counterculture. He belonged to Generation X; artistically, as a devotee of Nina Simone and Sly Stone, he also insistently claimed a place within the cohort of color Nelson George dubbed "post-Soul." (Read Daphne A. Brooks' excellent short book on Grace for more on Buckley's musically interracial bona fides.) It's been difficult for this relatively small generation to claim a full, clear moment in the cultural spotlight — this might be why you'll hear fewer X-ers than millennials remembering the 1990s with pure glee. Raised with the insistent noise of their parents' liberation movements ringing in their ears, chased by the helicopter parenting-revved footfalls of a generation just younger, X-ers and post-Soul babies have been, in many ways, reformers and revisionists, correcting the excesses of the baby boom while drawing out connections those elders were too self-absorbed or stoned to fully articulate. The 1960s sat on the 1990s in a strange way, too distant to serve as a viable dreamscape but too present to fully make room for new visions. Open rebellion against the counterculture seemed almost retrograde, but so did accepting its vestiges. 1990s artists grappled with this heavy shadow by both questioning countercultural values and refashioning countercultural styles. Jeff Buckley's music did this in rich, unexpected ways. Consider Buckley's repertoire, elegantly laid out in these excavated, mostly solo recordings from his first session after being signed to Columbia Records. He was known for the eclectic range of his cover versions. The ones collected here do not seem like scatterbrained selections; they form a very clear map. Taking on Sly Stone and Bob Dylan, Buckley proves he can take on canonical 1960s songs without imitating their originators. He shows his affinity for those who've already worked through the burden of classic rock, embracing both the decadence of Led Zeppelin's "Night Flight" and, on two tracks, the more stringent troubadour reworkings of The Smiths. Yet Buckley is also careful to demonstrate his knowledge of other music in order to free himself of the paternal burden of the '60s. His forays into jazz standards and blues obscurities fed a growing mastery that went beyond apprenticeship to his father, the psychedelic folk pioneer Tim Buckley, who had in fact mostly been absent from his life. It also complicated a classic-rock lineage that for many X-ers felt oppressive, something Cobain's public championing of obscure punk did for him or Tori Amos' way with piano bar favorites did for her. More important than his song selection was the way in which Buckley completely reworked this material. In her book, Daphne Brooks quotes Buckley on his process: "When I sing, my face changes shape. It feels like my skull changes shape ... the bones bend." What this statement indicates is Buckley's dedication to making songs bend — his understanding of music-making as an act that refashions texts and makes them legible to new ears. Buckley's music foregrounded process, and that process involved fully absorbing the songbook he'd carefully compiled, erotically melding with it, giving it not just new life but a whole new form, a new body. Buckley's most recognizable peers and inheritors, like Thom Yorke or Antony Hegarty, similarly take in and reconfigure musical sources in pursuit of new sounds that also mark time on music's long now.
This is one way to understand what 1990s music accomplished. It incorporated the past to create something that could be free of it. The task was more complicated than plain rebellion and more honest than the narcissistic pursuit of the new. In many ways, the 1990s was a bridge; but on that bridge, the best artists found a way to soar. You and I will be out on Columbia/Legacy Recordings on March 16. Track List: 1. Just Like A Woman (Bob Dylan cover)
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Upcoming Releases:
Eva Cassidy – Nightbird
Holly Miranda – There Are Ghosts In The Night & Ghosts In The Mind
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Christopher Williams - Too Late (Lyric Video)Tue, Nov 17, 2015Last month, Christopher Williams dropped his new single “Too Late” a smooth, step-worthy tune that has Williams trying to convince his love interest that he’s the best choice. “Why be so cautious, when everything you want is in your face / Don’t let it be too late,” he warns. This lyric video has supermodel Tocarra Jones stars as the leading lady. “It has been a long time coming since I released new music and words can’t describe how excited I am for my fans to see what I have been working on,” says Christopher. The time is now and I am ready to connect with them all as well as meet new ones along the way,” he adds.
Williams is currently on his "Simply Christopher" promotional tour making stops in Los Angeles, New York, Charlotte, Washington DC, Atlanta, Chattanooga, Birmingham, Chicago, Detroit and Dallas to name a few. “Too Late” will appear on her album Simply Christopher due out on May 6, 2016. Listen To Eryn Allen Kane's Debut EP 'Aviary: Act 1'Tue, Nov 17, 2015 Eryn Allen Kane is the truth. After dropping the previously release tunes “Slipping” and “Have Mercy,” the Detroit-raised powerhouse got the co-sign of Prince and even joined him on the socially-aware tune “Baltimore.” Now she’s dropping her own full EP called Aviary: Act 1. If you like soulful harmonies and thought provoking lyrics, Eryn has you covered. The opening track “Bass Song” is a refreshing display of that, it’s lush instrumentation, unpredictable melodic pattern, and not to mention her unique voice will have you spellbound to hear the entire project all the way through. And that’s not hard considering it’s only four songs. Too short, if you ask me. Included also is her “Piano Song” which you’ve probably heard on BET’s Being Mary Jane. Overall a great intro project from a new, emerging talent. Stream below and purchase on iTunes above.
Listen: https://soundcloud.com/erynallenkane/sets/aviary-act-1-1 Just Music-No Categories-Enjoy It! |
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