Coldplay Posts Animated Lyric Video for “Atlas”

September 8, 2013

Coldplay is giving us a preview of “Atlas,” the new song they created for soundtrack of the upcoming Hunger Games sequel, The Hunger Games: Catching Fire.

The group posted a lyric video for the track on Friday via their YouTube channel, which features a stream of the cut paired with animated footage of swirling stars and constellations.

In addition to being the first new Coldplay music since their 2011 album Mylo Xyloto, "Atlas" marks the first time the band has written a song for a feature film. The track is now available for purchase on iTunes.

http://abcnewsradioonline...atlas.html" target="_blank">Link

Identity said:

CD Out now!

Tigermending Carina Roundout

http://carinaround.com/ Playing NYC in Oct.

Carina Round interview • “I can get extremely maniacal when writing my own music”

When we last chatted you were just starting to pull your post major label career together and you were talking about how you’d found this wonderful community of like-minded friends in LA to help you out. What are your thoughts on that now, more than three years later?

The good thing about Los Angeles is, as I probably told you before, that it attracts a lot of strange and talented people from all around the world. Some of them are really talented, and some of them are nuts, and all of them being in this kind of circus together creates a really interesting energy. For all the bad press Los Angeles gets, I find it to be essentially quite a spiritual land. It’s in the middle of the desert, surrounded by beautiful scenery, and rather than having a defined centre like most cities it’s more like a circuit board of people and energy. The good thing about that is that it doesn’t automatically direct you to a particular area; it forces you to kind of burrow your own way in, to find your own family. Of course, that can go wrong at any point but if you are careful then it can lead to a really good network of people.

After a couple of years of being in any city you get to really see what it is behind the scenes, not just its cover. I think the people here are, for the most part, really forced to progress because it’s the kind of city where you can’t just come and expect things to happen for you without working really, really hard. Everybody here is trying to do the same thing as you, or better, so you’ve either got to be really, really good or really, really unique. So there are a lot of people who are just creating all of the time. For me it’s good to be around that kind of energy because, intrinsically, I’m a very lazy person. I think that anything that you create – whether it’s music or art or whatever – your location and surroundings have so much presence in the landscape of that record or artwork.

Do you feel like this album presents a very different kind of map of LA than Slow Motion Addict in that respect?

Certainly. For the most part, Slow Motion Addict was written in the UK and there were very different people involved. It couldn’t have been less organic compared with Tigermending. That’s not to say it wasn’t a good experience – it was a great experience – it was just completely different. I think it’s actually really interesting to listen to them back to back. For me, as an artist who likes to progress and change and get better at what I do, to create for myself a network that I feel is a growing life force, it’s interesting to see where I’ve come from.

Speaking of looking back, I wanted to talk about a few of the other things that have been keeping you busy between albums. I was really glad that you did the ten-year anniversary reissue of your debut album, The First Blood Mystery, and I was wondering what you got out of doing that, personally?

The main thing that inspired me to do it, initially, was that I wanted so badly to release that record on vinyl. Even though I find it difficult to listen to now, I still think it’s an important record for me as a person and for my career as a songwriter. Also, it helped me to do a couple of shows in the UK, which is something I had wanted to do for such a long time. Being so far away makes it really difficult and expensive for me to cross the water to tour. Using PledgeMusic allowed me to test the waters of the possibility that it could be a fan-funded expedition – and it worked – but it did make me realise how much money you actually need to do that kind of thing. The amount of money I thought it would take to do a fully-fledged tour was actually only enough to do two shows. It was like, ‘Oh, shit! It costs probably five times more to do a tour than I thought it did.’

Yeah, while fan-funded albums have become quite commonplace these days, it seems that fan-funded tours are still a growing area that not many people have really explored yet.

It’s difficult because you ask people for money so that you can go on tour and then somebody in Aberdeen says, ‘I gave you $200, why aren’t you coming to Aberdeen?’. It’s much harder asking people to fund a tour because, you know, no amount of money will help me to afford to play in everybody’s city.

One of the other things you’ve been working on is your side project band, Early Winters, which is a very different sound for you. Would you say it was a sort of freeing experience to write within a more rootsy, straightforward framework?

Yeah, absolutely. It’s something that I’m really glad I did. I really wanted to write that kind of stuff because I knew that I could come up with those sorts of melodies. I also wanted to be in a situation where I was with other people and all of us were equal, where nobody had the last say. I wanted to relieve myself of that kind of pressure, I suppose, to open myself up to just letting go and using the energy and people in the room to make the best that you can out of what you have. I can get extremely maniacal when I’m writing my own music, really pressured and obsessive, so it really was a freeing experience to not get that way.

I read that when working out the vocal arrangement for ‘The Secret Of Drowning’ on Tigermending, you locked yourself in a room for three days just singing the same lines over and over again.

Over and over and over again. The entire dynamic is made up of vocals, which is something that I really wanted to do with the backing track [sent to Carina by long-time supporter Dave Stewart], so I locked myself in a room – actually this one I’m speaking to you from – for 72 hours and sang that song until it was done. I almost lost my mind but it was so satisfying when it was finally done.

You’d been writing that song on and off for several years. Did you ever get to the point where you were like, ‘I’m never going to be able to do this, I’m just going to give up?’

No. I knew there was something that I was going for, and even if I didn’t entirely know what it was I knew that it was obtainable, that I just had to keep at it. What I wanted was in my head and I just had to make it work. I guess I got in a trance or something, I don’t know. I just know that I was really hungry when I finished [laughs].

On Tigermending you worked again with Dan Burns on production, was that always going to be the case? Was there ever any question of working with anyone else?

No, never. We worked together on Things You Should Know but it wasn’t like we took time off before starting work on Tigermending – we were working on songs for the album before the EP was finished, so it was more consistent than that. It was clear from the beginning that Dan’s production style and my production style were really compatible, and that working together was going to open us both up to new and better things.

Do you have a proudest accomplishment on this album, from the production side?

There’s a couple. For instance, ‘You Will Be Loved’ – I can’t explain what went into producing that song. And ‘Girl & The Ghost’…I completely took that song apart after it was recorded and put it back together again, which is something I also did with ‘Weird Dream’ and ‘The Secret Of Drowning’. It was so unbelievably freeing. There are things on this album that I’ve wanted to do before but I never had the knowhow. It’s hard to experiment, in a way, when you’re relying on someone else to do all of the production. It’s like asking someone to read my fucking mind. Working with Dan was great because he taught me how to do some things, which allowed me to work on one song while he was working on another and then bring the album together that way. Working with a producer has never felt so connected before.

You’ve said that you want to make a video for every song on the album – is that still your goal? And if so, how’s it going?

I’d love to but those things are fucking expensive. I’ve toyed with the idea of giving people the songs and letting them make their own videos. I mean, they can do that anyway if they want to, but just taking the audio from the record, making a video and putting it on YouTube.

Do you enjoy making videos then? Do you get a lot out of it?

I hate making videos. I hate being in them. I hate it more than anything. I can’t even watch them for the most part after they are done. But I really would love to have a video for every song. Not necessarily my own treatment, just the way that someone else sees the song.

As we touched on earlier, you’ve successfully used PledgeMusic to fund a number of projects now. What tips would you give to other artists hoping to make the most of the platform?

I’d say post as many updates as possible, which is something I don’t do. Actually, the best piece of advice someone could have given me is to factor in all your expenses before you decide on an amount that is going to be satisfying for what you need. It costs more than you think it’s going to cost – way more than you think.

Yeah, I’ve heard some horror stories from other artists who have drastically underestimated things like postage costs etc.

I lost so much money when I re-released the first record on vinyl. Like, a thousand dollars. I’m glad I did it because it’s something I really wanted to do, but I lost a lot of money. So I will say to others, factor in all your postage costs and factor in the commission that they’re going to take. Another thing I will say is to get as many of your friends to help you as possible, because I took it on myself and I almost had a nervous breakdown. But definitely do it, because it’s worth it and it’s satisfying. Also, do as many updates as you can. And if you are a lesser known band, I would say to expect the majority of people’s pledges to be under $100, so provide as many interesting incentives under $100 as you possibly can.

Brave Enough: Live at the Variety (DVD/CD) Out Oct 22nd.

[Edited 9/9/13 18:39pm]

From Sango titled North:

[img:$uid]http://f0.bcbits.com/img/a4062848838_2.jpg[/img:$uid]

http://soulection.bandcam...lbum/north

MickyDolenz said:

The first time you hear it, it sounds like a classic. I'm ready for the Diving Board if there are more songs like this.

http://www.rachaelyamagata.com/ EP out now.

courtesy photo

by Chance Solem-Pfeifer

Basia Bulat, the master of suspense.

The Canadian singer-songwriter has collected praise for multiple aspects of her work, since her debut album, Oh My Darling, captured international attention in 2007. Acclaim for her unique authority of stringed instruments from the autoharp, guitar, mandolin, dulcimer harp and now (slowly, but surely) the charango. Acclaim for the sweet and gospel-inspired bellow of her vocal tones. Acclaim for the eloquence of her two albums of confessional-sounding lyrics.

And now, with the opening lines of her forthcoming album Tall Tall Shadow, she’s a craftsman of the twist.

The towering darkness of the title looms larger and dangerous on the title track, the record’s first single. And then Bulat croons the disclaimer, “You’re running away, but the shadow is yours.” She sets the tone for an introspective third album that portrays the malice of an outside world as the companion — and sometimes, the product — of the self.

With that admission comes a joyful catharsis, a play that Bulat spars with throughout Tall Tall Shadow.

“There’s a lot of songwriters I love who are very quiet and very sad, but you still feel happy after listening to it,” Bulat says. “That’s one of the mysteries I guess, about how you can sing something sad or difficult but do it with joy. I want to make something beautiful, but I want to tell the truth, and sometimes the truth is ugly.”

To make an album that marries the ugliness and the beauty, that carefully withholds some of the folk brightness of her previous albums, Bulat enlisted the help of co-producers Mark Lawson (who won a Grammy Award for his work on Arcade Fire’s The Suburbs) and Tim Kingsbury (of Arcade Fire), as well as a variety of recording spaces in Canada.

Tall Tall Shadow will be released internationally on Oct. 1 on Secret City Records, and this week Bulat will play four solo shows across the Midwest opening for Jim James (My Morning Jacket). Bulat and James will perform at Slowdown on Tuesday night, but first the Toronto songstress spoke with Hear Nebraska about why she finds reflection difficult and answered some of the first questions about songs on her forthcoming record.

Hear Nebraska: I was actually just watching — a whole bunch last night — the live video of “It ...of Ontario. The charango part you did is pretty intricate on those songs. I was curious, with all the different stringed instruments that you play, what do you dig about the voice of the charango? How does that one stand out to you?

Basia Bulat: It's kind of like the newest instrument that I’ve been slowly learning to play. I guess I don’t play it in the traditional way. It’s actually a really challenging instrument to play in the classical method, but I first heard it played traditionally by a friend of mine from Peru.

So it started out with me wanting to play the traditional way, but it’s way harder than anything I’ve ever attempted in my life. I've kind of figured my own style that’s inspired by it. But I’m still slowly learning. I have a bunch of books and CDs for the classical method, but it’s a lot more complex.

HN: If you can explain it without it being too complex, the fingerpicking part you’re doing on “It Can’t Be You” is really quick and it seems really intricate to me. How is that different from the way the charango is normally played in the Andean tradition?

BB: It is and it isn’t. It’s just the pattern itself is slightly different. The fingerpicking I have is maybe more influenced by North American folk music, like guitar playing or banjo playing. On charango, you can use all four fingers and you can really quickly play tremolo strumming and these songs — it’s just a little more complicated (laughs).

I’ve never actually been to South America and I really hope I get to go one day. Because I love a lot of music from South America. Not just folk music, but also Tropicália and Brazilian rock music.

I guess I was drawn to charango, as well, because it seems so small and so quiet, but it’s capable of so much. I guess I get drawn to instruments like that. I guess I was sort of surprised by the range of it. Even though the actual sonic range is sort of in a higher range of notes, in terms of the depth or expression it can have — I haven't fully mastered that — but it’s capable of a lot of things. When you hear someone who really knows how to play it, it’s mesmerizing.

HN: Sidenote — have you ever played one of the ones with the actual armadillo bodies? Cause that’s the traditional construction of the instrument, right?

BB: Yeah! A friend of mine has one. He’s a folk and gospel musician in Canada. His name is Ken Whiteley. He was given one as a gift so he had one in his studio and I looked at it. It’s actually a little bit smaller. I think it’s almost like concert size. Mine is a little bit larger. I have held one, but mine are made of wood. Mine are not made of animals. (Laughs.)

HN: Let me move then to Tall Tall Shadow. It’s out in a month and it’s probably — I would imagine just by virtue of the fact that the people who are familiar with Oh My Darling probably got to that place kind of gradually — that it’s your most anticipated release. You had a label right off the bat. How are you feeling about the record one month out from everyone hearing it?

BB: I just feel lucky that I get to do this, more than anything. Being able to tour these songs and tour all over the world and play with Jim James these are all things that right now I’m feeling a lot of gratitude.

I mean, I’m excited for everyone to hear it, but I’m almost in a space now where I‘m trying to figure out cool ways to play these songs live. Once it’s done, I’m not really thinking about how it’s going to be received and all that.

HN: I remember you saying leading up to the release of Heart Of My Own — this might have been on Q where you said this — that you think it’s good to feel a little bit naive about the music business and the whole rigamarole of the way that works. As you jump into it again, do you still feel that way?

BB: I think at the end of the day, the record is for more than just the next six months. And I think right now people get obsessed about that. Obviously, it’s wonderful and it’s great to have promotion behind a record and I want people know that it exists and that can only happen in a certain way, but there are records that I’ll find from 50 years ago that don’t have a PR campaign behind them now.

Maybe “naive” is not the right word. I’m glad there is a music business, whatever is left of it. But at the end of the day, there’s lots of music from 300 years ago or 200 years ago that’s beautiful and your hope is you’ll make something that lasts and isn’t just a flash in the pan.

HN: Let me go then to the making and the writing of the record. Just hypothetically, what do you think would have been different about Tall Tall Shadow — aside from the fact that some of the songs may not have been written yet — if you had taken two years instead of almost four. How different of a record would we be looking at?

BB: I don’t know. It’s impossible to say. It’s so hard to speculate on the something like that. There’s so many things. I mean, the thing is I've been writing the whole time. There’s lot of songs that I’ve written in the past three years, that I haven’t put them out.

I've been in a lucky situation where I haven’t felt pressured to do anything in that regard. Maybe now I have pressure on myself. It’s hard to speculate on something like that. I’m not the same person I was yesterday.

HN: On that note, how do you reflect if we go back further? With the success of Oh My Darling and the singles, people still may point to that album as how they know you. How do you reflect on Oh My Darling at this point?

BB: I don’t know. I don’t really. (Laughs.) I try not to dwell too much on the past. I still play the songs live. People have found my music in so many different ways.

I just feel like I’m just starting out, like I’m perpetually in a stage of trying to find things that are new to me. I hope I’m not making the same record over and over. However people find me is great. If they’ve lasted that long, that’s already great. I hope it lasts a little longer than seven years.

HN: What about thinking about those older songs, Basia, not from a public standpoint. If you think about Basia the writer from 2007 who wrote “Before I Knew” and “In The Night” an “Snakes and Ladders,” does that feel very different to you?

BB: Of course. I’m not a completely different person in the sense that I’m unrecognizable. But of course things have changed. I guess I haven’t really thought about it too deeply, maybe I should, but I don’t necessarily know if it’s healthy to spend time dwelling on your past work. I’m not that kind of person, I guess. The thing I like about playing those songs live is I can still find ways to make them feel new.

I’m sorry, I guess I don’t really have those answers. I don’t spend a lot of time self-analyzing. There’s no living in the past, it’s all about now, you see? (Laughs.)

Secret City Records will release Basia Bulat’s long-awaited third album, Tall Tall Shadow on September 30th / October 1st. Co-produced with Grammy-winning engineer Mark Lawson and Arcade Fire’s Tim Kingsbury, Tall Tall Shadow marks something of a departure from her earlier work. “This time around I felt braver,” Basia says, “I wanted to play with electric and electronic sounds, exploring the boundaries of the folk music some people know me for.”

We've just announced the first string of tour dates in support of the album, more will come shortly including an European tour.

TOUR DATES
08/13/13 - London, UK - Servant Jazz Quarters
08/31/13 - Dundas, ON - Christie Lake Conservation (Harvest Picnic)
10/01/13 - Montreal, QC - Cabaret du Mile End
10/04/13 - Quebec City, QC - Le Cercle
10/05/13 - Ottawa, ON - National Arts Center
10/10/13 - Toronto, ON - Polish Combatants Association
11/06/13 - Stoughton, WI - Stoughton Opera House
11/07/13 - Chicago, IL - Schubas
11/08/13 - St. Louis - Off Broadway
11/10/13 - Cincinnati, OH - MOTR Pub
11/12/13 - Nashville, TN - The Stone Fox
11/13/13 - Decatur, GA - Eddie's Attic
11/14/13 - Asheville, NC - Grey Eagle
11/15/13 - Carrboro, NC - Cat's Cradle
11/20/13 - Philadelphia, PA - Boot & Saddle
11/22/13 - Somerville, MA - Johnny D's
11/23/13 - New York, NY - Bowery Ballroom
11/29/13 - Calgary, AB - Festival Hall
11/30/13 - Edmonton, AB - Avenue Theatre
12/04/13 - Victoria, BC - Sugar Nightclub
12/05/13 - Vancouver, BC - The Rio Theatre
12/06/13 - Seattle, WA - Barboza
12/07/13 - Portland, OR - Doug Fir Lounge

[Edited 9/10/13 10:06am]

The new album from Earth, Wind & Fire, Now, Then & Forever, marks a return to the signature sound that made them international superstars. After an eight-year absence from the studio, the legendary band takes center stage with ten all-new, vibrant, energetic songs befitting one of the most beloved ensembles in music history. From the rich tenor vocals of Philip Bailey to the deep-groove rhythms of bassist Verdine White and percussionist Ralph Johnson - not to mention the stellar horn section - Now, Then & Forever features all the elements that made them international superstars. Features the feel-good celebration of love "My Promise," the socially-conscious "Sign On," and the fun, funky anthem "Dance Floor." Out now!

Out now! http://www.mylasmith.com/

2012 interview:

Myla Smith

Last time we spoke to Myla Smith, she was becoming the new face of American Folk music, now her new EP, “Drugs” has made it to Amozon’s Best-Sellers list. Her new music video: “Slow Down”, which Sonic Eclectic is proud to feature, has also been a huge success on YouTube. With her hard work as an independent artist and amazing vocals, Myla is definitely making a name for herself.

London is the first scheduled release from Banks and includes four tracks.

The intro track, “Waiting Game”, is the only previously released track out of the four, and is the first time Banks gives listeners a taste of a piano- based track. The song takes a dark turn as she painfully sings about love.


The EP is available to purchase on Itunes, or to stream via Spotify.


Track listing:


01 "Waiting Game"

02 "This is What it Feels Like"

03 "Bedroom Wall"

04 "Change"

This is going to read cliché but if you listen to Cody Chestnutt, Gary Clark Jr. or Robert Randolph, you may very like and enjoy Black Joe Lewis. They have new music for the year and it is worth your ears time.

http://www.blackjoelewis.com

This group has new music out as well, they may seem pretensious but they sound good doing it. Check out Franz Ferdinand for your consideration.

http://www.franzferdinand.com/

My last entry for tonight and yes again a good group with new music out this year, listen and experience once more Bloc Party.

http://blocparty.com

Keep posting guys good stuff!

Last June 8, Charice revealed that she will be releasing her 3rd album in the Philippines. An album that she dedicates to her Filipino fans (and to her international fans as well) who waited a year for her to release new songs and some other stuffs. Now that Charice is back in to business, fans raves on her comeback with the new album entitled “Chapter 10“.

In an interview with ABS-CBNNews.com, Charice shares her excitement with the new album, “I’m excited kasi nung first day nga na nag-record ako, sabi ko sa sarili ko finally makakanta ko na ‘yung mga songs na gusto ko. Itong album na ito, ‘yung mga songs na paborito ko na may koneksyon din sa life ko. Not only sa buhay ko, pati na rin sa lahat ng mga tao. Very masa. I’m very excited,”

Charice’s new album “Chapter 10″ will consist song covers that means a lot to her. Inspirational songs that will surely suit everyone’s taste when it comes to music. “Chapter 10″ includes the song which Charice and Cheesa wrote called “Unexpected Love” and possibly Charice’s cover of Bryan Adams’ “Everything I Do, I Do it For You“.

She’s still working on some songs to be included in the album and as soon as the recording process is done, she’ll fly back to US to fulfill her commitments there. She will sing the US National Anthem in a big event there and will also do some photo shoot and probably guesting’s as well.

After which, she will return to the Philippines for the release of her new album “Chapter 10” under StarRecords. The album will be released by September and will be available for download on iTunes, Amazon, and MyMusicStore.com.ph.

Tracklist:
01 – Unexpected Love
02 – Everything I Do, I Do It For You
03 – Sometimes Love Just Ain’t Enough
04 – When You Say Nothing At All
05 – Anything For You
06 – How Could An Angel Break My Heart (Feat. Alyssa Quijano)
07 – The One That Got Away
08 – Titanium
09 – Do You Know Where You’re Going To
10 – Makita Kang Muli
11 – Titanium (Brian Cua Club Mix Full)
12 – Titanium (Brian Cua Club Mix Edit)
13 – Yakap

http://audreyassad.com/

Audrey Assad - Fortunate Fall

OUT NOW!
Tracklist:
01 – Fortunate Fall
02 – Help My Unbelief
03 – Humble
04 – O Happy Fault
05 – Lead Me On
06 – I Shall Not Want
07 – Good To Me
08 – Felix Culpa
09 – Spirit Of The Living God
10 – Lead, Kindly Light
11 – You Speak

http://www.cyrilneville.net/

(The Blues) Cyril Neville describes his upcoming album "Magic Honey" as "musical gumbo." The 64-year-old percussionist and vocalist is enjoying a new lease of life with supergroup Royal Southern Brotherhood – but he's still found time to put together a 12-track solo record he believes will keep listeners guessing.

He says of the effort, "I'm extremely proud of this album. It's a tasteful, well-cooked musical gumbo that I think will be pleasing to the palates of music lovers.

"Making it was a spiritual event; we approached it like it was an important gig we were playing. All the tracks are first takes. The atmosphere was just that electric."

Neville was joined for recording sessions by 'Mean' Willie Green on drums, Craston Clements on guitar, Carl Dufrene on bass and Norman Caesar on keys, while producer David Z worked his own magic.

Tracklist:
01 – Magic Honey
02 – Swamp Funk
03 – Something’s Got A Hold on Me
04 – Another Man
05 – Still Going Down Today
06 – You Can Run But You Can’t Hide
07 – Invisible
08 – Blues is the Truth
09 – Running Water
10 – Working Man
11 – Money and Oil
12 – Slow Motion

CD Review: http://www.offbeat.com/20...f-records/

Creedence Clearwater Revival
Bad Moon Rising The Collection

Tracklist:
01 – Born On The Bayou
02 – Bad Moon Rising – Album Version
03 – Green River – Album Version
04 – Up Around The Bend – Album Version
05 – Sweet Hitch-Hiker – Album Version
06 – Ninety-Nine And A Half
07 – Proud Mary – Album Version
08 – Someday Never Comes
09 – The Midnight Special
10 – Fortunate Son – Live In Europe 71′
11 – Chameleon
12 – Cotton Fields
13 – Bootleg
14 – Tombstone Shadow
15 – It’s Just A Thought
16 – Born To Move
17 – Effigy
18 – Keep On Chooglin’ – Live 1970

Katie Melua - Ketevan

Tracklist:
01 – Never Felt Less Like Dancing
02 – Sailing Ships From Heaven
03 – Love Is A Silent Thief
04 – Shiver Ans Shake
05 – The Love I’m Frightened Of
06 – Where Does The Ocean Go
07 – Idiot School
08 – Mad, Mad Men
09 – Chase Me
10 – I Never Fall
11 – I Will Be There

Pink Martini - Get Happy

Tracklist:
01 – Ich dich liebe
02 – Quizas, Quizas, Quizas
03 – Zundokobushi
04 – Je ne t’aime plus [Feat. Philippe Katerine]
05 – Yo Te Quiero Siempre [Feat. Ari Shapiro]
06 – I’m Waiting For You [Feat. Meow Meow]
07 – Omide zendegani
08 – Uskudar
09 – Pana cand nu te iubeam
10 – She Was Too Good To Me
11 – Sway
12 – Kitty Come Home [Feat. The Von Trapps & Rufus Wainwright]
13 – Get Happy Happy Days [Feat. Rufus Wainwright]
14 – What’ll I Do
15 – Heliotrope Bouquet (Instrumental)
16 – Smile [Feat. Phyllis Diller]

Pink Martini is a musical group that was formed in 1994 by pianist Thomas Lauderdale in Portland, Oregon. Describing itself as a "little orchestra," its music crosses genres such as classical, latin, jazz and classic pop. The lead vocalist and principal songwriter for Pink Martini is China Forbes.

Lead singer China Forbes

with Nina Storey(Get her new CD it's awesome)

In January 2012, Thomas Lauderdale and our trusty audio engineer Dave Friedlander flew to Los Angeles to visit Thomas’s new friend, Phyllis Diller. While there, Thomas bought a dozen of Phyllis’s bright colorful paintings… and they recorded Charlie Chaplin’s “Smile”, which turned out to be Phyllis Diller’s final recording, and became the soundtrack for the many tributes to her when she passed away six months later.

Thus began the 18-month odyssey to record Get Happy, the long-awaited studio follow-up to 2009′s Splendor in the Grass, an odyssey which featured a calvacade of vocal royalty visiting our Portland studios, including Australian cabaret sensation Meow Meow, sunny French eccentric Philippe Katerine, the handsome and brilliant radio superstar Ari Shapiro, warm-hearted wunder-siblings The von Trapps, and a riveting appearance by the exquisite Rufus Wainwright! Sept 24th release.

http://stormlarge.com/

Crazy Enough Storm Large

Solo 2007 and 2009 release worth a listen. She performs with Pink Martini as well. She has a highly praised bio: http://www.amazon.com/Cra...pd_sim_m_5

With Pink Martini

[Edited 9/12/13 11:39am]

Get it FREE: http://www.caroemerald.com/ep/

Tracklist:
01 – I Belong To You
02 – Coming Back As A Man
03 – Completely
04 – Paris
05 – The Wonderfull In You
06 – Liquid Lunch

Live Blu-ray available Sept 30th

Phantogram (New York synth pop group consisting of Josh Carter and Sarah Barthel) are spending many laborious hours on their new project. Here's their often dark but catchy new single.

"Black Out Days" -Soundcloud


Website: http://phantogrammusic.virb.com

[Edited 9/13/13 11:27am]

[img:$uid]http://i.imgur.com/Dhc8Fwk.jpg[/img:$uid]

Paul McCartney Reveals Track List of Upcoming Album
Sep 13, 2013
Link

Here some cool news about New, Paul McCartney's upcoming studio album: The rock legend has unveiled some fresh information about the record, including its complete track list.

New will feature 12 songs, half of which were produced by Giles Martin, son of longtime Beatles producer George Martin. As previously reported, McCartney also teamed up with three other producers -- Mark Ronson, Ethan Johns and Paul Epworth -- each of whom collaborated with the ex-Beatles star on two tracks for the project. The album's running time is 46 minutes, 11 seconds.

In a statement, McCartney explains why he decided to work with multiple producers. "The original idea was to go to a couple of producers whose work I loved, to see who I got on with best -- but it turned out I got on with all of them!" he reveals. "We made something really different with each producer, so I couldn't choose and ended up working with all four. We just had a good time in different ways."

Sir Paul also notes that he likes the diversity of the material on New. "It's funny, when I play people the album they're surprised it's me," he points out. "A lot of the tracks are quite varied and not necessarily in a style you'd recognize as mine. I didn't want it to all sound the same."

McCartney recorded New at six different studios -- Henson Recording Studios in Los Angeles; Avatar Studios in New York City; Hog Hill Mill in East Sussex, U.K.; and Abbey Road Studios, Air Studios and Wolf Tone Studios in London.

New will be released on October 15.

Here's the track list:

"Save Us" (produced by Paul Epworth)
"Alligator" (produced by Mark Ronson)
"On My Way to Work" (produced by Giles Martin)
"Queenie Eye" (produced by Paul Epworth)
"Early Days" (produced by Ethan Johns)
"New" (produced by Mark Ronson)
"Appreciate" (produced by Giles Martin)
"Everybody Out There" (produced by Giles Martin)
"Hosanna" (produced by Ethan Johns)
"I Can Bet" (produced by Giles Martin)
"Looking at Her" (produced by Giles Martin)
"Road" (produced by Giles Martin)

Saw him on Jimmy Kimmel and liked his voice. A mix of El Debarge and Babyface type voice. CD NOW out!

His 2012 Highly praised CD:

Abel Tesfaye known by his stage name The Weeknd, is a Canadian recording artist and record producer. In late 2010, Tesfaye uploaded several songs to YouTube under the name "The Weeknd", though his identity was initially unknown. In 2011, he released three nine-track mixtapes: House of Balloons, Thursday, and Echoes of Silence, which were critically acclaimed.In 2012, he released a compilation album, Trilogy, consisting of remastered versions of the mixtape material and three additional songs. It was released under Universal Republic Records, and his own label XO. In 2013, he released his debut studio album Kiss Land.

The Weeknd has received praise from several music publications, including Pitchfork, MTV, BET,^[6]Rolling Stone, XXLand The Source.^[9]MTV's John Norris has dubbed him the "songbird of his generation" and the "best musical talent since Michael Jackson".

Phatogram graces the cover of the Filter issue # 53. This issue will be available for free download in the Google Play store for FREE for one week, starting Monday, Sep 16, 2013.

From Dpat titled In Bloom:

[img:$uid]http://f0.bcbits.com/img/a2094751144_2.jpg[/img:$uid]
http://soulection.bandcam...m/in-bloom

Paul McCartney ''New'' : impromptu acoustic performance


Last month, whilst getting ready to go on stage, Paul was caught on camera performing an impromptu version of his song ''New''.

From the debut album out today

The longly awaited vid for Lose Yourself to Dance has just been released.


Daft Punk - "Lose Yourself to Dance" Ft Nile Rodgers & Pharrell Wms


Video

Body Language

New album: Grammar


Fresh off the success of last year’s Social Studies album, Body Language have returned with a new album, Grammar. This release follows the critically acclaimed debut, which earned the approval of everyone from NPR to The New York Times to The Guardian.



Youtube - "Just Because" track


bodylanguagemusic.com/site

Paul McCartney - ''New'' (lyric Video)

Lulu James is a 21-year-old vocalist hailing from England. "The Sweetest Thing" is classic R & B intermixed with modern production touches.


"Sweetest Thing" - audio


lulujames.com

Three Winans Brothers (3WB)

There is no greater name in Gospel circles than Winans. The original Winans quartet paved the way for a generation of crossover Gospel artists. And younger siblings BeBe and CeCe became nearly as big. Combine Angie, Debbie, Moms & Pops and Winans Phase II, and you had a Gospel dynasty.

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Now three of the famous family members, BeBe, along with older brothers Marvin and Carvin, are performing together as 3WB, or Three Winans Brothers. They made their live debut at the historic 50^th Anniversary March on Washington ceremonies at the foot of the Lincoln Memorial in Washington, DC. The trio premiered their extraordinary new single, “If God Be For Us,” which will be featured on their as-yet-untitled debut album, slated for release in early 2014. Penned by BeBe Winans, “If God Be For Us” has been released.

Solange - "Lovers in the Parking Lot"
Solange is back with a new quirky vid.


solangemusic.com