Candi Staton released first U.S. gospel radio single since 2008

See Birdy’s ‘Beautiful Lies’ Album Artwork + Track Listing

Atlantic

Singer-songwriter Birdy is currently gearing up to release her third album and, almost like a belated Christmas gift, some of its key information popped up online earlier today (January 14).

Due to what may or may not be a technical error, Amazon UK unveiled what appears to be a full track listing for Birdy’s upcoming album, titled Beautiful Lies. The LP is set to include a total of 14 tracks with an additional four on the deluxe edition.

Beautiful Lies will include the album’s lead single “Keeping Your Head Up,” which Birdy debuted on January 1. Speaking about the track, she said (via Idolator), “I hope the song is inspiring, it’s meant to feel powerful and uplifting. It’s about finding a light in the dark, having the strength to hold on to it and overcome the times when we feel completely lost.”

The singer also posted a video to Twitter today (January 14) that echoes the visuals from the album artwork along with the caption, “My new album is coming! More info 15.01.16.”

Beautiful Lies will act as the follow up to her last album, 2013’s Fire Within. Birdy’s self-titled debut album was released in 2011, following the massive success of her first single: A delicate piano cover of the Bon Iver song “Skinny Love.”

Check out the (alleged) track listing for Beautiful Lies in its entirety (deluxe bonus tracks included!) below.

1. Growing Pains
2. Shadow
3. Keeping Your Head Up
4. Deep End
5. Wild Horses
6. Lost It All
7. Silhouette
8. Lifted
9. Take My Heart
10. Hear You Calling
11. Words
12. Save Yourself
13. Unbroken
14. Beautiful Lies
15. Beating Heart
16. Winter
17. Give Up
18. Start Again

Aubrey O'Day, Shannon Bex premiere sexy new Dumblonde vid.

It Is ''So Easy'' To Fall For /N/'s Intriguing Neo-Soul Groove
Link

It is always a pleasure to unexpectedly stumble across a new artist who instantly intrigues with the obvious quality of their expressive instincts and natural vocal talent. We were therefore swiftly impressed by the thoughtfully poised eclecticism and smoothly articulated sophistication of Danish singer Nina Kjeldgaard's neo-soul project, /N/.

Drawing on soul, electronic, jazz and pop influences, Kjeldgaard has centered the project around the richly alluring tone of her maturely self-possessed voice: a superbly measured and sensually tempered instrument that is perfectly suited for delivering her musingly introspective emotional sensibility, her voice positively sizzles with a seductively intelligent poise.


Singing of the nascent yearnings and emotional complications that come with matters of the heart over glitchy shimmers, mellow hues and brooding guitar, Kjeldgaard's /N/ - which includes musicians Christine Schoch Laursen, (keys/ vocal); Lærke Ølshøj, (keys, vocal, percussion); Julian Bethencourt, bass; Jens Jeppe Hyllested, (drums); and Thomas Damsgaard, (guitar) for live performances - makes for a neo-soul/electro-pop discovery that proves to be intriguingly engaging in its mellow introspection and soulful sensuality.


Soundcloud

[Edited 7/9/17 21:42pm]

UK group AlunaGeorge Share New Dance Track "I'm In Control" ft. Popcaan.

The duo's new album will be out this spring.

Soundcloud

[Edited 10/10/17 3:58am]

[img:$uid]http://i.imgur.com/1G92LY7.png?1[/img:$uid]


SoundCloud


Ray BLK

22-year-old British artist Ray BLK (Building, Living, Knowing) on her lastest song ''Talk to Me'':

"I wrote 'Talk To Me' about a guy I wanted to get to know. As a lot of my songs are, it was written in my bedroom, at 2am in January last year. I didn't put it on my EP but still wanted to release it."

Bout' Time.

Identity said:

He's deserving of more attention than he has yet garnered.

Identity said:

He's deserving of more attention than he has yet garnered.

Agreed!

New Albums Due February 2016: Foxes, Kanye + More!

Tabatha Fireman / Victor Boyko, Getty Images

As we settle into our new routines and early 2016’s chilly weather, February’s upcoming releases give us something to look forward to.

“Youth” hitmaker Foxes will release the followup to her 2014 debut album Glorious in the form of All I Need. Singles like “Body Talk” and “Amazing” suggest that All I Need may be even more suited for the dance floor than her previous effort.

Kanye West will also be making a comeback with his seventh studio album SWISH, preceded by the releases of “Real Friends” and “No More Parties in LA.”

And in an effort that proves early 2000s pop-punk is far from dead, Simple Plan are returning with their album Taking One for the Team, their first in five years.

Also worth noting is the debut album from MOTHXR, the musical project of former Gossip Girl heartthrob Penn Badgley.

Other names to look for include The 1975, Santigold, Elton John, Macklemore & Ryan Lewis, Wiz Khalifa, Junior Boys, and Yoko Ono. Read the full list of releases and their corresponding dates below.

February 5:
Foxes, All I Need
Elton John, Wonderful Crazy Night
Junior Boys, Big Black Coat
Wiz Khalifa, Khalifa
Eric Prydz, Opus

February 11:
Kanye West, SWISH

February 19:
Animal Collective, Painting With
Yoko Ono, Yes, I’m a Witch, Too
Simple Plan, Taking One for the Team

February 26:
The 1975, I Like It When You Sleep, for You Are So Beautiful Yet So Unaware of It
Macklemore & Ryan Lewis, This Unruly Mess I’ve Made
MOTHXR, Centerfold
Santigold, 99¢

Fergie to Perform at Summer Sonic 2016: Comeback Album to Follow?

Bennett Raglin, Getty Images

It was over three years ago that Fergie first announced (read: teased) that she was working on a followup to her critically acclaimed solo debut The Dutchess—which spawned five top-five hits on the Billboard Hot 100 chart. Now, WWD claims that album will drop in March. The site reports that Fergie shot her new album art and she’s set to shoot two new videos, one in Paris on Tuesday and a second in London soon after.

Fergie released “L.A. Love (La La)” back in September 2014—her first single in over half a decade—and its official video in November that same year. Yet her sophomore album seemed no closer to seeing the light of day, to fans’ dismay.

This past summer, Fergie updated fans on the status of the album, saying she was putting the finishing touches on it. As Idolator highlights, Fergie promised a 2015 release date, explaining “I’m getting all of my visuals together, all of my vision boards. Every song has a different character. I get completely into the details of an album… so this year it’s coming. I’m comin’ for ya!”

However, the remainder of 2015 came and went without a new album. Alas.

But as of today (January 25), it seems we may be closer to a Fergie comeback than we thought, thanks to a Japanese music festival announcement. The annual Summer Sonic festival tweeted its official 2016 lineup and, much to our delight, Fergie is slated as one of the headliners, as is Charlie Puth, whom she’s reportedly been working with in the studio.

Could this really be the Fergie comeback we’ve all been waiting for? The other high-profile artists on the docket would seem to suggest so. With names like Radiohead, Weezer, Two Door Cinema Club, and The 1975, Summer Sonic seems as good a place as any for Fergie to finally unleash her bombastic pop takeover.

Duran Duran Share Dates for Paper Gods Tour With CHIC

Anthony Harvey, Getty Images

UPDATE (1/25): Duran Duran have added more shows — and they’re bringing Shamir! See the updated dates below.

Duran Duran have announced a tour across North America in 2016 in support of their recent album Paper Gods.

The group will be joined by ’70s disco band CHIC, whose lead guitarist and co-founder Nile Rodgers acted as a producer on Paper Gods — Duran Duran’s highest charting album in 22 years — and has collaborated extensively with the band in the past.

The Paper Gods Tour will be broken up into two parts, with the first leg beginning on March 28 in Durham, NC, and ending on April 24 in New Orleans. The second leg of the tour starts on July 6 in Nashville and finishes on August 3 in Glendale, AZ.

Fans who buy a ticket to the show will also receive an email 24-48 hours after their purchase containing instructions on how to redeem a standard physical copy of Paper Gods.

A pre-sale will be available to members of the Duran Duran Fan Community beginning tomorrow (December 9) at 10AM local time through the band’s official website. Citi cardmembers will also have their own pre-sale, beginning on Thursday (December 10) at 10AM local time. And for those of you who have the Live Nation mobile app, a password-free pre-sale will begin on December 11 at 10AM for Ticketmaster-ticketed venues.

Finally, the general public will have access to tickets beginning on December 12 via Live Nation.

Check out the full list of tour dates below.

03/25 Niagara Falls, ON, Canada Niagara Fallsview Casino
03/26 Niagara Falls, ON, Canada Niagara Fallsview Casino
03/28 Durham, NC Durham Performing Arts Center+
03/30 Saint Augustine, FL Saint Augustine Amphitheater+
04/01 Miami, FL Miami Open Experience
04/02 Tampa, FL MIDFLORIDA Credit Union Amphitheatre*+
04/05 Bethlehem, PA Sands Bethlehem Event Center+
04/07 Uncasville, CT Mohegan Sun Arena*+
04/08 Washington, DC Verizon Center*+
04/11 Montreal, QC Bell Centre*+
04/12 Brooklyn, NY Barclays Center* (New York City area)*+
04/15 Atlanta, GA Philips Arena*
04/16 Charlotte, NC PNC Music Pavilion*
04/19 Dallas, TX American Airlines Arena*
04/22 Austin, TX Austin360 Amphitheater*
04/23 The Woodlands, TX The Cynthia Woods Mitchell Pavilion*
04/24 New Orleans, LA Smoothie King Center*
04/29 San Juan, Puerto Rico Coliseo de Puerto Rico Jose Miguel Agrelot

07/06 Nashville, TN Ascend Amphitheater*
07/08 Highland Park, IL Ravinia Pavilion* (Chicago area)
07/09 Highland Park, IL Ravinia Pavilion* (Chicago area)
07/11 Clarkston, MI DTE Energy Music Theatre (Detroit area)*
07/13 Toronto, ON Molson Canadian Amphitheater*
07/17 Mansfield, MA Xfinity Center (Boston area)*
07/21 Camden, NJ BB&T Pavilion (Philadelphia area)*
07/23 St. Paul, MN Xcel Energy Center (Minneapolis area)*
07/24 Kansas City, MO Starlight Theatre*
07/29 Las Vegas, NV Mandalay Bay Events Center*
07/30 Irvine, CA Irvine Meadows Amphitheatre (LA area)*
07/31 Chula Vista, CA Sleep Train Amphitheatre (San Diego area)*
08/03 Glendale, AZ Gila River Arena (Phoenix area)*

*denotes show with CHIC FEAT. NILE RODGERS as Special Guest
+denotes show with Shamir as support

Cyndi Lauper to Release Country Classics Album Called ‘Detour’

Sire Records

Cyndi Lauper is taking a musical detour with a collection of classic country covers, fittingly called Detour. The 12-track album includes guest features from Vince Gill, Emmylou Harris, Jewel, Alison Krauss and Willie Nelson.

Detour showcases Lauper’s take on country songs made popular in the 1940s, ’50s and ’60s, like two Pasty Cline songs, “Walkin’ After Midnight” and “I Fall to Pieces.”

“I spent a lot of time in my room singing with Patsy,” Lauper says in a press release. “I had to sing a Patsy Cline song — or two — because her voice was like one of my girlfriends. That’s how close I felt to her.”

Lauper recorded Detour in Nashville. It is her first release on Sire Records and was produced by Seymour Stein. She says she has dreamed about recording a country album for years and grew up listening to Patsy Cline, Loretta Lynn and Wanda Jackson in her Aunt Gracie’s kitchen.

“When I was a really young kid, country music was pop music, so this is what we grew up listening to,” she explains. “These songs are part of some of my earliest memories so it has been an absolute thrill to revisit them.”

Cyndi Lauper’s Detour will be available on May 6.

Cyndi Lauper, Detour Track Listing

1. “Funnel of Love”
2. “Detour” featuring Emmylou Harris
3. “Misty Blue”
4. “Walkin’ After Midnight”
5. “Heartaches by the Number”
6. “The End of the World”
7. “Night Life” featuring Willie Nelson
8. “Begging to You”
9. “You’re the Reason Our Kids Are Ugly” featuring Vince Gill
10. “I Fall to Pieces”
11. “I Want to Be a Cowboy’s Sweetheart” featuring Jewel
12. “Hard Candy Christmas” featuring Alison Krauss

Chris Stapleton Added to 2016 MusiCares Person of the Year Tribute to Lionel Richie

Jason Davis, Getty Images

Chris Stapleton is the latest country act announced to perform at the 2016 MusiCares Person of the Year Tribute to Lionel Richie.

Dave Grohl, Rihanna and Florence Welch will also join the already announced lineup of Luke Bryan, Lenny Kravitz, Lady Antebellum, John Legend, Demi Lovato, the Roots, Usher, Pharrell Williams and Stevie Wonder as performers for the Feb. 13 concert event. It will be held at the West Hall of the Los Angeles Convention Center.

Money raised from the gala honoring Richie and his career and charitable work will benefit MusiCares Emergency Financial Assistance and Addiction Recovery Programs which offers services to members of the music community. Some of these services include emergency financial assistance for living expenses and medical expenses. Educational workshops are also provided to those in need.

Past MusiCares Person of the Year honorees include Tony Bennett, Bono, Natalie Cole, Phil Collins, David Crosby, Neil Diamond, Bob Dylan, Gloria Estefan, Aretha Franklin, Don Henley, Billy Joel, Elton John, Quincy Jones, Carole King, Paul McCartney, Luciano Pavarotti, Bonnie Raitt, Paul Simon, Bruce Springsteen, Sting, Barbra Streisand, James Taylor, Brian Wilson, Stevie Wonder and Neil Young.

This is just one of several performances Stapleton has been tapped for in 2016. He kicked off the year with his debut on Saturday Night Live and recently hit the beach for Luke Bryan’s Crash My Playa in Mexico. He has also been invited to perform at this year’s Bonnaroo and Coachella fests. Stapleton shares a co-headlining trek with Hank Williams Jr. too, which kicks off Aug. 5.

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Bandcamp: http://dianebirch.bandcamp.com/

Drew Ryniewicz Has A Revelatory Moment With ’180′

The Popdust Files: drew ryniewicz, exclusives, music

Drew Ryniewicz reveals her heart and soul with her brand new 180 EP, an unmistakably striking collection of EDM-fused stories ripped straight out of her personal life. As a former X-Factor finalist eager to burst the singing show bubble, the 19-year-old displays impressive growth on songs like High (the lead single) and the haunting Empire. She’s come a long way, and it most certainly has not been an easy journey. “I started this project about four years ago. I changed genres a few times,” she shares with Popdust over a phone call recently. “I wrote hundreds of songs in attempts to put together an EP. A lot of the time, it just didn’t fit together. Within the last six months, I wrote all these songs. I wrote these songs in real time, meaning they were going on as I wrote them. That was the key to putting together a very cohesive EP.”

Deal of the Day

“I am so beyond excited to share the music with people who have been around for years…or even a few days or months. It still doesn’t feel real,” she says.

When fans plug into the scattered euphoria of Sabotage or the sheer grit of Hear You Now, they’ll get the sense Ryniewicz has come fully and unabashedly into her own. Her artistic choices are compelling and were born out of creative angst. “I started out doing indie-folk music, and I wrote pop-country. Nothing really felt like me. I didn’t know what ‘me’ was, yet,” she says of her journey the past several years, since 2012′s Hello, It’s Me EP. “I continued to write about what I could, as a 14, 15, 16, 17-year-old. Finally, I figured out who I was, and that was because I was performing. I would get on stage and I knew what I wanted the music to feel like.”

She continues, “I went back to the studio and wrote according to that. That’s how the EP came about, and I fell in love with it. Four years ago, radio was different. It’s always changing. It became me. It wasn’t always something I knew I would get into, but as I started to listen to EDM, I fell in love with the sounds. I realized I could still write lyrics like I was doing in folk music but apply them to the EDM layers.”

Working with songwriters like Skylar Mones and producers JD Walker and Roxie Flow, Ryniewicz settled on keeping her team a tight knit one. ” I wanted to keep with a small group of people. It’s hard to find people who get the ideas,” she says. “Every producer is on a different page with what type of music they are really producing most at the time. I felt like this was a core group, and it turned out amazing.”

Stylistically, 180 really began when she heard Hear You Now. “[This song] is actually the first song that this EP started with. The song spoke to me. It was pitched to me. It felt like exactly what I was going through. It’s dark, creepy, beautiful, poetic. When I heard it, that’s when I knew this was the direction I wanted to go in. It has some of the greatest production.”

And that unleashed a sense of creative charge unlike anything Ryniewicz had ever experienced. “I used to write about things I was going through but I would write about them afterward or write with someone who hadn’t gone through the same thing. Because the sounds weren’t right, I couldn’t always get the ideas across,” she says. “Once we really got the production style down, I was able to creatively open up. I was always wavering on what I wanted to say. It really comes down to who you are writing with and the kind of sounds you are putting behind your messages.”

For Ryniewicz, the songwriting process eerily mirrors her journey into young adulthood. “A lot of the time songwriters will write about things they heard or things they could picture themselves experiencing. I wrote every song about something that was happening,” she says. “‘Empire’ is about longing for somebody and wanting to have built something so huge with someone and it doesn’t happen. Then, there’s ‘High,’ which is about someone who completely broke my heart. Those things would happen within days I wrote the songs.”

“The whole EP goes through a roller coaster, and it ends with a song called ‘Revive,’ which is about reconstructing my life and taking everything back I had started to lose. It’s cool how the record went,” she says. “I didn’t write it thinking I would end on a positive note. There were times even my parents would say, ‘this is kind of dark. What are you going to do?’ I would tell them every time, ‘guys, it just depends on what happens.’ I wanted honesty to be the center of this record and a whirlwind of ‘what is happening?’ I wasn’t about to change it just because it would seem the most marketable or most pop. I wanted people to connect with it.”

Sabotage, another one of her favorite tracks, has one of the “coolest concepts,” she says, “because the whole time [in the past] I was blaming other people. A lot of what was going on was because of another person. But [this one] is when I reflected and realized sometimes you can sabotage yourself. You can allow situations to sabotage your heart. It has the coolest EDM sounds in it, too.”

She adds:

“I wanted it to be something people wouldn’t feel uncomfortable hearing such a deep message. I did make it very pop, something you could jam out to and not get so serious, but if you really listen to it, there are lyrics that you can apply to a serious situation.”

When it comes to amping up the production, she admits to reworking the EP “more than I wish I did,” she laughs. “Every song always had something I liked in it, but every song also had something I didn’t like. God bless my producers and mixers for letting me go back and forth so many times. I’m a perfectionist, and when it comes to sound, if there is even one little jingle in the background that doesn’t sound right, it can’t go. There were times during the writing process and production where we all were dumbfounded. We’d go, ‘There is something wrong with the way this sounds.’ Luckily, we always figured it out, and it turned out great.”

The album title and cover art (below) are visuals rooted in her evolution, as well. “We came up with ‘180’ because the message that flowed through the entire EP was that my life took a complete turn. It took a turn that was different than I had ever thought it would be,” she explains. “When we call it ‘180,’ we are anticipating that my life will at some point be a 360. ‘180’ is about the place I am in currently. It’s about embracing that. We came up with the title after the entire EP was written, quite recently, actually. We had to finish everything for us to really know what had happened. We looked back on what we wrote and went, ‘well, that was a 180.’”

With the help of her team, the singer then developed the cool, energized juxtaposition of images on the cover (below). “The concept is the profile of my face containing a beautiful city (it’s LA). That’s my dream and represents the things going on in my mind,” Ryniewicz says. “On the other side, you see the dark smoke, and that’s what has been around my dreams since it started. A lot of things have gotten in the way and things have clouded it.”

With 180 officially dropping everywhere tomorrow (Jan. 29), she has more up her sleeve. “I plan on doing music videos. There are a lot of visual pieces to this EP that I want to display, especially with the single ‘High,’” she teases. “There are great ideas floating around for it. It just comes down to when.”

As Ryniewicz has gotten older, she says there really hasn’t been any pressure on her to conform to industry expectations. “[My image] has kind of changed as the music changed. As I’ve gotten older, I have found yourself more. My style has changed. There were times when I didn’t know that I could dress the way I wanted to dress. There were also times I thought I wasn’t current enough or I was afraid to step out. Lately, just because of the great team I have, I’ve been able to dress and be exactly who I am. I love being able to change it. That’s probably one of the best parts of being in this business.”

Recently, a disgruntled fan made their opinion known about her, lashing out with a barbed tweet. Ryniewicz let it roll of her back, and instead of returning the insult, she took it upon herself to correct the troll’s misuse of “your.” She recounts that moment, “That was really funny. If people are going to slam you, they might want to use correct grammar. First off, I wanted to make sure that person knew their opinion wasn’t going to make me change who I am. Second of all, I wanted them to know I’m always going to have a sense of humor and wanted everyone to see that. I do have a lot of girls following me who struggle with who they are and would back down because of that. I want them to know they can always have a sense of humor and you can always defend yourself. It doesn’t have to be to prove yourself; it can literally be correcting someone’s grammar.”

And does dealing with negativity get any easier? “I always get negative feedback. It doesn’t get easier, but I’ve learned to enjoy it. It makes the positive comments worth more. I know everyone’s not lying to me or saying things they don’t mean. Negativity can help balance out who you are. Sometimes, people have pointed things out and I have agreed. Other times, I have disagreed. It just makes me stronger. I do anti-bullying work. My entire existence is about being able to accept and embrace who you are and not waver on that because of someone else’s opinion.”

In support of the new EP, Ryniewicz plans to continue touring most of the year. “My heart is in the anti-bullying work and tour,” she says. “It’s a blessing to be able to tour throughout the year so often. It’s been awesome to meet people all over the country. We’ll be jumping on a few different tours this year. I don’t have any dates yet.”

Make sure you grab a copy of Drew Ryniewicz’s new 180 EP on iTunes.

https://soundcloud.com/lilyelise/i-dont-know-why-1

http://iamhalsey.com

A live performance of Halsey's l third single from the studio debut album, Badlands.

Bonnie Raitt to Release New Album, ‘Dig in Deep,’ in 2016

Elton John is having a 'Wonderful Crazy Night'

Jeffrey Lee Puckett, @JLeePuckett8:20 a.m. EST February 1, 2016

The boys take on the Rocket Man in this episode. They even talk about that Tony Danza song. Scott Utterback, The C-J

(Photo: Provided)

Elton John is one flashback Friday trip with this week's release of “Wonderful Crazy Night,” his 33rd studio album.

He collaborated as per usual with lyricist Bernie Taupin, but also brought longtime band members Nigel Olsson (drums) and Davey Johnstone (guitar) into the studio for the first time in nearly a decade.

Also out this week:

Rock/pop - Americana icon Lucinda Williams turns to the region in which she grew up for inspiration on “The Ghosts of Highway 20,” her second album on her own label.

Josh Groban squeezes out another live album, his fourth, with “Josh Groban: Stages Live"; Alan Cumming, best-known for his acting, takes up his second trade for “Alan Cumming Sings Sappy Songs: Live at the Café Carlyle.”

The Cult know not how to stop rocking on “Hidden City”; Jason Collett, “Song and Dance Man”; Luther Dickinson, of North Mississippi Allstars, looks to his roots on “Blues & Ballads - A Folksinger’s Songbook: Volumes I & II.”

Punk rock survivor Wendy James teams with Lenny Kaye, Glen Matlock and James Sclavunos on “The Price of the Ticket”; Trixie Whitley, “Porta Bohemica”; Dressy Bessy, “Kingsized.”

Dr. Dog, "The Psychedelic Swamp"; King Mud, “Victory Motel Sessions”; The James Hunter Six, “Hold On!”; Deux Filles, “Space & Time”; Junior Boys, “Big Black Coat”; MODOC, “Automatic + Voluntary.”

Drowning Pool, “Hellelujah”; Field Music, “Commontime”; Product of Hate, “Buried in Violence”; David G Smith, “First Love”; Sunflower Bean, “Human Ceremony”; The Pines, “Above the Prairie.”

Foxes, “All I Need”; High Highs, “Cascades”; “Pink Floyd’s Wish You Were Here Symphonic” is an interpretation featuring Alice Cooper on vocals and Rick Wakeman on keyboards; The Hound of Love, “Careful Houndy”; Working For A Nuclear Free City, “What Do People Do All Day?”

R&B/hip-hop - Wiz Khalifa “Khalifa”; SWV, “Still”; Majid Jordan, “Majid Jordan.”

Country/bluegrass - Charles Kelley takes a break from Lady Antebellum for a set of more modest songs, often with a 1970s soft-rock vibe, called “The Driver”; The Infamous Stringdusters team with female collaborators on “Ladies & Gentlemen.”

Jazz - Pierrick Pedron, “And The.”

Winfield Parker classic singles to be reissued in compilation

Toni Braxton and Babyface to team for 2nd album of duets

SWV (Sisters With Voices) - Still (advance review)

Click on CD cover
to listen or purchase

Regina Belle - The Day Life Began (album review)

Click on CD cover
to listen or purchase

First Listen: Kelly Price takes on a new sound on "Everytime"

Abiah - Bottles (March 16)
Erykah Badu - TBA
Anita Baker - Only Forever (TBA)
Offiong Bassey - The Gathering (TBA)
Caretta Bell - Eph'phatha (July)
William Bell - TBA
BJ the Chicago Kid - In My Mind (Feb. 19)
Javier Colon - Gravity (April 15)
James Day Songs - Shoulders (TBA)
Donnie - The American Mythology (TBA)
Dr. E - Songs for the Struggle (TBA)
En Vogue - TBA
Tiffany Evans - TBA
Floetry - TBA
Heston - Transparency (TBA)
Darnell Kendricks - Soul at 90bpm (Winter)
Chaka Khan - The iKhan Project (TBA)
King - We Are King (Feb. 5)
Evelyn Champagne King - TBA
Jay King - Helen's Son (TBA)
Eddie Levert - Did I Make You Go Ooh (Jan. 29)
Michael McDonald -TBA
Brian McKnight - Better (February 26)
Melba Moore - Forevermore (TBA)
Georgio Moroder - 74 is the new 24 (TBA)
J Moss - GFG Reload (Feb 12)
New Edition - TBA
Frank Ocean - Boys Don't Cry (TBA)
Rahsaan Patterson - TBA
Mike Phillips - Under the Covers (TBA)
Public Announcement - Continuum (TBA)
Tony Rich - Speak Me (TBA)
Kendra Ross - The Multitude (TBA)
Emili Sande - Who Needs the World? (TBA)
Silk - The Quiet Storm (March 18, 2016)
Slim from 112 - TBA (March 18)
Musiq Soulchild - Life On Earth (April 8)
Esperanza Spalding - Emily's D+ Evolution (March 4)
Mavis Staples - Living On A High Note (Feb 19)
SWV - Still (Feb 5)
Tank - Sex Love & Pain II (Jan. 22)
The Three Degrees - Strategy: Our Tribute To Philadelphia - (April 3)
Tweet - Charlene (Feb 26)
Stevie Wonder - When the World Began (TBA)

First Play: Basia Bulat, Good Advice

First Play: Basia Bulat, Good Advice

A flood of sunshine opens Basia Bulat’s fourth album, Good Advice. The momentum is so vibrant and vivid, the bounce so contagious, that it’s easy to slip inside the song, “La La Lie,” and suddenly you’re singing along, “When I say that I don’t need help/ and I promise I will be fine/ I la la lie to myself.” This is pop with a dark heart, no autoharp or charango in sight. You can listen to Good Advice in the player above one week in advance of its release and pre-order the album here.

Good Advice is a bold departure for the folk singer-songwriter, and there’s something incredibly gratifying, musically, about the way Bulat embraces this new-for-her pop sound. Producer Jim James (My Morning Jacket) injects some great soul flourishes and warmth throughout. His hand is felt but it’s never obtrusive; rather it’s a collaboration with Bulat, a mutual and genuine admiration that infuses the whole album with warmth.

Every song has elements of wild abandon, as if she’s shaking something free, and pushing herself at every turn. Lyrically, Bulat is still exploring darkness, and still wrestling with some kind of heartbreak and grief — the very things that made her last album, Tall Tall Shadow, so compelling and resonant — but she’s reframing these themes through pop. Good Advice is the sound of Bulat at her most daring while still being true to herself.

CBC Music spoke with Bulat in Toronto about dancing into pop, leaving home and steering into the danger.

This is a pretty big departure from Tall Tall Shadow, at least musically, even though it shares some of the themes. What kind of space were you in when you were writing Good Advice?

This record was really interesting. I was writing something really personal and to get that out, onto the page, onto the tape, I needed to kind of go far from home. I went to Louisville, and the cool thing for me anyways, was I didn’t go to New York or Seattle or Los Angeles, I went to Louisville! Which was something pretty unknown for me. I didn’t know what to expect, except I knew it was going to be fun.

I was already friends with Jim and we really wanted to make something that would be fun to play in the studio and fun to play live. This is not necessarily in comparison to the last record, because the last record was extremely rewarding to play live and in some cases a lot of fun, songs like "Wires." But I think something I loved about and kind of sparked me down this path from the last record is, anytime something feels a little bit vulnerable or dangerous to sing about, I loved being able to put that into a celebratory tone. That’s something I moved towards with this last record. Anything that felt vulnerable or dangerous to say out loud or sing about, in any way, just because it might make me vulnerable, it felt really not just celebratory but almost insistent.

I don’t know if it’s the same for you, but when I’ve gone through something and worked through all the darkness, it’s very empowering to go through it again and just twist the light and give it all this energy and momentum and just reclaim it for yourself.

I think on top of that, I’m interested in going to the places that scare me, in terms of personal growth but also as an artist. Like you said, twisting the light a bit but also not treading lightly but going straight there and really poking at it. I think that’s even why musically I needed to do something that was new territory for me. And I needed to do it not in a light step kind of way, but really dance in it.

The quote that Jim James has in the bio is about you "coming out of your shell with great power." What do you think about that? Have you ever felt like you held back? Is this you letting loose?

Especially when I was making this record — well, any time you’re starting a new record, you feel vulnerable. Certainly with my last record it was the same thing. But I was among people I’d known very well for a very long time so the process, it evolved in a different way. Whereas with this I went far from home with people I didn't know very well and almost immediately arrived at the studio, got behind the mic, and just started singing. [Laughs] I think that works in two ways. One, you don’t have to explain much about what’s going on, because you’re singing about it, and it’s also a bit disarming and that vulnerability,

I realized afterwards, after I was doing the vocal takes the first session, everybody in the control room was, like, in tears. [Laughs] It was a really special session for that reason. It’s important to not be on your guard when you’re making art, but when you’re making something personal you can’t help but begin that way. Peeling off those layers takes a long time, but this happened almost instantly because, I don’t know, all of us in the room just had that connection. It surprised all of us, including myself, that I was able to get there that fast.

On Tall Tall Shadow, evasive is maybe not the right word, but you didn't want to go into a lot of detail that was motivating the writing of the record. Do you feel that way with this one? Is there still stuff that you want to keep for yourself?

Yeah. It’s a two-sided coin in a way, because you've already said so much as you feel like is artistically interesting on the record, and sometimes to talk too much about it, I get kind of superstitious in a weird way. It can also force a limitation on what the song is, and maybe I get a bit superstitious about if I talk about it too much, it puts a forcefield around me and then the muse can’t come and visit me or something. [Laughs] That’s a cheesy thing to say, but it’s like, "Ooh, you shouldn't talk about this stuff too much because then maybe it will make it harder to write later on." But maybe it won’t, who knows? I've read a lot of interviews with writers and they kind of say the same thing, it’s hard to talk about it in some ways, because it just ends up writing itself.

You mentioned earlier about some songs that felt more dangerous and more vulnerable. What songs for you were the hardest you pushed yourself to write?

A lot of these songs felt like I was uncovering something or dusting off something that was hard to read. I know sometimes people compare writing to sculpture and it’s like, "the piece reveals itself," or out of a larger form and something that’s unrecognizable, you chip away and it becomes what it is. Something I've discovered about myself over time is the hard part about writing is really just listening. I just have to tune everything else out and really listen to what’s coming out of my mind, my brain [laughs]. In that way, it’s really strange, this record was one of the fastest to write.... The last record was really hard. I had written a whole record, scrapped it, and I needed to really take my time and feel like I got it right. In previous records, I was documenting things, not goals necessarily, but you just end up changing. Things that hold power over you and what you’re making, the artistic side of it, I just got really interested in exploring questions, and it was just a matter of being quiet and listening to what those questions really are, and realizing there’s not going to be an answer for some of them either.

It can be very difficult to spend that much time in your own head.

Yeah, and that’s what’s funny about talking about the record. Some of it just can’t be explained and that’s why it comes out in the song. [Laughs] It’s kind of hard to paraphrase what a song or a novel is doing. Sometimes it’s impossible.... There’s a level upon which, part of it is coming from me and then part of it is something I can’t explain and I don’t know where it comes from. It wasn't like I set out to write X, Y, Z. It’s listening to something else outside myself. Can I claim for it to be autobiographical? I don’t really know. And that’s why it’s hard to say this song is about this, because I might wake up tomorrow and go, "Oh crap, it’s really not." There are songs from my first record and my second record that I thought I knew what they were about. Now I have a completely different perspective on them. I often bring up Margaret Atwood saying she won’t talk about what her books are and this particular meaning or that interpretation because they can all be correct.

And nothing’s finite. "In this moment I wanted to explore a wry attitude towards heartbreak" or whatever it might be. These moments aren’t stuck in stone.

[Laughs] And to use a cliché, matters of the heart are so complicated! It was interesting to me to look at it in a way that was extremely simplified. For me, a fairly minimal palette, a pretty standard pop form — I thought, well, what would it look like if I did a pop record? What would that be like? If I really humoured that side of myself or indulged that side of myself.

Somebody was saying to me earlier, "Oh this is Basia’s pop record, this is the breakout." I’ve listened to it, I love it and there’s a pop direction, but I feel like you’ve still kept an anchor a bit.

Yeah, no matter what, it was going to be the kind of record I would make [laughs].

Tracklist:

1. “La La Lie”
2. “Long Goodbye”
3. “Let Me In”
4. “In the Name Of”
5. “Time”
6. “Good Advice”
7. “Infamous”
8. “Fool”
9. “The Garden”
10. “Someday Soon”

Free Stream here: http://m.music.cbc.ca/blo...ood-Advice

"Don't Give Up On Me" is from Lissie's upocoming third studio album, a personal record that pays tribute to her life in California before heading back to her roots in the Midwest.

[img:$uid]http://s11.postimg.org/7fvzp10nn/drums.jpg[/img:$uid]






London soul sensation Zak Abel gives a special live delivery of his song "These Are The Days".



http://zakabel.com

Chrisette Michele Gets Ratchet On ‘Down In The DM’ Flip

by Elle Breezy 20 hours ago0

Missy Elliott Drops New Song “Pep Rally”: Listen

Christina Lee @MinaAnnLee | February 7, 2016 - 4:04 pm

Very few artists can say that they made a Super Bowl anthem, after having performed during halftime. But now, Missy Elliott can.

Today (January 7) she dropped the fierce, Pharrell-produced “Pep Rally,” where she commands you to bounce like a basketball but also slyly pats herself on the back — “And yeah we get cracking like we at the Super Bowl.” Remember, this comes exactly a year after she stormed Katy Perry’s record-breaking halftime show, to remind folks to“Get Ur Freak On.” With “Pep Rally,” she isn’t about to let you forget, as she yells through her dance commands like the best cheer captain around.

Missy premiered “Pep Rally” in an Amazon Echo commercial featuring former Miami Dolphins quarterback Dan Marino, Alec Baldwin and Jason Schwartzman, though naturally, she was the life of the party. Below, see the ad and listen to “Pep Rally” in its entirety. You can also purchase Missy’s new song at Amazon or iTunes.

Katy B Asks “Who Am I” On New Tune Feat. Craig David & Major Lazer: Listen

Bianca Gracie @BiancaEnRogue | February 4, 2016 - 5:28 pm

Katy B is gearing up for the release of her third studio LP, and the UK firebird just dropped a new tune as part of the promo! Titled “Who Am I,” the soaring mid-tempo premiered on Annie Mac’s BBC One radio show today (February 4).

Featuring dangerously smooth vocals from Craig David and “Crying into your champagne glass in the corner of the club” production by Major Lazer, the song will tug at your heartstrings with the pleading lyrics (“I’ve got this pain and I don’t know what to do with it” and “I can’t let go/So you just take the best of me”) and Katy’s soulful melody.

Katy B’s Honey LP will be released April 29 through Rinse/Virgin EMI in the UK, and the project’s title track with KAYTRANADA arrived last week. Get into “Who Am I” below.

Listen: https://soundcloud.com/rinsefm/katybxcraigdavidxmajorlazer-whoami" target="_blank">https://soundcloud.com/rinsefm/katybxcraigdavidxmajorlazer-whoami

SWV Interview – New Album “Still”, Staying True to R&B, Reality Show, Legacy

YKIGS FEBRUARY 9, 2016

SWV was one of the most successful and talented r&b groups coming out of the 90’s, and when they made their return in the early 2010’s, they picked up right where they left off. With the release of their comeback album “I Missed Us” and reality show, the world got an up close view on the challenges of staying together as a group. The quality of the music didn’t suffer one bit though, and that’s also true on their latest album “Still”. With the new album, the group has further solidified themselves among the top r&b groups of all time. YouKnowIGotSoul caught up with SWV for an interview to discuss the creation of the new album, their process working together, having love for the genre of r&b, what their legacy means to them, and more.

YouKnowIGotSoul: The new album “Still” is out now. We reviewed the album and thought it was great. We noticed you kept your signature 90’s vibe intact while also mixing in some progressive sounds. Talk about what you tried to do with the creation.

SWV (Taj): We just tried to put together the best album that we could possibly put together. We recorded that album in a week! We were just looking to put together great songs that moved us and would move anybody that would listen to it. We stuck to things we knew were true to what we usually do. We were just looking for things that sound great quality and stuck to the vibe of SWV and had a little uptempo sound. Pretty much the vibe that SWV has.

YouKnowIGotSoul: Talk to us about what that one week was like that the album was recorded in. It sounds pretty intense.

SWV (Coko): Yea, that was a tough one.

SWV (Lelee): We kinda had an idea of what lied ahead of us, but it was a tough week. We got it done and had a lot of help. We had a chef and a nice pool, we recorded the album in Miami, so I think that kinda helped a lot too. *Laughs* It was a lot of hard work.

YouKnowIGotSoul: Did you guys look back on the “I Missed Us” album you released a few years back and learn anything from the release of it?

SWV (Taj): No not really. Our process is pretty much the same all of the time. I just wish people would have applauded that album a lot more. That’s what we learned, that people don’t support music anymore.

SWV (Coko): Once you reach a certain again, they stop supporting you.

YouKnowIGotSoul: That is true, especially in r&b. With that being known, how do you find the motivation to keep making good music?

SWV (Taj): Because it’s in our hearts to do it and we still believe in ourselves. The funny thing is they are pushing our music to the Adult Contemporary stations, but we don’t feel that way in our hearts. We still feel young and vibrant. We can’t understand why we’re being quarantined to this one section when we feel we relate to everybody!

SWV (Coko): We have so many young fans that listen to our music and come out to support us.

SWV (Lelee): But they don’t put everybody in that category. There are some artists that they play on mainstream radio. I just think it’s us. Jamie Foxx came out with “Blame it on the Alcohol” and that song did really well. I think people pick and choose. We are always going to stay true to the culture of r&b music. That’s who we are, that how’s we started.

YouKnowIGotSoul: We love that, and that’s definitely noticeable on the new album “Still” so we’re so happy you went in that direction. One song that stood out was “Love Song”, we noticed it has a bit more of a trendy vibe. Did you try something different on that one?

SWV (Coko): Yea , it’s more of something you’d hear the new kids doing. We just wanted to show that new school, old school, whatever it is, we can sing it, we’re still relevant.

YouKnowIGotSoul: With you guys being successful for so many years, what’s your favorite aspect of being an artist? Recording, creating music, or performing?

SWV (Coko): Performing. When the crowd has high energy, that gives us energy, and we just have a good time on stage.

SWV (Lelee): The fact that they are there and even come out to support us, we get a high from that alone!

YouKnowIGotSoul: Looking back at the reality show you guys had recently, how did you feel it helped boost your careers?

SWV (Lelee): I don’t think it boosted our careers. We had a career before the reality show. It helped other people’s careers, but we were here and established for 20 years. Some people liked it, some people didn’t. We as a group definitely had our challenges as far as doing something new. Will we ever revisit it again? I don’t know.

SWV (Coko): It was sort of like a blessing and a curse. We were on TV so everybody got to see we were still doing things. On the flip side, they saw the show and they think of us as one way. That’s just now who we are everyday all day.

SWV (Taj): Once you do a reality show, you have to live with the story lines good or bad. Unfortunately they follow you long after the show is over.

YouKnowIGotSoul: As you mentioned, the reality show helped but you were already established doing this for 20 years. We recently looked back at some of the 90’s female r&b groups and noted how SWV is still to this day one of the most successful and have influenced so many artists. How do you view your legacy as a group?

SWV (Taj): After almost 25 years to say that we have a legacy is a blessing, and to say that people are still singing those songs, it makes you blush because everybody doesn’t have that opportunity to even speak those words. It feels good to be able to say we can do that. Words can’t describe it.

YouKnowIGotSoul: We discovered that many of the other 90’s female r&b groups have broken up or have had lineup changes. You guys are still here and we got to see some of your struggles during the show. What is the biggest compromise of being a successful group?

SWV (Lelee): Probably our families. We live in three different states, we have lives. This is just one part of us that the world knows about. We have three different lives outside of music. I’m a grandmother and I have two kids, Coko has two kids, Taj has two boys. Live is different. They’re wives. Our agenda changes drastically. It’s not over once we land in our home states, another chapter begins. I think that’s a huge compromise. It’s important for us to make every day count. Every day on the road we have a good time. We chose to do this and we want to make it count.

YouKnowIGotSoul: Anything you’d like to add?

SWV (Coko): I want to say thank you for such a good interview. *Laughs*

SWV (Lelee): I appreciate you for not asking us how we got started! If somebody else asks us that question, I’m going to kill myself! *Laughs*

YouKnowIGotSoul: *Laughs* We love you guys and we know SWV so well and what you’ve meant to R&B so we’re just happy to have the opportunity to support.

SWV: Thank you so much!

Annabel Jones Takes No Prisoners On Major Label Debut Single “IOU”

Mike Wass @mikewassmusic | February 3, 2016 - 5:51 pm

Annabel Jones could be the best-kept secret on SoundCloud. Listen to "Magnetic."

Listen: https://soundcloud.com/okannabel/iou

Annabel Jones quietly released one of the best pop songs of 2014 with soaring synth-ballad “Magnetic.” It was only a matter of time before she got snapped up by a major label and today (February 3) her new single arrives via Crooked Paintings/Atlantic Records. Falling somewhere between latter-day Ellie Goulding and Kiiara, “IOU” represents something of a change of pace for the Brit. The ethereal pining of her viral hit has been replaced by an edgier, more abrasive sound.

“I treated you bad, neglected your mood,” she declares at the beginning of the track. “You nearly went mad so I cut your ass loose.” In addition to being the bluntest Dear John letter ever set to music, “IOU” also boasts a killer hook (you can’t go wrong with a good, old-fashioned “la la la”) and punchy synths courtesy of Jimmy Tamborello andAndrew Goldstein. Listen to the first cut from Annabel’s debut EP Libelle below.

Betsy’s “Fair” Is A Big, Beautiful Ballad You Should Know: Listen

Robbie Daw @chartrigger | February 3, 2016 - 5:10 pm

Twenty-four-year-old Betsy has a voice that immediately jumps out at you — an important trait to have in this thing called pop! Sounding somewhat like Texas frontwomanSharleen Spiteri and Lisa Stansfield (look them up, kiddos), Betsy, who hails from Wales (and grew up on a goose farm, it’s been pointed out to us), has made quite an impression with her absolutely devastating synth-and-strings-filled ballad “Fair.”

“I know it ain’t right, I know it ain’t fair to hold on to love, a love that’s no longer there,” she sings with those golden, emotion-stirring pipes.

Listen: https://soundcloud.com/betsymusic/fair

“Fair” sounds like a stunning, cinematic track from a bygone era, which is probably why one way we keep thinking of describing it is “‘Nothing Compares 2...-esque.” The song is available stateside on iTunes via Columbia.

Listen above, and let’s all hope we hear even more from this talented singer soon.

After a successful debut album alongside his TGT group members Tyrese and Tank, it looks like Ginuwineis finally ready to come out with a solo album again. New music from Ginuwine is always great, but what makes this project even better is that Ginuwine will be linking back up with Timbaland. They had a brief reunion on “Get Involved” back in 2009, but it looks like this time it’s the real deal. A lot of people may not realize that Ginuwine hasn’t put out a solo album since “Elgin” which came out in 2011. That hasn’t kept him out of the spotlight though as he’s been able to do tour all over the world thanks to his extensive list of hits.Now with TGT’s status b...e at best, it looks like right now is the perfect time for Ginuwine to re-establish himself as one of the premiere male artists. He’s only been making hits since he came out with “Pony” back in 1996. YouKnowIGotSoul had a chance to talk to him about his upcoming project “Same Ol’ G”, linking back up with Timbaland and his decision to go into the Urban AC route early on in his career.

YouKnowIGotSoul: Talk about the new album that you’re working right now.

Ginuwine: The album is in the works right now. I changed the name a few times, but I think I’m goign to stick with “Same Ol’ G”. We haven’t really gotten any direction yet. I’m just in the studio working and that’s what it is. Once I’m in the studio, it kind of formulates while I’m in there. A lot of producers always say “what direction are you going in?” and I don’t know. I’m just doing music. Right now it’s going well. It’s a little slow, but it’s expected because I haven’t been in the studio for a minute.

YouKnowIGotSoul: Previously you were working on the album “Old School Young”. Are those songs going to be on the project?

Ginuwine: Nah, I think I’m going to start all over. I love the name “Old School Young”. I came up with a few names as a matter of fact and that was one of them. “Same Ol’ G” was another one and everyone was like “I think you should use that one”. Everyone knows that name, so I stuck with “Same Ol’ G”.

YouKnowIGotSoul: You’ve mentioned that you’ll be linking up with Timbaland on this project. How did you guys link back up?

Ginuwine: He actually called me. He’s in and out, Tim is crazy sometimes. *Laughs* That’s my man, that’s one of my great friends. He’s one of the producers ever, if not the best. But he’s really busy and I’m so used to do things the way we used to do like locking down the studio for two months. I can’t have him for two months because he’s doing too many things, so hopefully we’ll be able to get in there for a week. If not, I’ll continue and I’m pretty sure he wants the best for me.

YouKnowIGotSoul: With the TGT album you guys put out, it was a very grown album. Your last two albums have been very Urban AC as well, so where do you see yourself going with this album?

Ginuwine: Pretty much the same way. I’m not going to try to be too young because at the end of the day, I’m not 20 anymore. I don’t want to sound corny or look corny doing young things. All the stuff that the kids are doing, that’s not my place. I believe that everyone followed me back then, they’re still here. That’s who I’m trying to talk to and relate to. All the trap music and all of that, it’s great but I can’t do that. *Laughs* I’m going to stay vintage Ginuwine and stay at the place that got me here. That’s what people want.

YouKnowIGotSoul: What makes your chemistry with Timbaland so good?

Ginuwine: Well I think me trying to prove myself was probably one of the elements of working with him that will be the dynamic of the whole project. He’s been with the greats like Jay Z and Justin Timberlake. I think him just being there will bring the best out of me as an artist. I’m so used to me and him, Aaliyah, Missy Elliott and all of us. We were just family and that’s what I’m used to, but now it’s just different. I respect Tim for what he’s done and him just being there will bring me to another height. I’ll bring myself to anther height when it comes to writing and just performing vocally.

YouKnowIGotSoul: R&B fans tend to box an artist into a certain era. When you announced that you were reuniting with Timbaland, everyone thought it was going to be 1996. It’s like when Jodeci came back, everyone thought it was going to be 1995 again but the new album sounded a little different. How tough is that for you as an artist?

Ginuwine: It’s very hard because right now you just don’t know what a hit is. Sometimes I listen to the radio and I can’t believe some of the stuff that I’m hearing that everyone is loving. So it’s a task that we’ve got to conquer and we have to make sure that we pass the test. But I want to tell everybody that you won’t hear me trying to pop bottles in the club and all that kind of stuff. It’s just not me and I think as long as you stay within your element and your age bracket, sure you’re going a couple of young folks and teens, but that’s not who I’m focused on. I’m really not. I love whoever supports, but I’m just not going to try and go back there because times have changed. If you don’t move with the times, you’ll get left off. I’m trying to change with the times.

YouKnowIGotSoul: You started moving into that Urban AC lane during “Back II Da Basics” which was right after a massive hit like “In Those Jeans”. How hard was that transition for you?

Ginuwine: It’s not hard at all. It’s normal because that’s what you’re living. Every CD that I’ve been part of and helped write, it’s what I was living and what I was doing and how I viewed things. It was about the struggles, temptations and everything I was going through. So now it’s nothing different because I am where I am now. I think that’s what people will be attracted to.

YouKnowIGotSoul: You always perform the hits at your shows and most of them are from 1996-2003, so is it ever tough for you as an artist because there are some people that don’t know you’ve put out new music since then?

Ginuwine: I look at it like when Prince said that he wasn’t going to do any of the old songs, he was just going to the new songs. People are not going to your show to see that. They’re coming to see the hits. That’s a positive and a negative because you only have 45-60 minutes to do anything. Thank god I have an extensive catalog. I have to do the songs everyone knows, but every once in awhile I’ll throw in a little something that everyone will remember like “Oh he did that?”. Actually I don’t do 6-7 of the songs that came out with videos and singles, so it’s kind of a good thing and a bad thing.

CD review: Halestorm steps boldly Into the Wild Life

By: Rustyn Rose AXS Contributor Apr 14, 2015

Pennsylvania hard rock quartet, Halestorm, has been anything but conventional throughout its career. After releasing its eponymous debut in 2009, the quartet followed it up with a full-length live album in 2010, a cover-song EP in 2011, before releasing the breakthrough sophomore album, The Strange Case Of…in 2012. Halestorm, which features siblings Lzzy and Arejay Hale along with Josh Smith and Joe Hottinger, followed up their second studio effort with another live offering and a second covers EP, ReAniMate 2.0. Six years to the month of its debut and three years to the month of its sophomore effort, the band finally releases its third studio album, Into the Wild Life.

As unusual as the band’s recording journey has been, its sound has evolved and taken risks with each effort. The self-titled 2009 effort was one of the best debut albums of the new millennium. The record showcased a talented young band synthesizing its passion for a half century of popular rock music through a modern perspective, without losing the nuances so many contemporary artists ignore. The Strange Case Of… earned the band a Grammy Award for the hard rock anthem, “Love Bites (So Do I)”, but it also showed a more introspective and decidedly rich and emotive side of the band’s personality and sound. With Into the Wild Life, Halestorm has ditched any preconceived notions of what they should sound like and created a record full of sonic diversity, without boundaries.

The album opens with “Scream”, a track that resonates with electro and industrial elements that hum with an undercurrent of hunger. Lzzy’s trademark vocals are immediately engaging, and while the listener tries to decide what to make of this new musical territory, the comforting Halestorm vibe makes it easy to open one’s mind to fresh possibilities.

The opener segues into “I Am the Fire”, an angsty and smoldering number that recalls one of the band’s early, self-released songs, “I Bleed”. Hottinger’s dark, precision riffs maintain the songs edginess and continue to fuel the sense of hunger that began with “Scream”.

Halestorm slips into the twisted groove it began with their previous hits like “Freak Like Me” and “Mz. Hyde” as Lzzy struts into “Sick Individual” with her middle-finger in the air. This sentiment is at the heart of what the band is all about; reveling in both the light and dark, and recognizing that both live within each of us.

The band spent a good chunk of 2014 on the road with country singer, Eric Church, so hearing the chain-gang, gospel style feel of the album’s first single, “Amen” comes as no surprise. The song manages to blend country and R&B together with rock and roll for a song that praises one’s higher power while beaded in sweat and steamy sexuality.

Next up, Halestorm offers a poignant open letter to young women everywhere with the lovely ballad, “Dear Daughter”. Every woman deserves to be seen, heard, respected, and supported as a human being, and this is the message Lzzy & Co. send here.

“New Modern Love” slips into a swampy rhythm and mimics some of the lyrical cadence of “Sick Individual”. Smith’s bass quietly throbs throughout this one, and Hottinger’s guitar work adds a perfect atmospheric balance. Lyrically the song is about embracing who you are and not letting bigots and naysayers to rent space in your head.

Arejay kicks it up a notch behind the drum kit as he propels the band through the heavy rocker, “Mayhem”, which the band has been teasing fans with for over a year at select concerts. Even as the quartet takes it sounds in new directions, the Halestorm mantra of living life on one’s own terms is the glue that pulls all three records together as a unified whole.

“Bad Girl’s World” and "The Reckoning" find the band entering a very bluesy and soulful swing that somehow fits right into the organic and unapologetic nature of the entire record. The confident swagger returns on “Gonna Get Mine” and the ballsy album closer, “I Like It Heavy”. In between they tune up what is sure to be another monster hit for the band with “Apocalyptic”.

Into the Wild Life is easily Halestorm’s most intriguing and daring effort, but it admittedly lacks one or two heavier, straight-forward rock cuts to liven it up and shift the tome of the record in places. If you were expecting a record in line with the band’s first two efforts, you will be thrown for a bit of a loop here. Big production is tossed aside for an album of visceral continuity and human expression. Still, by any measure, Into the Wild Life is pure Halestorm.

As the band continues to grow as musicians, songwriters, and people, they have bucked the trend of chasing the formula for being true to who they are and living in and for the moment. Three years of fresh experiences have translated into an album thick with nuance and moods. You may not love every track on the album, but you have to respect their passion and commitment to being true to themselves and their art. With Into the Wild Life, Halestorm remain unpredictable, and as the album’s bonus track declares, unapologetic. Can I get an amen?

Rating: 8.8/10

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FLYLEAF Singer KRISTEN MAY Releases 'Conversations' Solo Album

January 5, 2016

FLYLEAF lead singer Kristen May recently released a new solo album, "Conversations", which she funded through a PledgeMusic campaign.

May wrote on her PledgeMusic page: "Making this album has been a dream of mine for awhile and I'm so happy to finally make it a reality.

"I have had the opportunity to tour and make albums with my bands VEDERA and FLYLEAF for over a decade and now I [got] the unique chance to spend some time off the road, at home in Kansas City. Kansas City is a place where I have gathered inspiration through the years and I [was] so happy to make an album here once again. This time [I recorded] at the wonderful Chapman Recording Studios."

A fan on FLYLEAF's Facebook page recently questioned why May would be working on an album if she is still of a member of the band. The group responded: "Kristen is finding tons of inspiration now that she's staring a new chapter as a [mother] and has been writing a lot of new material!"

Kristen is married to her former VEDERA bandmate Brian Little.

VEDERA split up in 2011, two years after releasing its Epic debut, "Stages". The effort peaked at No. 2 on Billboard's Heatseekers chart.

In a 2014 interview with The Kansas City Star, May said still thought about her former band. "Parts of it I do miss," she said. "It's hard not to think about what I'd done the past eight years. But I'm focused on FLYLEAF. I really enjoy this. It feels like this is what I'm supposed to be doing."

FLYLEAF's fourth studio album, "Between The Stars", sold 8,200 copies in the United States in its first week of release to land at position No. 33 on The Billboard 200 chart. The CD was released on September 16, 2014 via Loud & Proud Records.

"Between The Stars" was recorded over a four-week period at a Los Angeles studio with producer extraordinaire Don Gilmore (PEARL JAM, LINKIN PARK, BULLET FOR MY VALENTINE).

Listen: https://soundcloud.com/kristen_may/easy-love

I've started recording a new record! It'll be my first TRULY independent album release since 2007!

Please watch this video for all the info, and then go towww.pledgemusic.com/meiko to pre-order the album & grab other exclusive items!

I'm so excited to share these new songs (and the whole recording process) with you!

TOUR