Latest update on Pushpa 2’s music album – 123telugu

Pushpa 2 is one film that we all are eagerly waiting for. The film has stylish star Allu Arjun in the lead role and Rashmika is the heroine. Fahadh Faasil also plays a key role.
The shooting of the film will start soon and DSP is composing the music. As per the latest update, DSP has wrapped up three songs of the film already. One among them is a solid dance number that will feature a star heroine.
Sukumar is known for special songs in his films and we all know what kind of a buzz Samantha’s song created in Pushpa. Rashmika plays the female lead in Pushpa 2 and Mythri Movie Makers is the production house.
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Restless Road Tease New Music & Album In 2023 & Reveal They Already Have A Few ‘Songs In The Bank’ (Exclusive) – HollywoodLife

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Restless Road is wrapping up an incredible 2022 with big plans in store for 2023! The trio shared their hopes for an album release next year & more while talking to HL!

New year, new music! Restless Road is ready to deliver their fans some fresh tunes next year and spoke to in an EXCLUSIVE interview about what we can expect from the band in 2023! “I think that the goal in the next year, at some point in time, is to put out the album,” Colton Pack of Restless Road told HL. “We already know what we’re going to call it, and we’re already got about seven songs in the bank. So, I think we’re planning on going back in and cutting at the top of the year!”
“One things for sure, we’re gonna put out more music next year than we did this year,” he added, while Zach Beeken quipped, “Honestly, if I had to guess, we’ll put out more music next year than we ever have.” 
The trio explained that they’ve been “trying to find new music that feels really unique [to them] as a group.” “We’re just trying to figure out what kind of songs really highlight what we do, so they make us stand out from the rest of the crowd,” Garrett Nichols explained. “We’re starting to get a lot of really cool stuff piled up that’s really going to highlight our harmonies, so I’m excited. A lot of secretive stuff happening!”
The boys admitted they are a “melting pot” of different influences and life experiences, which has brought “variety” to the future album. “When we play a show, we want to give people a variety, we want to give people a whole complete journey,” Zach said. “We’re definitely going to have the drinking songs, we’re going to have the songs that are pulling at your heartstrings. We’re going to have the songs that just come straight from the heart about real life. There’s so many different topics that we’re going to be shooting for.”
“I think the goal is just to have a really well rounded album,” Garrett added. “Something that I remember Kane said about his goal with his albums, and honestly, I think that this should be everybody’s goal, is that whether you’re a country fan or not, there should be a song on every album that at least somebody can gravitate towards and that somebody can get something out of. And I think that that’s our whole goal here.”
Restless Road has had a full year of touring, joining Kane Brown on several dates for his Drunk or Dreaming Tour, and embarking on their own Bar Friends tour. “By the end of the year, we’ll have been on the road for, gosh, 250 days this year,” Colton recalled. “We’re going to continue that, but I think our main focus, and the thing that excites us the most right now is just getting new music out to people, because that’s what drives the whole thing.”
Related: Justin Aaron: 5 Things To Know About Team Gwen’s Standout Singer In ‘The Voice’s Top 8

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He continued, “That’s what drives the whole boat is music and getting the music out to fans and building that buzz and momentum to keep going forward.” RR finishes out 2022 in Europe with Kane Brown before settling in for the holidays and then hitting the studio in 2023! Following Restless Road on social media to stay up to date with their new releases and upcoming tour dates!
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On a Loving Tribute Album, Sam Bush Salutes John Hartford's Songwriting – The Bluegrass Situation

Sam Bush is well-known for his innovative style, virtuosic playing, and exciting performances that have made him pivotal to bluegrass music. Yet he is quick to point to John Hartford as the pioneer of so-called newgrass. Bush has covered many of Hartford’s songs throughout his career (such as New Grass Revival’s rendition of “Vamp in the Middle” or the legendary “Steam Powered Aereo Plane”), and during our conversation I learned that both Hartford’s influence and the friendship they shared was much deeper than I knew.
Bush’s new album, Radio John: The Songs of John Hartford (released on Smithsonian Folkways), is not only a musical love letter but a peek into the relationship between two of bluegrass music’s biggest innovators. The track listing seeks to highlight Hartford as not only a brilliant, if not esoteric, songwriter but also as a creative composer, a humorist, and talented banjo player who approached music and life with a sense of wonder and whimsy. What’s not contained in the covers can be found in the one original song, “Radio John,” which weaves many of the facets of Hartford’s life into lyrics. By playing nearly every instrument on the album himself, Bush has created a loving tribute to a dear friend.
BGS: Looking back at your careers through the lens of history, I’ve always thought of you two as contemporaries who were kind of shaping music together. But reading your liner notes, I realized how much John influenced you. In what ways do you think John’s music influenced yours?
Sam Bush: That’s happened a lot to me over the years where I’ve been fortunate to get to meet some of my heroes and then end up playing with them and becoming pals that way. John was totally influential on me and the New Grass Revival. I grew up north of Nashville outside Bowling Green, Kentucky. We got Nashville television stations out on the farm (when my dad would climb up on the roof and adjust the antennas). At the time, I didn’t realize what a fortunate situation it was that I got to watch all these great players and singers on TV. Living close to Nashville I never realized until I got out and started traveling for a living that friends of mine around the country hadn’t seen these country TV shows like I had.

I was watching The Wilburn Brothers Show one day when this guy came on singing, playing Earl Scruggs-style rolls on the banjo while he was singing. I’d never seen anybody do that. My first thought was, “Why don’t you get a guitar?” But then later to find out, well, he is a great guitar player. I didn’t catch his name. But my dad and I, within a few weeks, went to Nashville and were in the Ernest Tubb Record Shop, and I found an album called Earthwords & Music by John Hartford. I looked at that picture on the cover and said, “That’s the guy. That’s the guy I saw.”
And so I brought it home and that album included “Gentle on My Mind” and a couple of others that actually are on this record. What it was that drew me to John was the banjo picking. But once I got the record, it was the way he wrote songs. Then I was struck by hearing John play along with a rhythm section of drums and electric bass and piano and maybe orchestration right off the bat. If you listen to the way I make records to this day, I will sometimes use electric bass, a drummer, and I enjoy the rhythm section mix of the bluegrass instruments. In that way, John was one of the first performers I might have heard mixing up bluegrass instruments with drums and electric bass. I mean, Flatt & Scruggs did that later on in the ‘60s.
It’s only in the last few years, like 10 years, maybe 20 years, that I’ve really started paying attention to lyrics and songs. I started as an instrumentalist, so I sang a lot of choruses and learned the words so I could sing along. But even back then I could tell John’s songs were different. They were the ones whose words I did pay attention to. Back then, John’s main direction was songwriting and singing. The RCA records were very influential in that they weren’t bluegrass at all. His progressiveness was really attractive to me.
Sam Bush with John Hartford. Photo: Lynn Bush
It makes a lot of sense that there wouldn’t have been anything at that point in time that sounded anything like that.
No, because he was putting out records like this even before the Dillards made Wheatstraw Suite. I became a big fan of his. I would pay attention and see him pop up on The Smothers Brothers Show and later learned that he was one of the comedy writers. Of course, we got to see him on Glen Campbell’s show. They’d have a little acoustic picking segment in each of Glen’s shows and that was really fun for me. I bet there’s a video on YouTube somewhere of Glen and John Hartford doing “Great Balls of Fire,” bluegrass-style. Well, I was taping that and later the New Grass Revival learned that arrangement and that’s the one we performed. Courtney [Johnson, the banjo player in New Grass Revival] pretty much played the same chromatic run that he learned from John Hartford off of my tape of them doing it on TV.
I was really paying attention to him at that point and keeping up with him, buying his RCA records when I could find them down at Ernest Tubb. It got to where John was selling seats and doing good in larger places. John played at the basketball arena at Western Kentucky University where I grew up in Bowling Green. I think I was a senior in high school when John played there and all I know is that I couldn’t get there fast enough. But I had to march in the marching band at halftime for our football game at school. I wanted to get there so badly, I jumped in the car practically straight off the football field. It was really muddy and it started raining on us. I got there just when they were bringing the lights down for John Hartford and ran on in with my muddy band uniform.
That particular group that he had then was what he later told me he called the Iron Mountain Depot Band. Iron Mountain Depot was one of his last records, if not his last one, for RCA. The band was John, a keyboard player, bass, drums, and a twelve-string guitar. The next time he had a band style situation, it was what we call the Aereo-Plain Band with Tut Taylor, Norman Blake, and Vassar Clements. So that was a big change in direction for him.

What did you play in the marching band?
I played drums. Junior year, bass drum, and senior year I made it to snare. I guess I played “drum,” not “drums” plural. I played drum in the marching band and I played bass violin in the concert band. I got serious about bass and took lessons. I would take the bass fiddle home every night and practice and take it back the next day. All the kids would say, “Here he comes, carrying his bass.” I would later use the bass in professional applications here and there, as I did on this record.
Right, about that: I listened to the record before I read the liner notes —
I’m hoping that you liked it (laughs) you know what I mean? It’s supposed to sound good before people read the liner notes.
That’s the thing. I listened to it and I was trying to figure out who was playing, and then I read that it was you playing all of the instruments. I know that you play fiddle and mandolin, obviously, and I’ve seen you play lots of guitar, but I’ve never heard you play banjo or bass.
Yeah, nobody has. This totally blows my cover. But I picked up the five-string somewhere around 13 or 14 and started messing around with it. My parents had my granddad’s old Blue Comet five-string banjo. My mom played the guitar, and my dad played the fiddle. So, I got interested in banjo and I remember the first instruction book when I was a kid was the Pete Seeger book. After that, the next one I found was a Sonny Osborne book. That was really cool because I was a big fan of the Osborne Brothers.

And after that the Earl Scruggs book came out in the late ‘60s, and Alan Munde at this point was preaching Earl Scruggs to me. He’d say, “Fancy licks are fine, but they don’t mean anything if you can’t play like Earl.” I don’t think I took Earl for granted, but he was just one of those guys that I saw on TV my whole life. But when you start hauling down and trying to learn every note out of that book like Earl does it, it’s the great humbler. That’s when you find out the genius of Earl Scruggs. So, I’ve always played the banjo. Back when Courtney Johnson was in New Grass Revival, I’d get up generally every day and go to his camper. He made very strong coffee and we’d drink coffee and play guitar and banjo and we’d switch. Sometimes I’d play banjo and he played guitar, but usually more me on guitar, and we would learn things together. We learned John Hartford licks together and Alan Munde phrases and Bill Keith things that we could figure out together and go through the Scruggs book.
At that point I played a lot of banjo. When Béla Fleck and Pat Flynn joined New Grass Revival, the situation wasn’t the same. Sometimes Béla and I’d swap a little bit, but we didn’t have a dobro in the band anymore, so there wasn’t much reason for me to play guitar. I used to be a much better flat picker, but that’s the great thing about recording, I could just keep working on it until I got it. But just circling back to thinking about banjo picking, that’s one of the reasons I went ahead and played it myself, in that I watched and played with John a lot over a period of years, and I knew how he made the forward rolls and stuff. I am trying to play the banjo like John on the record. The other instruments sound more like myself but banjo and guitar, of course, I was trying to emulate certain things and phrases that John did.

I was impressed by how much it sounded like John Hartford-style banjo, especially on that instrumental, “Down.”
Well, thank you. Playing it all by yourself is fine, but it better sound good, because when you’re driving along in your car, if it’s not sounding good, it doesn’t matter who all played on it or what they went through. That’s the proof. Does it sound good to me? And these Hartford songs are kind of this way. When I have a reaction to music, it’s like, “Did I feel something as I listened to it?” These songs, they make me feel something.
And if anything, I’m hoping maybe through this record people can go back and dig through some of his early song work on RCA because probably a lot of people don’t know those records at all. As he aged, it was interesting to me that he got more traditional, got more old-time in his thinking, whereas when we met, we’d listen to Birds of Fire by the Mahavishnu Orchestra going down the road and try to figure out how to do some of those notes. There was just a heck of a lot of variety in his work. Later in life, he’s writing all these fiddle tunes, while early in his career, it was the songs.
This was a pre-pandemic project that is now being released post lockdown. Making a solo album where you play all of the instruments is the sort of thing that you would expect to have happened during that period of isolation.
We had it started down in Florida. [My wife] Lynn and I try to go down to Florida once a year if we can. Once the middle of November hits, there really isn’t much work, so I like to drive down to the beach, take a variety of instruments, and some kind of recording machine. Well, in typical fashion, I have this recording machine that I was not succeeding with. I was spending much more time messing with the stupid machine than I was getting to play my instruments.
Sam Bush and John Hartford. Photo: Lynn Bush
I was jamming with our friend Donnie Sundal one night, and he asked, “What are you up to?” I said, “I’m trying to record some stuff by myself, but there’s a latency and I can’t seem to overdub in time. Something’s wrong.” And he said, “Oh, I bet I know what to do. I’ll stop by tomorrow.” So, Donnie stops by and his car is full of equipment. He brought a total ProTools rig, mics, preamps. He even brought another electric bass for me in case I didn’t have mine with me.
Once I started cutting these songs with Donnie digitally it was like, “Oh, now this is recording studio quality here.” I was originally only meaning to make tapes of these John Hartford songs to show the guys in the Sam Bush Band and then maybe we’d record them. I was not that far along in my thinking. I was really just at the beach so I could sit and make up tunes. But the joyful thing was to kind of sit and play John Hartford songs. As I started thinking about these tunes and everything, and when I started overdubbing them by myself digitally, I thought, “Well, maybe this could be a solo record.” And then, of course, we got shut down.
Rick Wheeler was the soundman and road manager for me and the band back then. Rick’s got an overdubbing room at his house. During the lockdown, we’d test and felt safe to be together and that’s when I got serious about working hard on the vocals and putting the banjo on. I tried putting some banjo down in Florida by myself, and I didn’t like any of it. A couple of the tunes I had to totally start over on.
Thanks to the generosity of Béla Fleck, I had some great-sounding low banjos to choose from. And the low one that I played the most was a Gold Tone. He had all wound strings on that banjo, which agreed with my lack of finesse with a right hand. He also loaned me one of John Hartford’s banjos, the one that he would tune to low D. But that one had thinner strings on it, and I didn’t feel I had the finesse to succeed on John’s banjo. It was set up in a lighter way whereas Béla’s was set up heavier for my claw to be able to get a better tone out of.

I started putting these tunes together, and I started thinking about that phrase “Radio John.” When New Grass Revival’s first album came out, there was a poem written about us, and it’s signed, “Radio John from Topanga Canyon.” Well, it was Hartford, but I think there was some kind of contractual thing where he could not use his name, John Hartford, on other albums or something. So, he just signed things as “Radio John,” which was his DJ name as a kid.
I started thinking about “Radio John” and wanted to write a song. I got together with John Pennell, Alison Krauss’s original bass player who wrote a lot of great songs that Alison recorded. We started writing this song over the phone during lockdown. We started making a list of all the things that we would try to mention in the song, and, man, we didn’t come close to being able to get all of the things that John was good at. I didn’t touch upon his beautiful calligraphy handwriting, and we couldn’t figure out a way to work 4×6 index cards into anything, but we just wanted to honor his many talents. Steamboat captain, singer, dancer, picker, writer.
I knew I wanted to involve the band and have Chris Brown on drums and it needed a better banjo picker than me. As it turned out, that was Wes Corbett’s first recording with our group. Once again, thanks to Béla’s generosity, Wes played John’s low-tuned banjo on “Radio John” and pulled beautiful tone out of it. I’m really happy with the way the song turned out and glad that the band could do it.
That’s such a great story and it’s such a beautiful project because of your personal connection to these songs.
Lynn phrased it the best when she said, “It’s your love letter to John Hartford’s music.” But making a record and playing everything yourself is not even close to being as much fun as playing with other people. I’m glad I did it once but the nostalgia for John is the joyful part of it, for sure. What’s funny is that after all these years, I made this record as a tribute to John and it’s probably my most acoustic record. Besides the electric bass. John’s old records had Norbert Putnam on electric bass, and then, of course, on Aereo-Plain, Randy Scruggs was playing electric bass. That sound kind of blended in with Hartford music for me.

Yeah, I can hear that. The tunes “Down” and “John McLaughlin,” definitely have an electric bass feel.
Yeah, oh, and speaking of “John McLaughlin,” there’s a certain way John played his banjo rolls there. Boy, when I’m listening back to the original version that I played on with John, I had forgotten that he had an octave low banjo that was tuned all the way down to A. God, that’s low.
That’s part of the fun with this record; getting to listen to your versions of these songs and then go back and listen to John’s versions. It’s interesting how much of the similarity you’ve captured while still making them unique.
That’s always the trick of trying to pay tribute to something while giving it another slant for people to hear. When I was recording, I was trying really hard to think of John’s phrasing and how he would sing it, and I did, for the most part, succeed. But now when I go back and listen to John’s version, I go, “Well, I don’t really sound like John but that’s good.”
That’s sort of like what I was saying earlier, about you and John as contemporaries while your music was also being influenced by him.
That’s the fortunate part of where I’ve been in that we became contemporaries. I was fortunate to get to know one of my heroes and play with him.
Photo Credit: Jeff Fasano
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Albums Of The Year: Beyoncé's 'Renaissance' Is The Sound Of Freedom And Adventure – MTV

December 5, 2022
9:47 AM
Getty Images / MTV
This is the first of five essays MTV News will publish this week honoring our 2022 Albums of the Year.
Beyoncé carried 2022 without so much as a single music video. To her dedicated BeyHive fan base — who generated viral challenges and parties to celebrate Queen Bey’s latest work — the Houston native didn’t have to lift a manicured finger to ensure the significance of her seventh album Renaissance. The proof was in its innovative quality and Beyoncé’s letter about the LP allowing her “to feel free and adventurous in a time when little else was moving.” Straddling a holographic disco ball horse on the album’s cover, the icon readied listeners for what they could expect from the album’s one-hour runtime: a reclamation of the Black origins of dance music. A pop and R&B wunderkind, Beyoncé has made herself protean throughout her 25-year career and took her reinvention to the next level on Renaissance.
The album being an introduction to a three-act project is revolutionary in itself. Every Beyoncé rollout is groundbreaking in some way, whether unveiling a surprise joint project during a London tour stop (Everything Is Love), taking over Coachella HBCU-style (Homecoming), or giving a previously released project the Disney+ treatment (The Lion King: The Gift). Instead of another unconventional rollout, Beyoncé shifted gears with Renaissance, leaning into traditional marketing complete with an exclusive album bundle, tour speculation, and a British Vogue cover story. In a time when A&Rs scour TikTok for the next music trendsetters, the hype around Renaissance hasn’t let up — Beyoncé shows detractors that the music can organically stand on its own.
Beyoncé, now 40, is no stranger to industry politics. Since her Destiny’s Child days, she has spent years repurposing her craft to become acknowledged as a sheer visionary. Renaissance serves as both a testament to Beyoncé’s legacy and a salute to Black pioneers in disco, electronic, funk, R&B, Detroit techno, New Orleans bounce, Miami bass, and other dance subgenres. Even predecessors like Prince, Nile Rodgers, Donna Summer, Grace Jones, Robin S., and Vanity 6 were either directly referenced in production or featured on the album.
Throughout Renaissance are affirmations galore, and some even sit within the tracklist. “I’m That Girl,” sees Beyoncé following the lead of late Memphis femcee Princess Loko, sampled from 1994 Tommy Wright III Southern underground cut “Still Pimpin’.” As the title suggests, Beyoncé’s hiatus shouldn’t be taken for weakness — although the singer hadn’t released a solo effort since 2016’s Lemonade, she’s here to collect bragging rights. Beyoncé stands firm in her self-assuredness, also nodding towards the LGBTQ+ Progress Pride Flag on “Cozy.” Depending on how you hear it, the song can even play as a tribute to co-producer Honey Dijon and media personality Ts Madison, both “Cozy” contributors and trans people.
Beyoncé continues to praise her triumphs on the third song, “Alien Superstar,” unapologetically crowning herself “the bar” of the ballroom. She huskily avows, “I’m one of one / I’m number one / I’m the only one.” The 28-time Grammy Award winner isn’t wrong in her declaration: She’s the first female solo act to have 20 singles in the top 10 of the Billboard Hot 100. Her eponymous 2013 album is the fastest-selling in iTunes history. She’s the highest-paid Black artist of all time — and that’s only a sample of her accolades. However, Beyoncé’s achievements didn’t stop legendary songwriter Diane Warren from questioning how there could be “24 writers on a song.” Renaissance fans (and co-producer The-Dream) took it as a slight to “Alien Superstar,” as the song — and the entirety of Renaissance — features a consortium of songwriters partially due to samples.
Few landmark LPs are released without controversy. In Beyoncé’s case, Renaissance was also lambasted by English pop duo Right Said Fred (over sample-clearance issues, which Bey refuted) and alt-R&B vocalist Kelis. The latter ranted towards Beyoncé and former producer Pharrell Williams in a series of Instagram videos after her 2003 hit “Milkshake” was interpolated on Renaissance track “Energy.” Beyoncé classily removed the interpolation, even releasing the tongue-in-cheek post-Renaissance loosie “Break My Soul (The Queens Remix).” The woman is an undeniable powerhouse, giving credit where it’s due to the likes of Sade, Nina Simone, and Janet Jackson on the Madonna-sampling standalone.
On the original version of “Break My Soul,” Beyoncé heads for a “new vibration” over a light house groove. Although the ’90s-inspired arrangements of the Renaissance lead single are unlike Bey’s past material, the transition was welcomed, and even lauded by the Recording Academy with three 2023 Grammy nominations for Record of the Year, Song of the Year, and Best Dance/Electronic Recording. (She became the first Black woman to be nominated in the latter category.) Nearly five months since the debut of Renaissance, second single “Cuff It” has commanded its own attention, creating dance-oriented challenges serendipitous with neighborhood events and weddings. Both tracks provide a high energy that listeners have admittedly become addicted to. Renaissance houses a sonic escapism distinct from Beyonce’s prior albums.
Beyoncé makes each Renaissance staple more evocative than the last. She takes the pulpit to the dance floor with permission from The Clark Sisters (“Church Girl”). With lustful candor, she harmoniously embraces her lover’s mannerisms (“Plastic Off the Sofa”). “Virgo’s Groove,” arguably the album’s centerpiece, takes Beyoncé “on this magic ride” through honeyed bliss. At six minutes, longer than any other track on Renaissance, Beyoncé goes from commanding to euphoric, cooing a “love of my life” riff that fans attempted to replicate on TikTok.
Liberated within the nightclub energy of Renaissance is Beyoncé herself, who smartly used the last two years of pandemic isolation to create a carefree album. She burns up the riddim while honoring her gay Uncle Jonny who died of HIV-related complications (“Heated”). The album nearly gets dystopian over warped hyperpop and techno production (“All Up in Your Mind”). Beyoncé’s vocals hypnotically soar over a reworked version of an early ’90s Atlanta classic (“America Has a Problem”). Listeners are even transported to the ’90s ballroom scene with sleek elements of Kevin Aviance’s 1996 song “Cunty” and 1992 “bitch track” “Miss Honey” by late drag legend Moi Renee. With reverence to Donna Summer, Beyoncé reintroduces 1977 disco anthem “I Feel Love” to a contemporary audience, offering a gospel-indebted breakdown and admiration to haute couture brands and the Black-owned Telfar. The incandescent afterglow of Renaissance is felt long past the album’s conclusion.
Even as the music industry notoriously dismisses middle-aged women, Beyoncé proves that there’s still a lot of life left in her. She shadows the footsteps of female acts who’ve made their brightest dance efforts well into their forties — Janet Jackson, Diana Ross, Madonna, Sia – all while carving her own lane. Both powerful and optimistic, Renaissance extends itself as a kiss-off to pundits who deny Black representation in dance music, although the genre is rampant with unsung Black, mostly queer trailblazers. In Club Renaissance, marginalized groups can feel seen in a world that says there’s no place for them.
Follow along all week for more of MTV News’s 2022 Albums of the Year coverage.
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The Cure review – top goths tease their bleak but beautiful new album – The Guardian

Ovo Hydro, Glasgow
Robert Smith and his men in black deliver haunting headphone music on a megadome scale in a sprawling set of greatest hits and tasters of the upcoming Songs of a Lost World
Electric shock of voluminously frazzled hair, baggily dressed in what else but black, the Cure’s singer, songwriter and guitarist Robert Smith is one of those rare rock stars whom you can recognise even in silhouette. His band’s shadowy yet anthemic music – comfortably the creepiest thing to crawl out of Crawley, West Sussex circa 1978 – remains every bit as unmistakable. Pop from the dark side, gloomy post-punk that reaches for the light – call it what you like. The Cure are still top of the goths.
What was originally planned as a tour in support of their long-awaited 14th album Songs of a Lost World – still apparently unfinished, despite its title being publicly announced – proves a sprawling mix of greatest hits set, assorted root through lesser-visited corners of their discography, and a road-test for new material. At two-and-a-half hours in length, there’s plenty of time for all three.
Having haunted arenas longer than some ghosts haunt cathedrals, the Cure have their live sound down to a towering tee – headphone music at megadome scale. Featherlight guitar filigrees land like hammers, dolorous synth string drones rumble from the deep. Smith’s agelessly yearning and yelping vocals, his lyrics steeped in suburban ennui and true love against the big, bad world, are the voice of the eternal moody teen. Pictures of You, the shimmering seven-minute reverie that launched a thousand shoegaze wig-outs, is a chest-punch both figurative and real that sounds and feels more vivid and alive than any 33-year-old song has a right to. Not bad coming from six men who look like they’re on their way to a dressed-down funeral.
The Cure are one of the few bands upon which practically any artist ever labelled “alternative” can surely agree, and the DNA of movements they’ve helped seed are scattered everywhere in their set. The hopelessly devoted Lovesong we can perhaps squarely credit with inspiring emo; The Walk will later map out the shiver and clang of industrial electronica. If stock still and lost in the dream is the Cure’s default stage stance – keys player Roger O’Donnell so much so that you wonder if someone shouldn’t give him a friendly shake just to check he’s still with us – leather clad, bequiffed and tattooed Simon Gallup as usual hasn’t gotten the memo. One of the coolest bass players ever to do it, he prowls the stage, mounts the monitors and deadeyes the crowd, instrument slung so low it’s nearly scraping the floor.
Shaped by the deaths of several members of Smith’s family, Songs of a Lost World threatens to be a bleak record even by the standards of a band whose biggest album, 1989’s four-million selling Disintegration, is a hallucinogenic exploration of clinical depression. And yet, several new songs sound rooted in the sweeping, enveloping end of the Cure repertoire that dares to be beautiful – the operatic And Nothing Is Forever, for instance, or the post-rock machinations of Endsong. “I could die tonight of a broken heart,” sings Smith on A Fragile Thing, lest anyone worry that the 63-year-old goth godfather is going soft in his advancing years. On I Can Never Say Goodbye, a tribute to his late brother, Smith goes one further by quoting a witch in Shakespeare’s Macbeth: “Something wicked this way comes.”
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The first of two encores mines some of the darkest nights of the Cure’s soul. Faith’s funereal dirge precedes the atonal, queasy churn of One Hundred Years, as discomfortingly embellished by black and white photographs of 20th-century warfare, culminating with a mushroom cloud. It all apparently gets too much for Smith somewhere in that sequence and his eyeliner starts to run. “It’s really hard sometimes being on stage when I start crying, for fuck’s sake,” he mumbles, mildly embarrassed.
Come the second encore, we get a whole other side of the Cure – pop infiltrators, relentless Top 40 hit machine, unlikely legends of the indie disco. Friday I’m in Love jangles, Close to Me wriggles and shakes, In Between Days and Just Like Heaven are a brace of breathless, rushing euphoria. Boys Don’t Cry ends by taking us back to the start of their career, with a spry, scrappy and fearless post-punk song about masculinity versus unbridled emotion that still says the unsayable today, much less in the late 1970s. The Cure contain multitudes yet still somehow never sound like anyone else but themselves. Boys may not have cried, but one or two grown men undoubtedly did.


First Album Spotlights K Student's Music – News and Events – Kalamazoo College

It’s the time of year when Spotify and Apple Music users look forward to the apps revealing the artists, songs and genres they’ve listened to most and the statistics that surrounded them in 2022. But search for an artist less familiar, and you might find a new voice to appreciate: a Kalamazoo College student reaching new audiences and achievements with her first album.
Isabella Pellegrom ’25, from Eagan, Minnesota, has produced and released Nomadic Tendencies, a 10-track collection of her vocal talents. Spotify describes Pellegrom as a vocalist, multi-instrumentalist, producer and songwriter, who pulls inspiration from indie pop, soft rock and jazz, while embedding her own voice. As a storyteller, she hopes to find truth and unite others around her. The album reflects a journey of self-discovery and self-love to highlight the idea that everyone builds a wall and runs away only to return and appreciate the people who matter most in their lives.
That theme of running away followed by an inevitable return helped her realize the moment she finished writing the song Nomadic Tendencies that it would be the title track of her album.
“It was one of the first times I’d just written a song from front to end all in one go,” Pellegrom said. “It was cool to talk about this person who tends to go everywhere because they can’t really find their place. It worked because I realized it correlated to the story of this person throughout the album who is constantly going to new places, whether it’s for better or worse. She’s meeting new people or finding out more about herself, and so has these tendencies to always move around. I liked it because at the very end, it comes back to I’ll Come Home to You because she eventually finds out that her home is with the people who have always supported her.”
Pellegrom first discovered her love of music and singing when she was about 6 years old.
“I have an older sister and she had given me her old MP3 player,” Pellegrom said. “It had maybe 15 songs on it, and by the end of the first week I had it, I knew every lyric to every song that was on it. I sang along to them and pretended I was a little pop star. I loved it.”
Yet over the years, she became not only a vocalist, but an instrumentalist through guitar, saxophone and piano, and a songwriter whose talents and shared messages have grown with her.
“It’s funny to look back at the songs I first wrote because, when I was 10 years old, I would write and sing about things like fairy-tale princesses,” Pellegrom said. “It wasn’t anything that had to do with what was happening in my life. I would like to say I’ve improved since then. I’ve joined choirs, I’m in band (Academy Street Winds) at K now and I did jazz band in high school. I also just recently got into acapella (the student group Limelights) where I’ve learned to arrange music, which has helped me put together and break apart songs. Music is a huge part of my life and it’s nice that I’ve kept it separate from what I hope to do with my career. In that way, it’s allowed me to take off some pressure and just do it because I love it.”
While boating on the Mississippi River one day a couple of summers ago, Pellegrom’s family voted on which town they would stop in to find dinner. The decision turned out to be fateful.
“My mom and her friend, who had this little café, were just eating, when all of a sudden, the café had this live artist,” Pellegrom said. “The artist was Tim Cheesebrow, and my mom knew I wanted to get back into playing guitar. She was wondering if Tim taught lessons and he gave us his card.”
Pellegrom spent those lessons working on songwriting and collaboration.
“He helped me with my songwriting by saying that a lot of times it’s good to keep a continuous theme or have a main message,” Pellegrom said. “It was helpful because I ended up finishing a lot of my songs for those lessons. It was the first time I got to collaborate with someone in terms of songwriting. Through these lessons, I eventually had about 13 songs that I thought were great together. Tim also has his own at-home studio and he’s been producing music for a long time.”
Pellegrom recruited some fellow musicians, pared her songs to the 10 that worked best together, and produced Nomadic Tendencies at Cheesebrow’s studio.
“That’s what I spent the majority of my summer doing the year I came to K,” said Pellegrom, whose parents, Jeffrey ’88 and Mary ’88, also attended K along with a grandfather and some of her aunts and uncles. “I got help from other local musicians for the baselines and the drumming. Tim helped me out with the guitar and walked me through the whole process of what it takes to release it. It all felt like a fever dream at the time and it still kind of does. It’s now out in the world and I’m really proud of it.”
Pellegrom conducted a launch party at a sports bar near her home in Minnesota and performed to rave reviews in the nearby town of Pepin, Wisconsin. She has plans to release a second album, although when is not yet decided as she tries to balance an intended biochemistry major and music minor. Medical school is a possibility for her, too, one day. Yet in the meantime, she will enjoy the success of releasing Nomadic Tendencies.
You can hear Pellegrom’s music on all streaming platforms including Spotify, Apple Music and Amazon Music; she performs covers on YouTube; and you can follow her on Instagram, Twitter, Facebook and TikTok. Her website is
“I love it when people listen to it,” Pellegrom said. “The best part is realizing that I released it for me. I don’t really have any expectations for it. I don’t need for something to come from it. I just felt it was time to release it. I was ready to put this project that I’m really proud of into the world and move on to other songs and other projects. In terms of my goals for it, the main goal was to release it and hope that people who listen to it can enjoy it.”
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Music Album reviews with Ian Sinclair: December 5, 2022 – Morning Star Online

Reset on:

HAVING recently worked with Finnish metal band Circle, Richard Dawson returns with the final part of a trilogy following 2017’s medieval-set Peasant and his album 2020 exploring life in contemporary Britain.
The press for The Ruby Cord suggests it’s set 500 years in the future, with the Newcastle singer-songwriter inspired by virtual worlds, computer games and glitches in the system.
If Dawson’s artistic ambition isn’t clear already, then it should be after you listen to The Hermit, the record’s epic 41-minute opener (yes, you read that right). The most conventional track is the lovely waltzing closer Horse And Rider — sung from the point of view of the steed, apparently.
Like his other work there is a folk influence, though it’s generally much closer to experimental, deliciously weird — and sometimes quite heavy — rock.
The Doc Brown of British music.

ORIGINALLY released in 1992, US singer-songwriter Iris DeMent’s critically acclaimed Infamous Angel is special for lots of reasons, not least because it sounds like the work of a seasoned Nashville veteran rather than the debut album of a relatively unknown artist.
It’s her extraordinary, wailing voice that immediately strikes the listener, as good as any in country music.
And the songs are top-notch too. The brilliant opener Let The Mystery Be wryly considers life’s Big Questions, while These Hills is an affecting ballad that brings to mind Gram Parsons’s Hickory Wind.
Arguably the album’s centrepiece, the folksy Our Town is a sad, nostalgic song marking the decline of one small town, the soundtrack to the last episode of US TV series Northern Exposure and covered by Kate Rusby and many other artists.
A welcome reissue of a country classic.

AS THE leader of US indie outfit Okkervil River, Will Sheff hit a purple patch in the noughties with critically acclaimed albums like the Tim Hardin-inspired Black Sheep Boy and magnificent The Stage Names.
Nothing Special is his first solo record but it doesn’t stray too far from his old band’s winning formula — dense lyrics verging on short stories and striking vocals delivered like his life depended on it.
A lot experiences and influences seem to have gone into the songs, such as Sheff’s move from New York City to Los Angeles and the early death of former Okkervil River drummer Travis Nelsen.
The pace is largely unhurried, with less rock and more emotive ballads, the eight minute Holy Man — which Sheff believes is the best thing he has ever written — the affecting, ruminative core of the set.
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Farhan Akhtar To Perform Songs From His English Music Album 'Echoes' In A Concert – ABP Live

By: ABP News Bureau | Updated at : 16 Nov 2022 07:00 AM (IST)

Farhan Akhtar To Perform Songs From His English Music Album ‘Echoes’ In A Concert ( Image Source : Instagram )
New Delhi: Apart from being a good actor and director, Farhan Akhtar also has brilliant music knowledge. The audience has seen the magic of his writing and singing spectacle in films like ‘Rock On!!’, ‘Zindagi Na Milegi Dobara’, ‘Rock On 2’, and many more. While the audience looks forward to watching him bring some trendy and electrifying music, he is all set to come with a live music concert MUSICAL WEEKENDER, where the audience will experience some amazing music from his English album ‘Echoes’. 
While taking to his social media, the actor shared a poster of his upcoming MUSICAL WEEKENDER, FARHAN AKHTAR LIVE. While sharing the poster, he jotted down the details of the concert in the caption writing –  
“Kicking off something new on the 2nd of December. Will be the first ever performance of my original English songs from the album ‘Echoes’ plus some unreleased works. Also, couldn’t be happier that it’s happening in my hometown, Mumbai. ❤️ .. look forward to sharing an evening of music with you. It’s happening at the Courtyard, Phoenix Palladium 7pm onwards. See you there. 😊🤘🏽❤️ Ticket link in bio.” 
A post shared by Farhan Akhtar (@faroutakhtar)

Farhan Akhtar is constantly making waves with his live concerts across the world. Moreover, while he will be bringing some amazing English songs from his album ‘Echoes’ at MUSICAL WEEKENDER, FARHAN AKHTAR LIVE, it would be an exciting musical night to watch out for. Moreover, the actor has always shown the spectacle of his brilliant musical knowledge and has given some of the most popular music albums to the generation.  
Farhan Akhtar will also be seen in the Disney Plus series ‘Ms. Marvel’. The actor will be directing ‘Jee Le Zaraa’ starring Katrina Kaif, Priyanka Chopra, and Alia Bhatt. 
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Planet Money started a record label to release a 47-year-old song about inflation – NPR

Erika Beras
Sarah Gonzalez
NPR’s Planet Money recently got ahold of a 47-year-old song about inflation that has never been released. They decided to start a record label to try to get the song out into the world.

You can listen to the story by clicking the play button above, and read more about the efforts in the Planet Money newsletter.
Earlier this year, our Planet Money podcast got their hands on a song about inflation that was recorded 47 years ago but never released. So to explain how the music industry works, they’re releasing it. From Planet Money Records, here’s Erika Beras and Sarah Gonzalez.
ERIKA BERAS, BYLINE: This is a song we became obsessed with.
EARNEST JACKSON: (Singing) Inflation is in the nation.
BERAS: “Inflation” the song was written and recorded by Earnest Jackson, backed by a Baton Rouge band called Sugar Daddy and the Gumbo Roux.
JACKSON: Yeah, Sugar Daddy and the Gumbo Roux (laughter).
SARAH GONZALEZ, BYLINE: Earnest Jackson has been making music since he was 14, but he’s never made it in the music industry.
JACKSON: I’ve never been signed by a label. That’s my hope and dream.
BERAS: Everyone from this band went on to be pretty successful musicians, playing with famous people. And when the keyboardist, Kinny Landrum, sent us the song, he said they wanted the same for Earnest.
KINNY LANDRUM: He’s one of the best singers I know.
GONZALEZ: So we decided to try to start our very own record label to understand the music industry.
BERAS: So we called up a lawyer to the stars.
DONALD PASSMAN: Well, I talked to Stevie not too long ago.
BERAS: This is Don Passman. And that Stevie is Stevie Wonder. Don negotiates record deals for a lot of big-time musicians like Taylor Swift, Quincy Jones, Stevie.
GONZALEZ: Wait. Can we be a label?
PASSMAN: Sure. Why not?
GONZALEZ: Like, what do we have to do to be a label?
PASSMAN: Say you’re a label (laughter).
GONZALEZ: All right. We’re a label – Planet Money Records. Don says a typical record contract, even for an established musician, is this – the musician gets 20% of what the song makes. The label gets 80%. So if we were acting like a real record label and we made $100…
PASSMAN: The artist would get 20% or $20.
GONZALEZ: And we get 80?
BERAS: That seems unfair.
GONZALEZ: Yeah. It seems like a bad deal for the artist, right?
BERAS: But Don says the label is the one doing all the behind-the-scenes stuff – marketing and negotiating contracts, taking the legal and financial risk.
GONZALEZ: So I think we’re, like, a nice record label.
BERAS: Oh, like he gets 80%, we get 20%?
PASSMAN: No, that’s – nobody would make that deal ever.
BERAS: Oh, no (laughter).
PASSMAN: I would go so far as to say, congratulations. That may possibly be the worst record deal I’ve ever seen from a record company point of view.
GONZALEZ: OK, our deal isn’t quite as bad as it sounds because in addition to acting like the label, we are also acting like a publisher. Both those things generate money in different ways. So if this song does make money, we have more pots of money to pull from.
BERAS: So we write up our deal, put it in a briefcase and head to Baton Rouge to hand-deliver it to our artist.
So we have something for you.
JACKSON: What is it?
BERAS: What do you think it is?
JACKSON: Oh, my God. I don’t have any idea. OK.
JACKSON: Oh, is that the contract?
GONZALEZ: We tell Earnest we are going to start by just uploading the song to every music streaming site there is and that making money is not going to be easy. To make money, lots of people need to listen to the song. They need to stream it. For every stream, the big music streaming sites like Spotify and Apple Music, they pay out between a third of a penny and a full penny per play. And not all of that always goes to the artist.
BERAS: There are actually online calculators where you can figure out across all the streaming sites how much money you can make hypothetically.
So I’m pulling out my little royalty calculator.
BERAS: So if a million people listen, we make $4,000. OK.
GONZALEZ: If a million people listen, you get 3,200.
JACKSON: Eighty percent.
GONZALEZ: You get the 80%.
JACKSON: I get the 80%, and y’all get the 20%.
BERAS: But however much we make, it’s going to have to be sliced and diced in more ways than we expected. Don Passman, our music biz lawyer, says normally, you do pay the other musicians.
PASSMAN: Now, they don’t have to get the same thing Earnest does. In fact, they shouldn’t.
GONZALEZ: Don says the singer gets most of it, especially because in this case, the singer wrote the song and the melody. Sugar Daddy and the Gumbo Roux was kind of like backup.
BERAS: So Don says the standard deal for them is a flat fee and waivers. They waive their rights to the song. So we created waivers for the band. But when they go out, some of them are not happy.
LANDRUM: Well, the contract, as written, is completely unusable.
BERAS: This is Kinny, the keyboardist, again. In case the song does become popular, he wants a real share in it. He wants royalties.
LANDRUM: The amount of income generated by this thing, which may not be – hell, I don’t even know if it’s going to generate $200. I don’t know, but I don’t care.
GONZALEZ: All right. There are a few ways to get royalties on a song. Like, you could have a copyright on the song. And within this copyright, there are two ways to get paid out. There is a songwriter share for the person who wrote the lyrics, wrote the melody. And then there is what is called a publisher share. Kinny is saying he wants the band to have a piece of this slice of the royalty pie, the publisher share – so not Earnest’s part.
LANDRUM: We’re not taking from the songwriter part of the money and only from the…
GONZALEZ: And you don’t want that.
LANDRUM: Right, and we don’t want that.
BERAS: And this part? This is the part artists in the know often want in on. This is the part that can conceivably make money. And Earnest thinks the band should get something.
JACKSON: Of course they should get something. I’m not saying they shouldn’t get nothing. Let them have it, and let’s get the ball game on, OK?
GONZALEZ: We should say it is really the band who should determine who gets what share of the song, not us. So they did that, and we ended up with a contract.
BERAS: There are many different royalties to divvy up. One is called the public performance royalty on the underlying music composition, and this one is pretty representative of the whole deal. On this royalty, Earnest will get 67.5% of the profit. The rest of the band splits 17.5%, and we get the remaining 15%.
GONZALEZ: Accountants will spend the next few years splitting up this little sliver of a song and that little sliver of a song. It is actually all very complicated. And Kinny, he’s kind of like, yeah, that’s the price of getting into this business.
LANDRUM: Well, I hope we have a hit. It’ll all be worthwhile if there’s a hit. If you don’t, it hadn’t cost anybody anything but a little bit of time at this point. So it’s…
GONZALEZ: Well, it cost us a fair amount.
BERAS: Yeah, we’ve spent some money.
We have already spent at least $10,000 on lawyers alone.
GONZALEZ: But we went all in on this song, and Earnest, he is ready.
JACKSON: It feels damn good. Going to see what happens.
BERAS: And we are happy to announce we have dropped our single. You can now hear “Inflation” the song in its entirety wherever you stream your music.
JACKSON: (Singing) People, stop what you’re doing and listen to what I have to say.
BERAS: We’re trying to see if we can make this song a hit, so we need people to listen to it.
JACKSON: Yeah. Stream it. You know, get it on – get it online. Pull it down, y’all. Listen to this song.
BERAS: The song is called “Inflation” by Earnest Jackson and Sugar Daddy and the Gumbo Roux, brought to you by Planet Money Records.
Erika Beras.
GONZALEZ: Sarah Gonzalez, NPR News.
JACKSON: (Singing) Inflation, why don’t you get…
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