Music news – Alabama Bluegrass http://alabamabluegrass.org/ Tue, 22 Nov 2022 04:56:38 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://alabamabluegrass.org/wp-content/uploads/2021/08/cropped-icon-32x32.png Music news – Alabama Bluegrass http://alabamabluegrass.org/ 32 32 Iggy Azalea confirms ‘eight-figure’ catalog sale to Domain Capital https://alabamabluegrass.org/iggy-azalea-confirms-eight-figure-catalog-sale-to-domain-capital/ Tue, 22 Nov 2022 02:04:38 +0000 https://alabamabluegrass.org/iggy-azalea-confirms-eight-figure-catalog-sale-to-domain-capital/ Earlier this month, Domain Capital announcement that he secured $700 million in “equity commitments” for an entertainment fund. Today, the company bought Iggy Azalea’s catalog “for an eight-figure sum”, according to the 32-year-old artist. News of this latest multimillion-dollar song rights sale broke via The Female Rap Room today, and Iggy Azalea confirmed the deal […]]]>

Earlier this month, Domain Capital announcement that he secured $700 million in “equity commitments” for an entertainment fund. Today, the company bought Iggy Azalea’s catalog “for an eight-figure sum”, according to the 32-year-old artist.

News of this latest multimillion-dollar song rights sale broke via The Female Rap Room today, and Iggy Azalea confirmed the deal by responding to the outlet’s tweet about the deal. “I told them,” the Sydney native replied to a fan who asked how the site was so quick to write about the deal.

(The Female Rap Room debuted in 2020 and describes itself as “an innovative space that documents and celebrates female rappers.”)

Although Domain Capital doesn’t appear to have acknowledged the investment in an official release at the time of this writing, the piece is said to encompass the “Posh Spice” creator’s recorded and published catalogs. Likewise, while the precise sum behind the buyout hasn’t been publicly identified, Azalea did indicate in one of several tweets about it that the resulting windfall means she doesn’t “have to work a other day”.

“Taylor did not profit from this sale”, Azalea replied the concerns of a supporter (resulting in particular from Taylor Swift’s highly publicized rights battle) about the recently unveiled deal. “I sold part of my catalog to whoever I wanted, for an amount that saved me from having to work another day in my life. I love you all, but the conversation of the masters is a little beyond your understanding of business.

And when asked about the timing of the decision to cash in on the rights to the song, the “Fancy” singer and songwriter replied simply, “I have a bigger business I want to invest in.” Of course, time will reveal the details associated with these broader business plans for Azalea, which fans seem to be eagerly awaiting for its next release.

More broadly, the sale of the four-time Grammy nominee’s catalog represents one of many song rights deals that materialized in 2022.

GMB, tank mediaand primary wave have pumped millions into IP music in the past month alone, and the latter company is poised to announce hundreds of millions of dollars in additional purchases before the end of 2022, executives say.

Meanwhile, it is said that BMG still be in the running to purchase Pink Floyd’s catalog despite a months-long delay resulting from disputes between band members and uncertainty surrounding the precise rights at hand. Despite this reported interest, it’s unclear if the long-running deal will go through.

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Mini Musician program resumes at Headwaters Music and Arts – Bemidji Pioneer https://alabamabluegrass.org/mini-musician-program-resumes-at-headwaters-music-and-arts-bemidji-pioneer/ Fri, 18 Nov 2022 20:41:00 +0000 https://alabamabluegrass.org/mini-musician-program-resumes-at-headwaters-music-and-arts-bemidji-pioneer/ BEMIDJI — Headwaters Music and Arts will resume its Mini Musician program, an eight-session class that will meet from 10:30 a.m. to 11:15 a.m. Wednesdays, November 30 through February 1, at Headwaters, 519 Minnesota Ave. N.W. Led by longtime music teacher Julia Anderson and trained by Suzuki, the class will be full of music, movement […]]]>

BEMIDJI — Headwaters Music and Arts will resume its Mini Musician program, an eight-session class that will meet from 10:30 a.m. to 11:15 a.m. Wednesdays, November 30 through February 1, at Headwaters, 519 Minnesota Ave. N.W.

Led by longtime music teacher Julia Anderson and trained by Suzuki, the class will be full of music, movement and activity, according to a statement.

The course is aimed at children from 3 to 4 years old and their guardians. Through group circles, movement-based songs, hands-on learning centers, games, and stories, the class will explore sound and the building blocks of music, including pitch, rhythm, and tempo. , according to a press release.

Attendees will have the opportunity to learn about different musical instruments and styles, and what makes them all so wonderful and unique. With specific creative crafts themed around the day’s classes, youngsters and adults alike will have the chance to engage all of their senses as they learn, according to the statement.

Each child must be accompanied by a parent, guardian or other special adult. The cost to attend is $150 per child-adult pair and $75 per additional sibling. Limited financial assistance is available.

The number of places is limited and prior registration is required. There will be no session on December 21 and 28.

To register, call (218) 444-5606 or visit

HeadwatersMusicAndArts.org.

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Win a Pair of Spotlight Live Tickets – Music News https://alabamabluegrass.org/win-a-pair-of-spotlight-live-tickets-music-news/ Wed, 16 Nov 2022 08:13:35 +0000 https://alabamabluegrass.org/win-a-pair-of-spotlight-live-tickets-music-news/ Get ready for the most wonderful time of the year in style with a trip to Spotlight Live at Conway Hall in WC1 in December where an unforgettable night awaits as you eat from the best fusion tasting menu followed by the best vocals, you are never likely to hear this side of the Atlantic […]]]>
Get ready for the most wonderful time of the year in style with a trip to Spotlight Live at Conway Hall in WC1 in December where an unforgettable night awaits as you eat from the best fusion tasting menu followed by the best vocals, you are never likely to hear this side of the Atlantic bring classic and modern songs to life across the spectrum of soul, blues, jazz and folk music.

The brainchild of producer/promoter Ovie and his team Crazy Sexy Coool have crafted a unique London night out that takes the best moments from a posh supper club and added musical entertainment for dessert that will highlight some of the most unannounced great singers. talent around today. These artists and musicians may not yet be known but have certainly worked in their office!

The beautiful stage of London’s Conway Hall will host talents who perform regularly or have performed on tour and in the studio with the likes of Beyoncé, Prince, Tina Turner, Stevie Wonder, Ray Charles, Bobby Womack, Chaka Khan, David Bowie , Gladys Knight, George Michael, Adele, Eric Clapton, Sting, Elton John, Annie Lennox, Dionne Warwick, Kool and the Gang, Mary J Blige, Amy Winehouse, Soul 2 Soul and Craig David to name but a handful of superstars .

Upon arrival, your esteemed hosts will lead your journey of the senses as you are taken to sample three pre-ordered courses from an exquisite tasting menu choice of ten of rock star chef Jon Villar’s most delicious fusion dishes ( The Intercontinental, PJ’s Grill, Minako at the MET, FU:DIZM). After drinking and dining, it’s off to the ball, as the musical sights and sounds take over, filling your soul with the best of show business and a list of sets to ensure a heavenly evening for any discerning music lover.

There will be two Spotlight Live sessions and performances on December 3 and 17. We have 1 pair of tickets up for grabs for the Spotlight Live party on December 17. Don’t miss your chance to witness this stellar spectacle.

Guest chef Jon Villar explains his process as follows: “When I create a dish, I work on the flavor first.” It’s always my base, it must be delicious.

Hot off the heels of winning the International Dining Awards for Best Fusion Restaurant 2022, this attitude has clearly served him well in his career as it continues its upward trajectory. During the pandemic, Jon created FU:DIZM, one of London’s most ornate fusion restaurants, taking diners on a unique culinary journey with his culinary creations. A former chef at PJ’s Grill, Minako at MET, Kopapa, Mber & Gammagamma Soho, he prides himself on his ability to discover the most unique flavors from around the world to deliver an authentic experience.

Jon’s thoughts on the signature dish he created for Spotlight Live, he says, “I love the diverse audience you have at your shows so I wanted to make sure that was reflected in the menu offering I created and the signature dish, the ‘Vietnamese Souvlaki Goat Curry’.

Among the incredible musical talents on display next December will be Beverley Skeete, who not only had her own hit in 1992 and starred on “Top of the Pops,” but has since worked with just about every living legend you can think of, including being a regular on Bill Wyman’s Rhythm Kings, which boasts the prestigious lineup of Bill, Georgie Fame, Peter Frampton, Gary Brooker and Albert Lee.

Then there’s Kevin Leo, a singer, songwriter and producer who has performed for the BBC and at Royal Command performances and supported many megastars around the world. He is also a voice coach and has mentored Pixie Lott, Olly Murs, Sugababes and Lamar.

Bishop Brad on keys is a producer/arranger/songwriter/bandleader/pianist/keyboardist/organist and has played with a who’s who including Estelle, Beverley Knight, All Saints, Dru-Hill, Mark Morrison, Shola Ama en plus being the official musical director and keyboardist of the hit music TV show “MTV Base Lounge.”

Dave Ital on guitar doesn’t really need an introduction but has played and recorded with Beyoncé, Level 42, Tom Jones, M-People, Bryan Ferry, Rick Astley, Jason Rebello, Jocelyn Brown, Mica Paris, Take That , Dina Carroll, Urban Species, Candi Staton, Lulu, Bobby Womack, Des’ree, Incognito, Kele Le Roc, reggae legends Lee Scratch Perry and Desmond Dekker among dozens of other top artists due to his playing powerful yet sophisticated.

Lex Cameron is also part of the musical team and is an extremely experienced musical director, keyboardist and vocalist. He has supported some of the greatest: BB King, James Brown, Simply Red, Tina Turner, Chic, Shania Twain, Michael Bolton, Barry White, Chaka Khan, Craig David, Incognito, Amy Winehouse, Grace Jones, Spandau Ballet, Billy Ocean and more – the list is endless.

For the ultimate date night, Christmas party, or just for the sheer joy of life, get up and down at Spotlight Live on December 3 and 17, 2022. For more information, visit projectorliveuk.com

We have ONE PAIR of tickets to give away!

To enter, simply nominate an artist on our new Ticket Directory.

Simply email your RESPONSE with SPOTLIGHT LIVE in the subject line to comps@music-news.com, please include your NAME, EMAIL, ADDRESS and TWITTER HANDLE (if available).

It’s so simple! Good luck!

You can double your chances by liking & retweeting the competition on our Competitions Club page @competitionsC. Good luck and tag your friends for additional entries.

For more contest entries, visit our network sites Film-News.co.uk, Theatre-News.com and Game-News.co.uk.

Receive the competitions directly by subscribing to our newsletter here.

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Gary Mitchell taps into island music gems in new radio show https://alabamabluegrass.org/gary-mitchell-taps-into-island-music-gems-in-new-radio-show/ Sun, 13 Nov 2022 06:11:00 +0000 https://alabamabluegrass.org/gary-mitchell-taps-into-island-music-gems-in-new-radio-show/ The 2019 Ocrafolk Final Jam. Gary Mitchell in yellow. Text and photos by Peter Vankevich WOVV, Ocracoke’s Village Voice community radio station, has been around for 12 years and Gary Mitchell has been playing music on the island for much longer. Recently, the two converged on a new show that Mitchell calls “Ocracoke Music Sampler.” […]]]>
The 2019 Ocrafolk Final Jam. Gary Mitchell in yellow.

Text and photos by Peter Vankevich

WOVV, Ocracoke’s Village Voice community radio station, has been around for 12 years and Gary Mitchell has been playing music on the island for much longer.

Recently, the two converged on a new show that Mitchell calls “Ocracoke Music Sampler.”

The hour-long show airs Tuesday nights at 8 p.m. and rebroadcasts at 6 p.m. Thursdays. During it, Mitchell showcases the musical gems he’s culled from his more than 25 years of living, playing, and recording music on the island.

He has owned a home recording studio, Soundside Studio, since the 1990s.

Gary Mitchell at the Magic Bean Coffee Bazaar on School Road.

Although the studio was mostly devoted to recording the group he originally founded with his wife Kitty Mitchell and fiddler Dave Tweedie, Molasses Creek, which produced 13 albums, he also recorded other performers: Noah Paley, Bob and Sky Zentz, Martin Garrish and some old timers like the late Roy Parsons and John Golden.

Sifting through the many CDs, he decided to document the music on Ocracoke.

“I found all kinds of little treasures that we recorded,” he said. “A lot of them I just forgot about.”

One way to promote these musical treasures, he thought, would be to host a radio show.

“Ocracoke Music Sampler” debuted on October 4, Ocracoke’s non-profit community radio station’s latest weekly show on 90.1 FM.

One show was based on the 1998 Ocrafolk music CD, which included songs by Roy Parsons, Jule Garrish, Martin Garrish, Rob Temple, Molasses Creek, Michael and Johnny O’Neal, Pat Garber, Jim Wynn, Kevin Hardy, the Ocracoke Cabaret, Bill and Libby Hicks, David Styron and Sundae Horn.

Many fans of the Ocrafolk Music Festival and the island music scene in general will recognize the artists featured in its shows.

He hopes to interview local artists as part of his show.

Ocracoke Music Sampler has an introduction: “Roy Parsons, this elder, born and raised here, had this famous quote. He was like, “Gary, the music is good,” and that sums up a lot of things there. »

In addition to his musical recordings, Mitchell also produces music videos which can be viewed on his YouTube channel. Gary Mitchell.

“I’ve always loved making music videos and during the COVID-related lockdowns I’ve done a lot more,” he said.

With a lot of community support and involvement, WOVV was officially launched in June 2010 with terrestrial broadcasts (90.1 FM) and online streaming (www.wovv.org) followed a year later.

Mitchell joins a long list of programs on WOVV, many by Islanders.

Local broadcasters include “Classic Cuts & Such” hosted by John Simpson, “Down Creek Blues” by Tom Cain, “Beats with Beatle” by Beatle Haddad, “The Outdoor Shower Power Hour” by Chad Macek, “Full Throttle” by Matt Tolson, “Just Good Music from the Second Floor of the Old Fire House” by Peter Vankevich, “Island Morning Mix” by John Alexanderson, and “Rockin’ Radio Show” by Tommy Hutcherson and Larry Ihle.

Several off-islands also have shows: “Sound Crossings” by LeAnne Astin, “Gospel Train” by Jim Bakay, “Brewer World Tour” by Dave Brewer, “Ramsey & Reality” by Tor Ramsey, “Beck Black’s Beach Shack” by Beck Black and Uncle Sal’s “You Never Know Radio”.

The daily schedule can be found on the station’s website wovv.org and daily posts are on its Facebook page.

The station also offers scheduled musical themes, such as “Reggae Hour” on Saturday afternoons and classical music from 3 a.m. to 6 a.m.

With no scheduled programs, the automated jukebox streams a variety of music.

A frequent observation by fans of the station is that the appeal of WOVV is that you never know what the next song will be.

Molasses Creek performs at the 2019 Ocrafolk Festival.
Molasses Creek performs “I’ll Fly Away” at Ocracoke United Methodist Church. Left to right, Fidler Dave Tweedie, Gary Mitchell and Kitty Mitchell.

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NewJeans will release their new single album “OMG” in January 2023 https://alabamabluegrass.org/newjeans-will-release-their-new-single-album-omg-in-january-2023/ Thu, 10 Nov 2022 06:28:16 +0000 https://alabamabluegrass.org/newjeans-will-release-their-new-single-album-omg-in-january-2023/ NewJeans will be making their first comeback in January with their debut single, “OMG.” Earlier today (November 10), HYBE independent label LOVE announced via the rookie girl group’s social media that NewJeans are set to return with new music this winter. The quartet will release their first-ever single album, titled “OMG,” on January 2, 2023. […]]]>

NewJeans will be making their first comeback in January with their debut single, “OMG.”

Earlier today (November 10), HYBE independent label LOVE announced via the rookie girl group’s social media that NewJeans are set to return with new music this winter. The quartet will release their first-ever single album, titled “OMG,” on January 2, 2023.

NewJeans will also unveil a special preview single on December 19, before the full album release. The as-yet-untitled track was described by ADOR as a song “prepared for [the group’s] first winter with Bunnies (official NewJeans fanbase)”.

Additional details on the pre-release single and tracklist of “OMG” remain scarce at the time of publication, however, more information is expected in the weeks leading up to their release.

In a brief statement to SBS Star, ADOR CEO Min Hee-jin told the press, “If the first album featured NewJeans’ summer, this single will be the one to feature NewJeans’ winter.”

The impending release of new material from NewJeans marks the band’s first music since their official debut with their self-titled debut mini album “New Jeans” in August. The four-track disc included the songs ‘Attention’, ‘Hype Boy’, ‘Hurt’ and ‘Biscuit’all of which received video treatments at the end of July before their official release on streaming platforms.

Consisting of members Minji, Hanni, Danielle, Haein and Hyein, NewJeans was awarded three stars in a review of their first project by NME Carmen Chin, who wrote that the quintet “succeeded in laying a solid foundation for a bright future as pioneers”.

In a past interview with KoreaJoongAng DailyMin revealed that some within HYBE Labels thought his concept for the group had been “simple” and lacks “public appeal”. “But I didn’t care. I had a clear vision of what I wanted to do and was confident in the music I was choosing,” she said.

]]> Hipgnosis Songs fund shares decline continues in share buyback https://alabamabluegrass.org/hipgnosis-songs-fund-shares-decline-continues-in-share-buyback/ Sat, 05 Nov 2022 00:40:02 +0000 https://alabamabluegrass.org/hipgnosis-songs-fund-shares-decline-continues-in-share-buyback/ Despite beginning a long-awaited share buyback program about three weeks ago, Hipgnosis Songs Fund (LON:SONG) has a market capitalization of around £1.04 billion (currently $1.18 billion) – well below the value assigned to its catalog of songs earlier in 2022. At market close today, Hipgnosis shares were worth GBX 85.20 each, or 89 cents at […]]]>

Despite beginning a long-awaited share buyback program about three weeks ago, Hipgnosis Songs Fund (LON:SONG) has a market capitalization of around £1.04 billion (currently $1.18 billion) – well below the value assigned to its catalog of songs earlier in 2022.

At market close today, Hipgnosis shares were worth GBX 85.20 each, or 89 cents at the current exchange rate. The figure reflects a slight decline from Thursday’s close, but an improvement from the record low of GBX 77.20 that SONG hit last month.

Additionally, the old value represents a decrease of nearly 32% since the start of 2022 and, as initially reported, signifies a market capitalization of $1.18 billion. Although some finance professionals have questioned the fundamentals of Hipgnosis’ valuation methodology in the past, the company’s seemingly independent third-party valuator previously pegged a price tag of around $2.5 billion. to the rights of the current song.

That said, one of the issues with this appraiser’s valuation is the lack of consideration of interest rates, which have risen significantly since Hipgnosis joined in 2018.

According an evaluation from FinancialTimesif said appraiser (who is said to be involved in about three quarters of the industry’s catalog contracts) “were to start using higher interest rates in its calculations – reflecting rising real rates – the valuation of tens of Thousands of songs would drop, which could wreak havoc for investors who used the debt for purchases.

Bearing this point in mind, Stifel analysts said in a note after Hipgnosis unveiled its share buyback plans: “This is a surprising announcement for us. Indeed, the fund will borrow at just under 6% to buy back shares…the market is essentially indicating a lack of credibility on valuations.

Needless to say, it will be worth the Hipgnosis Songs Fund’s path forward throughout 2022, especially since executives haven’t specified exactly how many shares they’ll be holding. intend to redeem.

The global share buyback program, however, is expected to end on Thursday, December 8, and some analysts have recognized the possibility that Blackstone will ultimately repurchase the publicly traded deal at a significant discount.

October 2021 saw Blackstone take a stake in Hipgnosis Song Management, which serves as an “investment advisor” at the Hipgnosis Songs Fund and has himself bought several catalogs in 2022. The Fund, for its part, has not acquired new song rights in over a year due to a maxed-out line of credit.

Finally, at the beginning of October 2022, Hipgnosis refinance your debtand some analysts voiced relatively bullish positions on SONG soon after.

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Theater Diary: Longtime local theater artist Tyler Tafolla brings his new musical home to San Diego https://alabamabluegrass.org/theater-diary-longtime-local-theater-artist-tyler-tafolla-brings-his-new-musical-home-to-san-diego/ Tue, 01 Nov 2022 12:45:14 +0000 https://alabamabluegrass.org/theater-diary-longtime-local-theater-artist-tyler-tafolla-brings-his-new-musical-home-to-san-diego/ Two months ago, Tyler Tafolla wrapped up a 10-year run as a performer at SeaWorld San Diego. Now he’s ready to show the San Diego crowd what else he’s got up his sleeve. Tafolla rented the Diversionary Theater for a weekend to stage two performances of his magic-infused musical “Scott Robbins and the Traveling Show», […]]]>

Two months ago, Tyler Tafolla wrapped up a 10-year run as a performer at SeaWorld San Diego. Now he’s ready to show the San Diego crowd what else he’s got up his sleeve.

Tafolla rented the Diversionary Theater for a weekend to stage two performances of his magic-infused musical “Scott Robbins and the Traveling Show», which he created, marked, directed, produced and in which he plays the main role. There will be two performances at 8 p.m. on November 11 and 12. Tickets are $10 and can be purchased at instagram.com/scottrobbinsnewmusical.

Set in 1935 in the Great Plains US states, it’s the story of a young man on the run who poses as a famous magician to get hired by a traveling circus. Eventually, he finds a sense of community and home among the circus performers. Eight actors will play more than 100 roles. The cast includes Kelly Prendergast, Shaun Conde, Jordan Brownlee, Cameron Blankenship, Anna Duchi, Isabella Pruter and Russell Clements.

Tafolla created the full-length musical in 2017 while studying acting at AMDA College of the Performing Arts in Los Angeles. It was then performed at the New York Theater Festival: Summerfest, where it was nominated for an award. In the years since, Tafolla has reprized the show several times around the country, including at Groundworks Theater Arts in Poway in 2019. Visit tylertafolla.com.

“Outsiders” tickets on sale at the LJ Playhouse

The La Jolla Playhouse has opened ticket sales for the first four weeks of its first musical “The Outsiders,” which will run Feb. 19 through April 2 at the Mandell Weiss Theater on the UC San Diego campus.

Based on SE Hinton’s 1967 coming-of-age novel and Francis Ford Coppola’s 1983 film, “The Outsiders” is about a gang of teenagers in 1967 Oklahoma who struggle to overcome their roots. tough and survive. The musical features book by Adam Rapp, music and lyrics by duo Jamestown Revival (Jonathan Clay and Zach Chance) and Justin Levine, and direction by Danya Taymor. For tickets, visit lajollaplayhouse.org/show/the-outsiders.

Dani Diaz and Ramon Villa in Scripps Ranch Theater’s “Extreme Home Makeover,” opening November 11.

(Courtesy of Ken Jacques)

SRT presents ‘Extreme Home Makeover’

“Extreme Home Makeover,” a play that read at San Diego Repertory Theater’s 2020 Latinx Play Festival, will go into a full production this month at Scripps Ranch Theater.

Written by Texas-based playwright Makesha Copeland, the 2021 play is about a Mexican-American family in Texas who audition for the now-defunct ABC reality show “Extreme Home Makeover,” where struggling families were selected to build a lavish new home for them at no cost. Parts of the play will be in Spanish.

The play will be directed by Olivia Espinosa during her company debut. The cast includes Dani Diaz, Leticia Bombardier, Ramon Villa, Tamarin Ythier and Javier Guerrero. Performances are at 8 p.m. Fridays and Saturdays and 2 p.m. Sundays, November 11 through December 4, on the campus of Alliant International University, 9783 Avenue of Nations, San Diego. Visit scrippsranchtheatre.org.

‘Hamilton’ ticket lottery announced

In keeping with the “Hamilton” producers’ long-established policy of broadening access to the musical at all income levels, 40 tickets will be sold via digital lottery for $10 each for each performance of the show when it airs. at the San Diego Civic Theater Nov November 9-20. Digital lotteries for upcoming performances will end at noon Thursday. Tickets are void if resold, only one entry is allowed per person and each winner may purchase up to two tickets. To register, download the “Hamilton” app from the Apple App Store or Google Play Store.

Kragen writes about theater for the San Diego Union-Tribune. Email him at pam.kragen@sduniontribune.com.

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New Episode ‘M Means Music’ Tackles Beck’s ‘Sea Change’ https://alabamabluegrass.org/new-episode-m-means-music-tackles-becks-sea-change/ Sat, 29 Oct 2022 11:00:31 +0000 https://alabamabluegrass.org/new-episode-m-means-music-tackles-becks-sea-change/ Season three of M stands for music is back with a new episode offering an in-depth look at Beck’s revolutionary opus, change of the sea. Shop the best of Beck’s discography on vinyl and more. Host Darly Easlea opens with a bit of context, saying, “The best albums create their own universe; a listener gets […]]]>

Season three of M stands for music is back with a new episode offering an in-depth look at Beck’s revolutionary opus, change of the sea.

Shop the best of Beck’s discography on vinyl and more.

Host Darly Easlea opens with a bit of context, saying, “The best albums create their own universe; a listener gets so lost in the work that he wonders why he has already listened to something else: change of the sea is one of those albums; you may not go there very often, but when you do you find it hard not to listen on repeat. It’s arguably one of the most autumnal albums you’ll ever hear; a break-up album where the pain rises with each orchestral swell or chord change.

“We had already seen many Becks in his first decade as a performer; he had traveled from indie-folk-punk troubadour to major-label success with his groundbreaking album soft gold and his single “Loser”; Odelay from 1996, put him on the cusp of stardom – ‘Where It’s At’ and ‘Devil’s Haircut’; 1998 again mutation showed his ability to shapeshift, an introspective work that lost him some of his new found audience.

“The last time he released an album was larger than life Midnite Vultures in 1999, which highlighted Beck as the retro-funk hipster, Prince-meets-Chic, with thoroughly groovy “Nicotine and Gravy” and the sublimely moving “Debra”, a live star who had been in his number for many years.

He then evokes the brilliant change of the seasaying, “However, change of the sea was different. It was written in 99 and 2000 and inspired by his breakup with longtime girlfriend Leigh Limon, who had been with him since the early 90s. Beck had said: “She chose me when I was without the penniless and unknown, and that makes her the most important person in my life.” However, after she allegedly discovered she was having an affair, the relationship ended.

He adds, “With its steady slowing pace and understated wordplay, it’s as if a great 70s singer-songwriter had been cast back into the 2000s. Recorded with his usual band and special guests; It’s no wonder parts of the album are orchestrated by her dad, David Campbell, who got his start in the industry on Carole King’s Tapestry album.”

Listen to the M stands for music episode on Beck’s change of the sea.

For the latest music news and exclusive features, check out uDiscover music.

uDiscover Music is operated by Universal Music Group (UMG). Some recording artists included in uDiscover Music articles are affiliated with UMG.

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Taylor Swift’s ‘Midnights’ Gets New Snapchat Lenses – Billboard https://alabamabluegrass.org/taylor-swifts-midnights-gets-new-snapchat-lenses-billboard/ Wed, 26 Oct 2022 23:30:59 +0000 https://alabamabluegrass.org/taylor-swifts-midnights-gets-new-snapchat-lenses-billboard/ Swifties now have a whole new way to participate in the Midnights fun. Snapchat has partnered with Taylor Swift and virtual communications company BLNK to create three custom augmented reality lenses, which transport users to the gates of Big Ben in London or Grand Central Terminal in New York to unlock a Midnights live it […]]]>

Swifties now have a whole new way to participate in the Midnights fun.

Snapchat has partnered with Taylor Swift and virtual communications company BLNK to create three custom augmented reality lenses, which transport users to the gates of Big Ben in London or Grand Central Terminal in New York to unlock a Midnights live it all to the tune of “Anti-Hero.”

Augmented reality experience will turn every clock face into Swift’s Midnights the clock. The hands of each of the clocks will spin until they stop at midnight, and the whole structure will transform into a larger than life vinyl player, complete with gears, turntables, spinning vinyl and, of course , the music from the album.

Explore

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See the latest videos, graphics and news

See the latest videos, graphics and news

Additionally, fans can use Snapchat to scan any edition of the album’s back cover to unlock a filter in which the three missing clock pieces will appear to create a complete clock.

According to initial reports to Luminate, Midnights, which was released on October 21, sold over 800,000 copies in the United States in its first day across all available formats (multiple digital album downloads, CD, vinyl and cassette variants ). He has already recorded the biggest selling week of any album since 2017, is the best-selling album of 2022 year-to-date and set a modern-era record for one-week vinyl album sales. Spotify also announced that the album is officially the most streamed single-day album in the streaming service’s history.

At the time of its publication, the album earned more than 1.4 million equivalent album units in the USA

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The Grammys | GRAMMY.com https://alabamabluegrass.org/the-grammys-grammy-com/ Sun, 23 Oct 2022 20:47:20 +0000 https://alabamabluegrass.org/the-grammys-grammy-com/ If you’re a fan of high-profile TV and blockbuster movies, you’ve probably heard the music composer’s works Ramin Djawadi. The two-time Emmy Award winner and three-time GRAMMY nominee has composed scores for ‘Westworld,’ ‘Iron Man,’ ‘Eternals,’ ‘Uncharted,’ and dozens of other famous shows and movies, and more. coming. But those who have traveled to Westeros […]]]>

If you’re a fan of high-profile TV and blockbuster movies, you’ve probably heard the music composer’s works Ramin Djawadi. The two-time Emmy Award winner and three-time GRAMMY nominee has composed scores for ‘Westworld,’ ‘Iron Man,’ ‘Eternals,’ ‘Uncharted,’ and dozens of other famous shows and movies, and more. coming. But those who have traveled to Westeros know Djawadi for his opus: it’s true, he is the man behind the music of “Game of Thrones”. .

Today, the sonic call to arms is given a second life as the central theme of ‘House of the Dragon’ – the latest installment in George RR Martin’s ‘Game of Thrones’ universe, set 200 years before the events of the original series.

A musical chameleon – who has collaborated with mega talents like Hans Zimmer, Wu Tangit is RZAand Rage against the machine guitarist Tom Morello – Djawadi has returned to compose music for the highly anticipated prequel series, which wraps up its first season this Sunday on HBO. Ahead of the finale, GRAMMY.com spoke with the composer about creating musical cues and themes for Westeros characters, his love of ’80s metal, and the possibility of a live concert experience.” House of the Dragon”. The discussion below contains minor spoilers.

This interview has been condensed and edited for clarity.

Earlier in your career, you collaborated with Hans Zimmer on Pirates of the Caribbean: The Curse of the Black Pearl. Did your experience working on this score influence your later work? And what did you learn from him?

Working with Hans has been absolutely amazing. He has been such a good mentor and friend. Thinking back to that time, I was fresh out of college and felt ready to become a composer. But I hadn’t realized how much more there was to the role than just writing, which is hard enough.

By working closely with Hans, I got to see his organizing process and how he works with collaborators and organizes meetings. Obviously, there’s a lot of music to write and keep track of, and you also need to stay on top of recording sessions. To be able to see that on a massive project like “Pirates” was amazing.

You talked about the decision to use the main GoT theme for Dragon House to keep the shows connected. Are there plans to compose an original HOTD theme for future seasons?

Honestly, at this point, there haven’t been any talks about Season 2 yet, so it’s too early to tell. For the first season [of HOTD], the decision was made to use the theme to tie the show to “Game of Thrones”, which hasn’t aired for some time. It was meant to make a statement about connecting these shows and giving that overall theme. That’s how we’ve always seen the original theme in the episodes of “Game of Thrones”: it belongs to everyone. It sums up the movement of the series, which is why the decision was made to keep it for the new series.

Where do you find inspiration for the different ideas and musical motifs in the series? What are some of your benchmarks?

Number one, talk with the showrunners, Miguel [Sapochnik] and ryan [Condal]. They guided me through the show because they understand where things are heading. So I followed that very closely when I set up a theme. And then they’ll be like, “Listen, later on, it has to be able to do that. And it can be mysterious but also epic?” So I pay close attention to their advice.

I’m also very inspired and influenced by visuals. When I get the episodes – even if I don’t write on the picture – I like to have the episode in the background. Seeing these incredible costumes and sets – it all inspires me.

You recently revealed that you were a metalhead when you were younger. Did this genre influence your work on this series or on GoT?

[Laughs] Absolutely. I won’t deny it. Rock and metal have always been a big part of my influence. As a teenager, I had long hair and was a guitar shredder. I was inspired by all these great 80s metal bands: Metallic, Anthrax, Killer; I can go on and on. Metal has had a great run throughout this time. There was one amazing group after another.

The genre really influenced my writing. In fact, when we did the second “Game of Thrones” tour, my wife suggested adding a guitar to the mix. And I actually pushed back, but she said put that tail on and play the guitar. And I did and I thought, Oh my God. And I realized how guitaristic the lines were and how well they fit the guitar, so we did that part of the show. A lot of the stuff I write translates well to guitar.

Although the genres seem disparate, I have heard that there is a connection between classical music and metal.

You are quite right. When I was a teenager I was playing all this rock stuff, there were all these neo-classical guitarists, like Yngwie Malmsteen, for example. He went from rock and metal to classical music. And I played that all day. I will take Paganini songs and play them on the guitar. This type of crossover was popular at that time. The guitarists played Bach pieces on the guitar. So there is definitely a link.

Can you talk about the process of scoring a scene for the show? Is there a pre-briefing or discussion?

This is called a scouting session. I sit down with the showrunners, Miguel and Ryan, and we watch the whole episode together. Then we decide where the music should start and where it should stop. And then we talk about those moments. What theme could we use? What should the mood be?

Sometimes we go into detail, and sometimes we don’t. We have to find the right instrumentation when there is a turning point, so that they give me more inspiration and direction. And then I write all the music and create these digital demos, which I play for them. Then we’ll look at the picture together with the music and see what works and what doesn’t. Do we need to modify it further or not? Once we all agree on the music, I record it.

It is important to emphasize that this is a collaboration. I don’t just write what I want. The showrunners have a clear vision. For example, they knew that we were going to take the piano again at the end of the first [“House of the Dragon”] episode. It’s always been a great thing to use the piano in GoTand we didn’t until the sixth season.

So now that we introduced that piano sound, might as well drop it in the first episode [of this new series]. It’s a crucial point in the plot, so we decided to use it. So I write the piece on the piano and then play it for the showrunners. They might have thoughts, but they might not. Ultimately, it’s a collaboration, and you want everyone to like it, so you have to explore that together.

How do you determine which characters get a theme or multiple themes?

That’s an excellent question. It just happens organically as we progress through the episode. Some are more obvious than others. In an episode, Rhaenys, Alicent, and Viserys may need themes.

Or Rhaenyra, for example, there is several themes for her it just happened to come out of different scenes. As there is one that is more of an emotional theme for her. Then there’s the other one with the voice in episode 3 when she go back to camp. It’s fun to combine them, depending on what the story does.

As a viewer, I love how both series’ musical cues are always unfolded with such precision, at the right emotional moment. And I noticed how the absence of music in certain scenes can trigger deeper emotions. How do you and the creatives decide when a scene or moment can benefit from a cue and when to hold back?

I feel like it’s very hard to do. And again, this all happens in the scouting session, where you decide where the music should and shouldn’t be. But we polish until the very end, when the show needs to be finalized, because most of the time when we’re discussing the music, the visuals aren’t finished. Visual effects, sound effects. Everything happens in parallel. So sometimes you end up doing what we call overvaluation, where you put too music in the show. When the visuals come together later, you realize, “Wow, now that the final sound effects are here, let’s stop the music because the dragons are so loud.” We don’t need music here to make up for them.

You make these decisions until the very end. And it’s always difficult to get the right balance. I think it’s done really well in ‘House of the Dragon’ and ‘Game of Thrones’. Like you said, sometimes not having music can be more powerful than playing something because music always makes things better. Sometimes not improving a scene can make it more awkward, scarier, or more emotional.

When composing the music for a scene, do you give priority to synchronizing the sounds with the actions and movements or to creating a mood?

For this particular show, we generally focus on capturing the mood rather than synchronizing with movement. It’s more about telling stories with the thematic material. These are largely larger strokes. And that’s always what worked very well for the series.

Rhaenys’ grand entrance during the coronation features one of my favorite musical moments from the show so far. You took us from celebration mode to pure chaos in an instant. Then the music syncs up as Alice’s eyes close, and there’s no doubt everyone on that stage is toast – but our expectations are subverted. What went into the creation of this epic piece?

It’s a big, big moment. And it’s a good example of a time when we were playing with the balance of sound effects – where not to have music and where to throw it in and take it out when you think they’re all going to die now. I actually dropped the “main title theme” a bit because historically that’s always what we’ve done. Towards later episodes, we saw that this overarching main theme could represent everyone.

The kingdom is on the brink of civil war as the first season draws to a close. Can you talk about any of the themes or clues we’ll hear in this Sunday’s finale? Will the piano return?

[Laughs] I’m not sure what I can say, but it’s going to be an epic finale. I think it’s really, really great. I’m trying to think if there’s a piano in there. I don’t remember, actually.

A few years ago you created the game of thrones Live Concert Experience and travel around the world playing the sounds of Westeros. Do you plan to develop a Dragon House live show?

Maybe, but it’s a bit too early to tell. On “Game of Thrones,” we didn’t actually tour until season 6. [HOTD] is still in its first season, but there is certainly a lot of material; it could definitely fill a gig. And I loved those concerts.

If my schedule allows, I’m more than happy to tour again as it was very special to connect with the audience. I’m always alone in my studio, and being there and seeing the crowd reactions when you play those epic scenes with the music was fantastic.

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