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Simple Minds To Release New Album, ‘Walk Between Worlds’, On February 2nd

Simple Minds To Release New Album, ‘Walk Between Worlds’, On February 2nd

Simple Minds have announced the upcoming release Walk Between Worlds, their first album of new material since 2014’s Big Music (which MOJO magazine declared “their best album in 30 years”). The highly anticipated album drops on February 2nd, 2018 via BMG.

Walk Between Worlds was produced by Simple Minds with Andy Wright and Gavin Goldberg, both of whom worked on Big Music. With its eight tracks rocketing past in 42 minutes, it is a relatively concise affair. It is also an album of two distinct sides, very much the old-school album format that singer Jim Kerr and Charlie Burchill grew up with as music fans. Side One tracks such as “Summer” and “The Signal And The Noise” revisit the glassy guitars and new wave dance grooves of the post-punk era and the second half explores more cinematic sounds, with the title track and “Barrowland Star” both featuring dramatic orchestrations recorded at Abbey Road.

The album is bookended by two songs about faith, “Magic” and “Sense Of Discovery.” The first is a reflection on the desire and hunger of youth – the faith in their own abilities that Simple Minds possessed during their formative years. “Sense Of Discovery,” which features a melodic refrain that alludes to 1985’s “Alive And Kicking,” is centred on the voice of an older narrator passing on wisdom and advice to a younger individual.

One of the album’s key tracks is “Barrowland Star,” named after the iconic ballroom in the East End of Glasgow that has hosted many memorable Simple Minds shows. It’s a song that takes the band away from their traditional comfort zone, layering strings and a spellbinding Charlie guitar solo (one that reminds Jim of Mick Ronson) over some poignant words. For Jim and Charlie playing the Barrowland was always a big deal, a mixture of excitement – and fear – it felt as if they were about to engage in a prize-fight rather than simply play a rock concert.

The album artwork is by Brazilian visual artist Heitor Magno, whose work is often a surreal montage of vivid coloured imagery and black and white photography. The image he has created for Walk Between Worlds is emblematic of Simple Minds’ metamorphosis. The central character on the front cover bearing an uncanny resemblance to a young Jim Kerr – the sleeve could also be viewed as a telling throwback to the Sons And Fascination era.

Simple Minds were the standard bearers for a new kind of rock in the Eighties, when they took the art-rock invention of post-punk and constructed a musical Colossus by adding rousing choruses and a touch of Celtic soul. As they contemplate turning 40, their legacy is something to be proud of and with Walk Between Worlds their story continues to evolve.

Simple Minds will take to the road in February 2018 to premiere Walk Between Worlds in three shows, which will be in three parts: a performance of the album, a live on-stage interview and a classic Simple Minds set, which will include the band further re-imagining and exploring songs from their extensive catalogue. For fans it will be a very special, one-of-a-kind experience.

With Jim and Charlie now part of a theatrical gang of musicians that are, in Jim’s words, ‘more inspired by the likes Sly & The Family Stone than a traditional male rock band’, the tour will feature the Acoustic tour line up of: Jim and Charlie, percussionist Cherisse Osei and backing vocalist Catherine AD alongside band mainstays Ged Grimes on bass, multi-instrumentalist Gordy Goudie, and regular backing singer (and sometimes lead vocalist) Sarah Brown. ‘The whole stage set-up is now more fluid,’ says Charlie. ‘We’re working on fresh arrangements of some old songs, and there is going to be more movement between the musicians onstage. There will be time for people to digest the songs and more space for Jim to talk to the audience.’

As much as it has been a real pleasure to work on Walk Between Worlds, equally so it is thrilling to observe that the Simple Minds story continues to evolve both in the studio and on the live stage. Sensing that each of these songs are destined to become individual events when played live – we look forward to performing all of them alongside already established live classics when we set out on this next upcoming tour. – Jim Kerr

Standard Tracklist
1. Magic
2. Summer
3. Utopia
4. The Signal and The Noise
5. In Dreams
6. Barrowland Star
7. Walk Between Worlds
8. Sense Of Discovery

Deluxe Edition includes the bonus tracks:
1. Silent Kiss
2. Angel Underneath My Skin
3. Dirty Old Town (live)

Walk Between Worlds will be available on standard and deluxe CD, standard, deluxe and picture disc vinyl, digital download and stream. CLICK HERE to pre-order!

2018 UK Dates:
February 13 – Barrowland; Glasgow
February 14 – Albert Hall; Manchester
February 15 – Roundhouse; London

Tickets on sale November 24 via www.gigsandtours.com and www.ticketmaster.co.uk

For more information on Simple Minds:
Official Website
Facebook
Twitter
Instagram

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Corey Feldman Issues Open Letter To “Friends In Hollywood & Beyond” Detailing Aspects of His TRUTH Campaign

Corey Feldman Issues Open Letter To “Friends In Hollywood & Beyond” Detailing Aspects of His TRUTH Campaign

Actor/musician/activist Corey Feldman recently announced the launch of Corey Feldman’s TRUTH campaign. The movement starts with a crowdfunding campaign to bring a movie based on his life to the silver screen. The film seeks to expose the pedophilia he believes has run rampant in Hollywood for decades.

This morning, Feldman issued an open letter to his fans early this morning to detail the different aspects of the crowdfunding campaign. In the letter, Feldman appeals to his fans and new followers to donate to the campaign, as well as help spread the word on the movement. Most importantly, Feldman offers a detailed look at areas where the $10 million dollar budget raised by the campaign would be allocated. Since the launch of the ambitious campaign two weeks ago, Feldman has made several high-profile appearances, such as ‘The Dr. Oz Show,’ and ‘Today,’  and has already revealed the names of two alleged Hollywood pedophiles.

The TRUTH Campaign has already raised over $200,000 and continues to gain steam and well-deserved media attention. Check Corey Feldman’s full statement below:

AN OPEN LETTER 2 MY FRIENDS IN HOLLYWOOD & BEYOND…

HI #EVERYBODY, I would like to start off by saying THANK U to each and every 1 of U who has taken the time 2 TWEET, RT, post, share, or tell any1, about this very important cause. I’d also LOVE 2 say THANK U to all the loving souls who have visited my #TRUTH campaign: If https://www.indiegogo.com/projects/corey-feldman-s-truth-campaign#/

AND ACTUALLY MADE DONATIONS! GOD BLESS EACH & EVERY 1 OF U!!

However there is a bigger picture. As of 2day, I have gained 75,000 new Twitter followers in the past 2 weeks. In total I now have over 135,000 followers. Before I 1st announced this campaign, the numbers of followers had already been rising in great volume.

It seems as soon as the news broke of the Weinstein scandal, people immediately started turning to me for answers. I was both perplexed and dumbfounded by the sudden interest into a story I had been telling for decades. But suddenly and to my surprise, my story began to resonate and began building traction.

Suddenly people remembered what I had been saying for all those years, and it just started making sense. So within the 1st week of the scandal and by the time I made the 1st statement on it, the followers had already grown by 10k in 1 day. I am very Grateful for that!

I’m also forever grateful to the likes of Ashley Judd, Alyssa Milano, and the countless other women who came forward not just with stories about Weinstein, but to all of the strong women who came forward around the globe inspired by the #MeToo movement. It is because of your courage, my story has found new hope. This is a courage I pray will spread to the countless adults who were abused as children, and to the children who may have just recently suffered an abuse.

That said, I also made a battle cry 2 weeks ago sounding the alarms that the war had started, by creating and announcing a well thought plan, to both get the whole truth out, while figuring out a way to protect myself.

I was immediately blessed, with fire in the action of thousands of followers stepping up and donating to our cause straight away. However the next day things slowed down a bit, presumably out of fear perpetuated by false claims that I “would never give names” and “this is just a long con”. Well I immediately took action. I jumped right in and refuted those claims, by going on both The Today show & the Dr Oz show and publicly admitting the names of 2 abusers. I wanted everyone to know, this wasn’t a game, & I’m not playing.

However let’s step back & break it down & talk about the “long con” concept for a moment.

So let’s start with the question “why make a film?” Here’s why….I’m a film maker, that is my art, my talent, my strength, & my profession. I want to truly show people what a child experiences when living with abuse from the perspective only someone who has lived with that abuse can make. It is a very important commentary and a brave piece of film making, as there is no one else who can truly capture the essence, of what the experience, of an abused child, who is famous, goes through, in the way that I can.

And as this story must be told once and for all, & as I am the only one who can tell it, I must reveal these very painful memories by reliving them through this process. As a victim, nobody has the right to tell a victim the right way to address these feelings. Nobody can tell me how to heal. I must do this the best way I know how, and this is my choice.

I also want people who have been burdened with going through life as an abuse victim/survivor that U are not alone. For the 1st time U will recognize that there are many other people who feel exactly the same as U.

Therefore, I have initialized a crowd funding campaign with the support of my family, and with my wife leading the campaign. Let me be very clear about this. A film maker creating a platform for source revenue via asking for support and finance from fans and followers to make a film is not a new concept, & in my business it is certainly not out of the ordinary.

In fact it’s now standard practice amongst most independent film makers to use crowd funding platforms as the main source to get the funding to make their projects. Furthermore even studio level films ask the public for additional funds to complete certain aspects.

When I myself in the past have questioned whether it was ethical for a big production house or small studio to ask the public for finance, I was given a very simple answer by a well known producer. He said “the studios are now using this tool to get the public more involved with projects from the ground up, it gives them a deeper sense of involvement.”

So with that knowledge I then began looking at asks. It turns out that there are film makers and TV producers and even well known multi millionaire recording artists and celebrities that have asked for anywhere from $250k all the way up to 30Mil from public crowd funding of their various projects.

But somehow when Corey Feldman uses the very same tool with asparations to make a film it’s a con?

Furthermore people have balked at the number saying “it’s greedy”, or “he doesn’t need that much to make the film”. Let me be very clear about this. If 10Mil was the complete budget for the film and only the film, at a studio level it still would be relegated (more than likely) to a straight to DVD movie.

An example, The Lost Boys sequel “The Thirst” was shot with a budget around 7 or 8 Mil. That was a WB film, but made for straight to DVD.

The film I’m intending to make, will be made with a smaller budget, and will achieve a theatrical release. The way I can achieve it is by forewalling the theatres (renting them out).

Even if I get the 10 Mil, it couldn’t possibly all go towards the budget of the film. But unless U have spent your life as a film maker U don’t understand the costs or how the $ is dispersed. So let me break it down….

If I used all 10Mil to make the film, it would never go anywhere and likely never be seen. So that’s not an option. As I have previously stated I am planning on producing, & self distributing the film. Which entails, pre production costs, production, & post production.

Then when U get into the films release, we are talking about a marketing campaign (in the studio system they want 3 times the total budget just for this part) which would include TV and Radio ads, Billboards, & a cohesive marketing strategy with a publicity team, booking all the talk shows and personal appearances, screenings, etc.

Then U have the actual cost of P & A. For the general public who doesn’t study film costs, this means prints and advertising. There is a hefty price tag that comes along with renting out theater houses, and getting prints of the film made to send to each of those theaters, not to mention the cost of actually transporting those film reels or digital cards depending on the technology of the theater across the country, and with much higher rates for international releases.

Now let’s put the film aside, & talk about the subject matter, & what I’m up against…..

A legal team to defend cases of slander, defamation, and the like that will indefinitely arise from the direct allegations raised within the films context will likely ask for a retainer upwards of $100,000 and that’s just to open the case. Then the amounts will continue to skyrocket as the well lined pockets of my enemies, will stop at nothing, including hiring spies, publicists, lawyers, and God knows what else to smear my name, shatter my reputation and with any success leave my image as battered and broken as an unstable man who seeks to damage the pristine images of these wealthy and powerful men for personal gain.

I’m not afraid of their lies, because the #Truth always wins in the end. But without my own team, of lawyers, marketing specialists, publicists, and the like, they would extinguish my fire quite quickly as they have done to so many entertainers before me.

The more $ U have to work with, the more damage U can do to someone’s public profile. They are very well aware this fact. Additionally, big $ lawyers also have a special way to drag out court proceedings in a way that U are forced to keep your attorneys working around the clock to defend silly allegations, or even just to buy themselves more time to put their defense together.

The whole system is set up in this way for a reason. Because it keeps people from seeking justice. It keeps the little guys like me, from having the ability to STAND, & fight the good fight. It’s much easier and more cost effective to either dismiss it entirely or settle out of court. Neither of those will bring the justice we all desire.

Then finally we can discuss the security element. When I say I need protection, I’m not being paranoid, or acting delusional. In fact my concerns are quite valid. Point in case…. After all after all the stories I’ve heard, including the recent release of information that Weinstein hired private spies to prevent this information from becoming public, there has never been a report that he actually threatened many of his accusers with murder.

Well let me be very clear. The man at the end of this bread crumb trail, the coveted name A lister everybody wants to know about has, & does continue to threaten his victims with death. It’s actually his go to statement. Anyone that knows who I am talking about can find multiple court records in which defendants have claimed that they feared for their safety after confronting him. Point blank, he threatens people’s lives and has a history of violent behavior.

I don’t only fear for myself, I have lived half the life I long for, but if I die on this mission, than that is Gods plan for me, but my son does not deserve this injustice. He should not have to live in fear. He should not feel threatened. But his safety is first. So I must keep him protected. So please keep in mind, even if my life isn’t worth a donation, an innocent child and an innocent woman are also in jeapordy here. Surely they deserve mercy as this isn’t their fight.

To hire security, it costs an average of $7,500 per guy per week, for armed 24 hr security. I’m pretty sure it is illegal to make someone work 24 hrs with no break, and they also cannot work 7 days with no day off. Which means I need a team of security guards to keep myself and my family safe.

So if U do your own math, and start doing the actual numbers, it is quite easy to see I could never spend 10 Mil on just a movie. The idea would be to spend 6 Mil on the films various production phases, with 2 Mil set aside for marketing and distribution, and 2 Mil set aside for security detail spanning a 2 yr period, and a team of Lawyers to protect me at least until the film is released and can start making a profit. At which point the profit can be used to keep it in the theaters, and keep it from being banned and barred due to legalities.

If the film should do well, and make a large profit, much of the profits will be donated by me, to child rape centers, and abuse shelters. This has long been my dream. Since I was a child I dreamt of creating a safe house for children, maybe the success of this could help that dream become a reality as well.

Can I make it cheaper? Sure. And if I am forced to of course I will. But as an artist, and a visionary who has spent every day of his life in and around film sets and production meetings, I am well aware of the sacrifices I would need to make in the quality of the product I am delivering. Of course I want to make an Amazing film. With great actors, stunning cinematography, compelling musical score, and a visually engaging theater going experience.

But more importantly this film will finally give the abused masses a voice. This film will educate people in a way no other film can. And by donating $1 or more U are showing the world which side U stand on. It doesn’t take much, to set an example. Let them know U stand with me and will no longer tolerate an industry that turns its back on the children they help raise. U will Pay $20 at the box office, to see a film made by pedos, but won’t contribute $10 to make a film exposing them? Think about that….

This is specifically why I am reaching out to fellow film makers, and Hollywood at large. Because I am quite certain there are other good people, honest men & women who are in my industry, that would care deeply about this issue and want to make a difference. This is why I’m hoping that Producers, Directors, Writers, and film Stars, should be taking action, and lending their talents, services, and financial backing, so we can proudly stand as 1 and show the world that Hollywood isn’t all bad. Stand with me and show that many of us care. Many of us have big hearts. And many of us will stand together to make a difference.

This brings me back to my original point. When I 1st announced this plan, the biggest objection was seemingly the idea that this was some sort of black mail. Detractors started saying I was demanding a pay off for doing the right thing. I was also told by countless supporters that if I were 2 start naming names & show everyone I was serious and this wasn’t about the $, it was in fact about justice, that I would have their support.

Well we are almost 2 weeks into this campaign. I have publicly outed 2 of the 6 names, with many leads already perculating on #3. That means I have already given up half of the info to the public. I have also again given 100% of the info to the police and an official investigation has been opened. I have left myself wide open to ridicule, which several folks in both MSM & SM have taken advantage of.

Well in my estimation, we are establishing a trust. And that trust works both ways. U told me, if I proved I was sincere and this wasn’t a $ grab, that U would back my campaign and make a donation. Well I have gone above and beyond what any1 expected (including myself) at such an early stage of this campaign.

But when I look at 136,000 followers, & see only 4,300 donors, I am starting to feel that my support is not substantial. That this trust is only working 1 way. I’m risking my life here. I’m out on a limb. I have everything to lose, & yet all I’m asking, is for each and every follower to simply donate $1!

But at the end of the day, I truly, deeply, need your support to see this thing through. In the end, I will make work whatever I end up with, as I won’t have a choice by that point. But right now, the choice is yours. Where do U stand?

I’m not asking the average person for a million. Im asking Hollywood to spend the big $ on helping me create this project. But I know this business, & until they see 10’s of thousands of supporters, they won’t even recognize this is happening. However if each of U stood with me now, I truly believe we can change the world! We can start the wheels turning, to initialize a revolution within the film industry, to where everyone will start holding 1 another accountable for their actions.

Please realize this isn’t reality TV, this isn’t a video game, I’m a real live person, and my real life is in danger, & U all have the power 2 save my life. I’m not demanding $1,000 or even $100, or even $10 from any of U except love and support!

For all the 4,300 who have already donated, I’m not asking for anything more. I appreciate and LOVE each and every 1 of U already. Nothing 2 prove!

But each of U donating $1 can help my family stay safe, at least long enough to get the #TRUTH out in the open, where it belongs! But more importantly, when U donate U make a statement that U stand on the side of all that is good and pure and just.

Strength comes in numbers. Remember, this isn’t a war against Hollywood. This is a war against corruption of the highest order because of a few bad people who must be rooted out of the industry. This is the war of Good and Evil! I implore U to stand with me.

Please donate today!

God Bless us all!

#CoreysTRUTHcampaign #ISTANDWITHCOREY #PRESERVEINNOCENCEhttps://www.indiegogo.com/projects/corey-feldman-s-truth-campaign#/

Follow the continuing adventures of Corey Feldman on his official social media outlets — Facebook, Twitter and Instagram.

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Corey Feldman Launches TRUTH Campaign To Shine A Light On Pedophilia In Hollywood

Corey Feldman Launches TRUTH Campaign To Shine A Light On Pedophilia In Hollywood

Pop culture icon Corey Feldman has released heartfelt video message to announce the launch of Corey Feldman’s TRUTH campaign. The movement starts with a crowdfunding campaign to bring a movie based on his life to the silver screen. The film seeks to expose the pedophilia he believes has run rampant in Hollywood for decades.

In recent years, Feldman stated that both he and his long-time acting partner Corey Haim suffered sexual abuse by older men in the entertainment industry. While his experiences have fallen mostly upon deaf ears in the past decade, his voice is now being acknowledged by mainstream media outlets in the wake Harvey Weinstein scandal. In his video, Feldman makes a plea to other child stars to come forward, tell their stories and ultimately break the “dam of silence.”

The Indiegogo fundraising campaign is currently eyeing a $10 million goal will allow Feldman to write, direct, and distribute a major motion picture, as well as covering security and legal costs to protect his family. Learn more about the TRUTH Campaign via the official Indiegogo page and check out Feldman’s video announcement below.

Follow the continuing adventures of Corey Feldman on his official social media outlets — Facebook, Twitter and Instagram.

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Nick Heyward Talks Creative Evolution, His Powerful New Album And Bright Future!

Nick Heyward Talks Creative Evolution, His Powerful New Album And Bright Future!

The legendary Nick Heyward – Photo by Sara Johnson

When you have the comfort of working on your ninth album without the rush to meet a deadline, you really want to take your time, especially if it’s your first solo outing in 18 years. For singer songwriter Nick Heyward, ‘Woodland Echoes, has served as a reminder of things he is grateful for. His appreciation for making music is reflected on all 12 tracks on this breezy, smart pop gem. Heyward has been putting out great pop songs since his band, Haircut One Hundred, blasted on to the scene in the early 80s earning four UK Top Ten and two US Top 40 singles with “Favourite Shirts (Boy Meets Girl),” “Love Plus One,” “Nobody’s Fool” and “Fantastic Day” from their debut album, Pelican West. While enjoying the early days of success, differences in style and direction led Heyward to leave his post as front man and lyricist to begin his solo career.

An artist who has always been well received by both critics and fans, Heyward released three solo albums in the 80s, three in the 90s (including a 1998 release on Creation Records at the behest of Alan McGee) and two 2 collaborations in the aughts. A 2013 announcement of new music was met with eager anticipation, but supporters would have to wait until 2015 for a preview of what would become the music on ‘Woodland Echoes.’ Recorded at his son Oliver’s studio, on a houseboat in Key West, and Zak Starkey’s Salo Sound studio deep in the UK countryside, Nick deliberated over the music until he felt it was ready. “At first, I wanted it finished straight away.” he says. “But then, ‘that’ll do’ became impossible for me; in fact, it was the opposite – as soon as someone said something would do, I knew it wouldn’t!”

It’s that precise attitude that makes Heyward’s music so special. This album, like all of his work, is made with the same passion, introspection and grace found in all of his music. An avowed lover of nature and the outdoors, you can hear that influence in all the tracks, particularly “Beautiful Morning.” “Love is the Key By the Sea,” which opens the album, is a bold and harmonious love song, and the jazzy snap-your-finger fun of “Who” is most certainly a tip of that hat to Mr. Paul McCartney. “Baby Blue Sky” is a rapturous beach song with a dash of Oasis thrown in to the mix, and lead single “Perfect Sunday Sun” is the most perfect 70s era pop song. Heyward, who has always been singled out as a strong and thoughtful lyricist, continues his streak of songwriting success on ‘Woodland Echoes,’ which feels warm and intimate.

All things being equal though, the Nick Heyward of 2017 isn’t the same person as the Nick Heyward of 1982. “You have to find peace and love; it’s a process – my early songs were always bittersweet – the verse would be going through the struggle, but then it would be ‘it’s a fantastic day’; but there was always that struggle. On this album, that struggle is gone. The songs on Woodland Echoes are reflective of the past 10 years.” It’s a treat to have Nick Heyward back making premium pop music. In 1985, Nick told Smash Hits magazine that “I want to make the kind of LP you can wrap up and give to someone as a present. No duff tracks at all, just 12 shining wonderful singles, I suppose.” In 2017, with’ Woodland Echoes,’ he has finally achieved his goal.

Jason Price of Icon Vs. Icon recently caught up with Nick Heyward to discuss his life in music, his songwriting process, bringing ‘Woodland Echoes’ to life and what the future may hold for him as an artist.

The arts played a big part in your life. How did you get involved early on?

I started out as a commercial artist in London in the punk days. It was about 1977 and I was working for a company who did some sleeves, which was mainly rock stuff, but the first punk thing they did was The Jams’ “In The City” sleeve. I worked on that! I got to take some artwork to Chris Parry of Fiction Records, who thought I had a demo to play him! [laughs] I didn’t! In fact, I wasn’t doing much musically then. I had just started because my brother had always been the musical guy in the family. He played guitar and was in bands and stuff like that. I was the commercial artist guy in the family and was just getting into it through the influence of Pete. Something sort of clicked when I was there to meet him. I thought, “Well, I could have had a demo tape!” [laughs] So, I started a band with Rob Stroud, who was my friend at House of Wizard, which was the name of the commercial art company in West One in London. We went down to music shops in Tin Pan Alley. He bought a snare drum and I bought a Telecaster copy. We said, “Let’s meet up!” I lived in London at the time, so he came around to mine and we started playing! We were just making up stuff. He later left just before Haircut 100 was formed and started a band called the Sex Gang Children and I started Haircut 100! We sort of went in separate directions but we are still mates today! That’s how I got into music really — punk was happening, I got a guitar and started making stuff up! That was it!

Did you leave the world of commercial art when you started pursuing music?

I still stayed in because I did the sleeves, posters and other design. Mainly, what I was really inspired to do was make a record. That’s what I did! I made a record and it got played on John Peel. I would stay up every night just to listen to John Peel. I made it for the sleeve! I made it just to make a record and I think I called it “English Records.” John Peel played it and I couldn’t believe it! I’ve got it on tape somewhere! That was it! I stayed in commercial art as well as doing music. It was all about the creative arts really and expressing yourself in creative form!

Nick Heyward – Photo by Ralph De Palma

You made a name for yourself musically with Haircut 100. There were trials and tribulations along the way which are well chronicled. How did that period impact you as an artist moving forward in your career?

I look back on those years with incredible love. At the time, no one really realized what a creative time we were living in for music. It was such a wonderful period for music! There were so many great producers, engineers, record company people and record companies. The record companies at that time were so creative! There was lots of moaning going on at the time but really major labels were creative hubs. They were great people working in the companies from the A&R men right through to the marketing. It was such a wonderful time! You had so many great things going on, so to be making music during that period was a bit of a gift! It was something we didn’t realize until the music business disappeared and changed so drastically from what we could recognize. I look back with great fondness on that time, where at the time every artist would think the business part of the music business stopped creativity. In hindsight, the major label was a very creative environment. Any label really, whether it was independent or major was a very creative place. It was definitely more creative than anyone gave it credit for at the time!

You took a break from music for a while. What brought you back?

I think it was just watching the music world change. It changed for the benefit of the independent artist. I thought, “I can do what I wanted to do in the beginning which was have my own record label and make albums!” I’ve just done this one, “Woodland Echoes,” and I’m inspired to do another one! If I really had my ideal, I would just make these records because they were made at home. I popped around the corner and found a postcard and thought, “I’d like that to be the sleeve … ,” so that became the sleeve. The title popped out of Nowhereland and everything just came together! The music came together through sitting in my spare room or by going to friend’s spare rooms or their studios. It was made independently, so that is how I was drawn into music again. I was still playing live and doing things and being Nick Heyward the artist but not Nick Heyward the independent artist and making albums. Albums have disappeared as well, so it didn’t look like so much fun from a distance. When I looked at music, I was sort of thinking, “Wow! The album is even dying. It’s interesting how music is changing. Is it changing for the better or the worse?” I couldn’t really work it out! It is changing, so it doesn’t really matter how it’s changing. It’s adjusting. I thought, “It doesn’t matter what it’s doing. I’m just going to be creative again!” I was always creative but I just wasn’t releasing anything. I was a bit like a trod-on hose pipe in the garden. [laughs] I feel like we are back in those creative days I spoke of earlier. You can get up, like I did this morning, and go on Instagram and watch about 30 guitarists playing different things. There were 30 to 40 different music teachers who all have accounts and are all known. You have access to everybody in the music business! You can find record stores or different kinds of music everywhere! It’s really never been this creative really and independent. Everything is there for you! To be able to communicate directly with people all around the world has changed everything. It’s really fascinating. It’s really exploded and everybody is connecting. It’s amazing! I could speak for hours on it! [laughs]

We are excited to see you create new music again. When it comes to your songwriting process, what changed and what stayed the same?

It’s exactly the same. The only thing that’s changed is it used to be a pencil and a bit of paper and now that’s turned into a phone where you jot things down digitally in Notes on my iPhone. Then, I haven’t got a little cassette player that I can record on, a dictaphone. I now use my iPhone and it goes straight in there and it’s got a date, which is really helpful. All of that gets downloaded onto my computer. I’ve literally got thousands and thousands of song ideas on cassette from throughout the years and now in digital form. When it comes to putting an album together, I always think I’m going to go through those songs but I don’t really. I don’t go through every one. I just do the latest thing I’m doing and go back to the latest 12 ideas or something and work on those. Sometimes, I think it’s like a community chest card in Monopoly. I just go there, this collection of files after files after files, and I just pick one! There was a song I had out called “The World,” back in the ‘90s, and that was one I just picked out of my cassette box. I remember thinking, “OK, I’m just going to pick one out, put the cassette on and hear it.” I put it on and I heard this course. I thought, “I really like that!” It was, “What about the world I gave you, the world I gave you, I gave you the world.” I really liked that, so I continued to work on it. With that said, the songwriting hasn’t changed and it’s still exactly the same. I still use the same template. I still think of the Beatles “Revolver” every time I come to do an album because I feel that is the perfect template for pop music. I know pop means a different thing here in America but I mean pop as in the Beatles pop or popular commercial music. It’s the sort of thing where Bob Dylan and Neil Young write pop but they don’t set out to write pop; it just becomes popular, you know? You just do what you love doing and it becomes popular. I mean it in that tense. I don’t sit down to write pop songs that will be in imaginary charts somewhere. That’s the wonderful thing about nowadays — there are actually no charts or game to play. You are actually doing it because you love it. If you wrote poetry, you would use the template of a certain meter and a certain type of meter on a certain type of poem. If you have a favorite type to use, you would kind of do that. That’s what I like doing. I like the conciseness of three minutes or under. I really like that! I’m thinking more musically these days. I must say, with this album, “Woodland Echoes,” I look at it now and it’s a musical really! I don’t see it as an album because it’s like a story — a love story in musical form. I could definitely turn it into a musical.

Where do you look for creative inspiration these days?

For this album, it seemed to be nature and romantic love. They came together. I know the next record won’t be so autobiographical. I set out to write observational songs but they just didn’t make it to the album. It seemed to come together in a more autobiographical way; most of it is told first person. Like I said, it wasn’t something I had set out to do; it just happened that way. Hopefully, the next record won’t be that. You know, like a novelist, sometimes you set out to write one thing and end up with something totally different. It’s like “The Life of Pi,” isn’t it? He set out to write a completely different book but ended up writing that book!

Great example! [laughs]

Yeah! That happens, you know? I think creativity comes down to this — Just sit down and fuckin’ do it! [laughs] Get on with it, you know? [laughs] Just do it — begin!

What were the biggest challenges in making “Woodland Echoes” and the biggest lessons you learned along the way?

The biggest challenge was to make a record in your spare room. That was the biggest challenge because you sit there and say, “OK, I’ve got an acoustic guitar, a half-decent microphone, a computer and some nice-ish speakers. Right! Off we go.” Then your mind starts to have a chat with you. In the moments in between what you’re doing it says, “All those great producers, great studios and artists, Tom Petty’s brilliant songs, those weren’t done in spare rooms. They were done by amazing bands with amazing musicians in amazing studios with amazing producers and engineers.” That’s why they all sounded so good. You get to thinking, “OK, I have to make something that is going to go alongside that in this spare room with this acoustic guitar … ” You can’t listen to yourself! You’ve just got to say, “Stop that! Get on with it! This is what you’ve got right now.” That was my biggest challenge; to make a record that would stand up to all the other records that you’d loved before and that went before. That was quite disheartening sometimes. When the album came out in the UK and was reviewed, it got some really good reviews in magazines I respected like MOJO. It got great reviews and I was mentioned in the same breath as people who I respect. I felt that was the greatest accomplishment from this album — to make something in your spare room and other people’s spare rooms that they call studios! Everybody calls it a studio these days! It really isn’t. I recorded “North of a Miracle” in the same studio where Elvis Costello was making “Punch The Clock” in the studio next door. I was making it amongst Paul McCartney’s equipment at The Weekend when he was doing “Pipes of Peace” and “Tug of War.” I was working with Geoff Emerick and he was my producer/engineer at the time in AIR Studios. I was working on a Paul Buckmaster string arrangement in a song. So, that was the caliber around me at the time! [laughs] It’s like, I know you still have to have a great song to work on but when you have all of those people with you, it did not hurt! [laughs]

What do you have your sights set on musically in the future?

Well, I’m just going to continue. I still haven’t got the budget for Paul Buckmaster or Geoff Emerick or AIR Studios, yet! I think I will just keep going. I might make another one and another one and, I suppose, eventually people will say, “Let’s give him Paul Buckmaster.” It’s Paul Buckmaster who is responsible for things like the strings on “Train,” that wonderful song. That’s the kind of stuff! So, one day, I will hopefully be back making records with artists of that caliber in a similar situation. In the meantime, I’m just going to keep carrying on making these records! That’s what I love doing — against all odds! [laughs]

Every artist evolves over time. Which of your creative milestones stand out?

A turning point for me was making a record called “Kites.” It did well here in America on college radio. That was a turning point for me because I was a bit stuck before then. This song “Kites” took off on its own means here and surprised everyone including myself! It was so surprising because it took off in such a different place than what I had expected — coming over to America and playing with Evan Dando, The Cowboy Junkies and Mazzy Star. I thought that was fascinating! [laughs] I liked it! I was going out and playing this song and people were still moshing to Therapy? before I came on! It was hilarious. I thought, “This is really random!” I was really enjoying that completely different turn! That came about through a time in the studio and was a pivotal moment for me. I was in the studio, I was on Sony Records and Rob Springer was getting really frustrated with me. He was coming on and saying, “It’s really good what you are doing but I don’t think we have a single.” I had never really sat down to write a single. You just write and singles therefore appear. I was writing all of this stuff that I thought was a single! I had this mad time of being in this 16-track studio in London, trying to write what I thought was a single. I didn’t even know what one was. It was strange for me to be in a position where I was writing for someone. I thought, “This is so odd.” I went through this really frustrating time and I said to Ian, who I was working with, “Ian, could you press record because I’m so fed up with this. I’m really, really fed up with this and this is hell on Earth, me doing this!” He pressed record, gave me a little beat and I played something. I didn’t know what I was playing but I played it anyway! I said, “Ahh, thanks!” I put it on a cassette and I took it home. I woke up the next morning, had breakfast and stuck it on. I thought, “I like that!” I wasn’t thinking single and I’ve never thought anything like that. I was thinking, “I like this piece of music.” I wasn’t even thinking it was even going to be played to anyone. I had something I had written, about this story of a boy with a kite. His mom had been arrested for smuggling drugs. It was in Turkey. The mum died in prison and the little kid was left flying this kite in the prison ward. I remembered writing down these things when I was watching on the telly, so I had it in a book. Those lyrics are what I sang over this bit of music. I thought, “I love that!” I went to the studio the next day and I said, “Ian, I’ve got this idea. I just want to sing it before we start working!” [laughs] He starts to put it down and all the pieces fit like a really easy puzzle. After I sang it, I thought, “Ahh, that’s really nice. Hold on. I will play a bit of guitar there. Okay, that fits there.” After that, I just left it and didn’t think anything of it. That then became the thing that Rob did want! [laughs] He just had a communication breakdown. It was this moment that I realized that when you stop trying to find what you’re looking for, you find what you’re looking for! [laughs]

Nick Heyward – Photo by Steve Ullathorne

What’s the best lesson we can take from your journey as an artist?

Wow! Well, it’s been a strange journey and it hasn’t been consistent for one thing! I’ve disappeared in the forest undergrowth a couple of things! [laughs] I’ve been reported dead a few times! [laughs] People have asked, “Where is he? He’s lost in action!” I’ve definitely had some Glenn Miller moments! I even avoided flying for five years because I didn’t like that. That’s not really good for a career in music. It’s been awkward but I keep coming back to the love of creativity. I feel like I want to make up for the lost years of creativity by spending too much time thinking about the music world and being put off by it. Whereas now, it’s that thing of being able to control the mind when you sit down and get bombarded with thoughts of, “This isn’t a good enough studio you’ve got here.” Now, I just say, “Well, it’s what I’ve got, so fuck it! Just get on with it!” It’s the same with everything. Yes, I don’t like certain parts but creativity and talking about creativity is something I could do until the cows come home! I think I’m going to make up for lost time creatively, really!

As a fan of your work, I couldn’t ask for more! Thank you so much for your time today, Nick!

Thanks, Jason! It was lovely to speak with you!

Follow the continuing adventures of Nick Heyward via his official website, www.nickheyward.com, and via social media on Facebook, Twitter and Instagram.

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Bananarama Reunites After 30 Years, First North American Tour Dates Announced!

Bananarama Reunites After 30 Years, First North American Tour Dates Announced!

A once-in-a-lifetime cultural event that’s been exactly thirty years in the making, British pop powerhouse Bananarama touch down in 2018 for their first four dates in North America, as the original three-piece lineup – Sara Dallin, Keren Woodward, and Siobhan Fahey. First up, the ladies take over Los Angeles on February 20 before gigs in San Francisco, Toronto, and New York. Check out the full itinerary below.

A special fan presale goes live Wednesday October 11, while general on-sale begins Friday October 13. As they will sell out fast, get tickets HERE.

This marks a very important first for the trio. Prodigal sister Fahey amicably split from the group back in 1988-thirty years to the date of this forthcoming tour. Even though Dallin and Woodward carried on as Bananarama, performed around the globe, and released six albums, they never properly toured in their initial incarnation with Fahey. That changes in 2018.

This reunion celebrates their enduring legacy as a three-piece and the seminal albums they recorded together such as Bananarama [1984], True Confessions [1986], and Wow! [1987]. Expect to hear show-stopping and stunning renditions of era-defining singles, including the Hot 100 #1 smash “Venus“, Top 5 hit “I Heard A Rumour“, “Cruel Summer“, “Robert De Niro’s Waiting“, and more.

The North American tour comes hot on the heels of their first UK tour as a three-piece this fall.

About heading to North America, the girls commented, “America, you’ve been waiting for this one! It took a little while, but we’re finally coming to North America as a trio, and we’re so excited to give you an unforgettable show. Thanks for your patience. It’s going to be worth it!”

Cited in the Guinness Book of Records as “the most successful girl group of all-time” for achieving more hit singles than any female band in history, Bananarama forever changed the face of pop music worldwide. Blending pop, dance, and new wave with fresh fashion-forward fire and unbreakable confidence, they notched a total of thirty inescapable hit singles such as the immortal Hot 100 #1 “Venus,” “Cruel Summer,” and many more. To date, combined sales exceed 40 million and counting.

North American Tour Dates:

February 20, 2018 – Los Angeles, CA – The Novo
February 21, 2018 – San Francisco, CA – Warfield Theater
February 23, 2018 – Toronto, Ontario – Danforth Music Hall
February 24, 2018 – New York, NY – Playstation Theater

Bananarama.co.uk
Facebook.com/TheBananarama
Instagram: @Bananarama_Official
Twitter: @VivaBananarama

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Nick Heyward (of Haircut 100) Set to Release First Solo Album in 18 Years!

Nick Heyward (of Haircut 100) Set to Release First Solo Album in 18 Years!

Nick Heyward – Photo by Sara Johnson

When you have the comfort of working on your ninth album without the rush to meet a deadline, you really want to take your time, especially if it’s your first solo outing in 18 years. For singer songwriter Nick Heyward Woodland Echoes, his forthcoming album out November 3 on Red River/BFE Entertainment, served as a reminder of things he is grateful for. “I’m glad I’m alive, I’m glad that I’m writing and putting records out.”  His appreciation for making music is reflected on all 12 tracks on this breezy, smart pop gem.

Nick has been putting out great pop songs since his band, Haircut One Hundred, blasted on to the scene in the early 80s earning four UK Top Ten and two US Top 40 singles with “Favourite Shirts (Boy Meets Girl),” “Love Plus One,” “Nobody’s Fool” and  “Fantastic Day” from their debut album, Pelican West. While enjoying the early days of success, differences in style and direction led Heyward to leave his post as front man and lyricist to begin his solo career.

An artist who has always been well received by both critics and fans, Heyward released three solo albums in the 80s, three in the 90s (including a 1998 release on Creation Records at the behest of Alan McGee) and two 2 collaborations in the aughts.  A 2013 announcement of new music was met with eager anticipation, but supporters would have to wait until 2015 for a preview of what would become the music on Woodland Echoes.

Recorded at his son Oliver’s studio, on a houseboat in Key West, and Zak Starkey’s Salo Sound studio deep in the UK countryside, Nick deliberated over the music until he felt it was ready. “At first, I wanted it finished straight away.” he says. “But then, ‘that’ll do’ became impossible for me; in fact, it was the opposite – as soon as someone said something would do, I knew it wouldn’t!”

It’s that precise attitude that makes Heyward’s music so special. This album, like all of his work, is made with the same passion, introspection and grace found in all of his music. An avowed lover of nature and the outdoors, you can hear that influence in all the tracks, particularly “Beautiful Morning.” “Love is the Key By the Sea,” which opens the album, is a bold and harmonious love song, and the jazzy snap-your-finger fun of “Who” is most certainly a tip of that hat to Mr. Paul McCartney. “Baby Blue Sky” is a rapturous beach song with a dash of Oasis thrown in to the mix, and lead single “Perfect Sunday Sun” is the most perfect 70s era pop song. Heyward, who has always been singled out as a strong and thoughtful lyricist, continues his streak of songwriting success on Woodland Echoes, which feels warm and intimate.

All things being equal though, the Nick Heyward of 2017 isn’t the same person as the Nick Heyward of 1982. “You have to find peace and love; it’s a process – my early songs were always bittersweet – the verse would be going through the struggle, but then it would be ‘it’s a fantastic day’; but there was always that struggle. On this album, that struggle is gone. The songs on Woodland Echoes are reflective of the past 10 years.”

It’s a treat to have Nick Heyward back making premium pop music. In 1985, Nick told Smash Hits magazine that “I want to make the kind of LP you can wrap up and give to someone as a present. No duff tracks at all, just 12 shining wonderful singles, I suppose.” In 2017, with Woodland Echoes, he has finally achieved his goal.

Full Track Listing:
1. Love is the Key by the Sea
2. Mountaintop
3. The Stars
4. Beautiful Morning
5. Who?
6. Forest of Love
7. Baby Blue Sky
8. I Can See Her
9. Perfect Sunday Sun
10. New Beginning
11. I Got a Lot
12. For Always

Check out Nick performing some of the new “Woodland Echoes” tunes as well as some classic Haircut One Hundred music here: https://vintage.tv/episodes/nick-heyward-live-at-the-water-rats-2/

Social Media Links:
Official Website: http://nickheyward.com/
Facebook: https://www.facebook.com/nickheyward
Twitter: https://twitter.com/nickheyward
Instagram: https://www.instagram.com/nickheyward/

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Corey Feldman Doubles Fall Tour Dates And Gives Back To Hurricane Victims

Corey Feldman Doubles Fall Tour Dates And Gives Back To Hurricane Victims

Due to selling out venues across the country, legendary showman and pop culture icon Corey Feldman has extended his Heavenly US Angelic Tour schedule by doubling the dates previously announced for the fall. Feldman and his angelic band have entertained audiences with their theatrical and fun performances featuring lasers, lights, costumes, and signature talented all female band of Angels, with a few changes in the lineup as Corey is always trying to give new talent the chance to entertain audiences. Feldman stated, “this company was designed to give as many young female artists a chance to showcase their talents as possible, so I will keep changing the faces a bit.”

In addition to doubling the dates, Corey will be doubling the fun and giving his fans the experience they’ve come to expect with hit songs from his catalogue and iconic movies. This time, Corey will also be giving back. Corey and the Angels will be returning to Houston for the second time this year, doing a very special fundraiser for the Hurricane Relief fund. Feldman will also be contributing a portion of his ticket sales to the cause.

The tour will also include a special Halloween performance in St Charles Illinois, and the band will be visiting some new areas they are yet to visit such as Phoenix, Salt Lake City, and Flint Michigan. Feldman specifically chose several controversial areas with the intention of bringing their message of love and light to those who need it most right now.

At the completion of this run, Corey and his Angels will have performed this critically acclaimed show 80 times this year.

COREY FELDMAN & THE ANGELS FALL TOUR DATES:

10.13.17 – FRESNO, CA – FULTON 55

10.14.17 – RENO, NV – FACES NV

10.16.17 – SACRAMENTO, CA – HOLY DIVER

10.17.17 – DENVER, CO – THE ORENTIAL THEATER

10.19.17 – DALLAS, TX – CLUB DADA

10.20.17 – BATON ROUGE, LA – VARSITY THEATRE

10.21.17 – MONROE, LA – LIVE OAKS BALLROOM

10.22.17 – HOUSTON, TX – CONCERT PUB NORTH

10.24.17 – HAZARD, KY – THE FORUM

10.25.17 – MEMPHIS, TN – HI TONE CAFÉ

10.27.17 – EMPORIA, KS – EMPORIA GRANADA THEATRE

10.28.17 – SPRINGFIELD, MO – OUTLAND BALLROOM

10.30.17 – ST. LOUIS, MO – THE READY ROOM

10.31.17 – ST. CHARLES, IL – THE ARCADA THEATRE

11.03.17 – VALPARAISO, IN – BIG SHOTS

11.04.17 – LEXINGTON, KY – MANCHESTER MUSIC HALL

11.05.17 – DES MOINES, IA – WOOLY’S

11.07.17 – SALT LAKE CITY, UT – LIQUID JOE’S

11.09.17 – SCOTTSDALE, AZ – BLK LIVE

Shows may still be added so please check back in the coming weeks! For information on tickets and VIP Meet and Greets, you can visit the official website: Angelic2theCore.com or www.CoreyFeldman.net

You can also follow Corey and the Angels on Twitter @corey_Feldman and @Coreysangels

Instagram @Cdogg22 @coreysangels

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Fergie To Release New Album, Double Dutchess, On September 22nd!

Fergie To Release New Album, Double Dutchess, On September 22nd!

Eight-time GRAMMY® Award-winner and global superstar Fergie will release her highly-anticipated second full-length opus, DOUBLE DUTCHESS, along with her first visual album “experience”, Double Dutchess: Seeing Double, on September 22 via her own label Dutchess Music/BMG.

The pre-order goes lives today HERE.

Feeding the appetites of rabid fans worldwide, she unveils not one, but two new songs from the album to hint at what’s in-store. Opener “Hungry” [feat. Rick Ross] produced by Yonni and JP Did This and co-produced by Donut, sees Fergie ravenously devour a beat before a sexy, gothic chorus accompanied by a classic Ricky Rozay cameo. See video HERE. The slick cinematic video is directed by the Brazilian artist Bruno Ilogti.

Meanwhile, “You Already Know” [feat. Nicki Minaj], listen HERE, produced by will.i.am bobs and weaves a familiar sample through the explosive interplay between two of music’s hottest leading ladies and a stadium-size chant. Watch this space for new video coming soon.

Check out the full tracklisting:

  1. Hungry (feat. Rick Ross)
  2. Like It Ain’t Nuttin’
  3. You Already Know (feat. Nicki Minaj)
  4. Just Like You
  5. A Little Work
  6. Life Goes On
  7. M.I.L.F. $
  8. Save It Til Morning
  9. Enchanté (Carine) (feat. Axl Jack)
  10. Tension
  11. L.A.LOVE (la la) (feat. YG)
  12. Love Is Blind
  13. Love Is Pain

Uniting her audience around the globe for the release of Double Dutchess, Fergie will debut the entire Double Dutchess: Seeing Double visual experience exclusively at iPic® Theaters nationwide for one night only: September 20, 2017. Pre-order tickets HERE.

About the release, Fergie comments, “It’s finally here! I’ve spent a long time-many late, late nights-writing and working to make Double Dutchess perfect. I wanted to make a visual experience too, because there’s a special story here that’s really close to my heart. This is my vision. I feel like it truly represents who I am on every level, and I hope you love it as much as I do. I’ll see everyone on the road soon!

Next up, she makes her first live appearance supporting the record with a headlining set at Rock In Rio in Brazil, September 16, 2017. The concert will be livestreamed on the new LiveXLive Digital Music Network.

Fergie is back with Double Dutchess + Double Dutchess: Seeing Double.

ABOUT FERGIE:
You might know a thing or two about Fergie…

You might know she’s an eight-time GRAMMY® Award-winner. You might know her iconic 2006 solo debut, The Dutchess, moved over 8 million albums and over 30 million tracks around the globe. You might know all of the words to Billboard Hot 100 #1 hits like “London Bridge,” “Glamorous,” and “Big Girls Don’t Cry” or Top 5 smashes “Fergalicious” and “Clumsy.” You might know she led The Black Eyed Peas to the pop pantheon with sales of 35 million records and 60 million tracks over the course of four multi-platinum offerings. For all you might know (or might think you know) about Fergie, you’re going to learn a whole hell of a lot more on her second full-length and first visual album for her own label Dutchess Music-Double Dutchess.

Opening Dutchess Music, aligning with BMG for distribution, and signing herself, you’re going to learn that she’s a #boss surrounded by moguls like Maybach Music Group founder Rick Ross. You’re going to learn that she’s a high fashion assassin whose vision has seduced everyone from Italian Vogue creative director Giovanni Bianco to C.R. Fashion book visionary Carine Roitfeld. You’re going to learn she has a wicked sense of humor that’s right at home in smoked-out late night claymation macabre. You’re going to learn she’s the O.G. runway-slaying sex symbol. Free, focused, and fucking shit up again, Double Dutchess shows every side of Fergie-the superstar, the visual artist, the creative director, the label head, the fashion icon, the wife, and, she’ll tell you most importantly, “mom.”

These 13 tracks tell a story of transformation. It’s not so much caterpillar into butterfly as it is Princess Diana into Wonder Woman, and it starts with the one-two punch of “Hungry” (feat. Rick Ross) and “You Already Know” (featuring Nicki Minaj followed by a one-night premiere of the complete visual album experience in iPic® Theaters September 20.

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Carrie Lane Debuts Official Music Video For Single “Think About It”

Carrie Lane Debuts Official Music Video For Single “Think About It”

LA-based indie-pop artist Carrie Lane released her “heartfelt” official music video for her new single “Think About It” everywhere today. “Think About It” is the third single off Lane’s debut EP, California Freaks, available everywhere now.

“‘Think About It'” is a song for anyone who has turned to a toxic environment in order to escape a painful situation,” Carrie explained in a recent interview with Yahoo Music“For some people, it’s about hanging on to a person or a situation that isn’t good for them. It doesn’t necessarily have to be a substance or alcohol; in this case the booze symbolized my escape and how I tried to avoid coping with a painful heartbreak by numbing myself to those around me.” 

Watch the music video for “Think About It” below.

“Carrie Lane’s ‘California Freaks’ is summer vibes perfection.” – Benjamin Lindsay, NYLON

“In a world full of Lana Del Reys and Halseys, Carrie has a unique sound..” – Mackenzie Behm, BABE

“I was immediately hooked on Lane’s infectious pop vibes and flawless yet sexy vocals.” – Lucy Binetti, PASTE MAGAZINE

Carrie’s second single off the EP, “If I Can’t Be With You,” made it’s debut on Forever21.com. The accompanying music video premiered on Paste Magazine, who dubbed the vocal performance in the track “flawless”. Lane recently performed the single at Balcony TV in Los Angeles, and you can watch the performance here.

“I wanted to write something that was truly me, not who people want to perceive me to be,” Carrie states. “I wrote this EP from the heart – it’s truly all the sides of me being loved and me as a lover… not every song is pretty and not every lyric is nice, but every note is real and every emotion is me.” 

ABOUT CARRIE LANE:
With her contemporary indie-pop vocals, ever-so-relatable lyrics, and bleach blonde wavy locks, New Jersey bred Carrie Lane was born to be in the spotlight. At the age of 18, Carrie became a double threat – she started to write her own songs and began her professional modeling career. After some experience, Carrie was signed to MSA Models of New York and Los Angeles, where she’s landed many prestigious gigs, including a national campaign for Target just last year.

In 2016, Carrie Lane made the move to Los Angeles, where she finished writing and recording her debut EP, fittingly penned California Freaks, released on June 23rd, 2017. The first single from the EP, “Drowning”, was a hit on Spotify, landing on their coveted New Music Friday and Today’s Top Hits playlists. Her most recent single “If I Can’t Be With You” made it’s debut on Forever21.com. The dramatically-written love song also caught the attention of outlets like Galore Magazine, Zooey Deschanel’s HelloGiggles, PopDust and Paste Magazine.

California Freaks is somewhat of a diary for Carrie Lane, full of songs about love and unbearable heartbreak, all written from personal experiences. It’s no question that Carrie stands out as one of the most real, relatable pop acts in a market that’s extremely saturated – there’s a song for every kind of person on the EP.

Carrie is already back in the studio, writing and recording new music.

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Review: The Beach Boys Journey Into Their Vault For ‘1967 – Sunshine Tomorrow’

Review: The Beach Boys Journey Into Their Vault For ‘1967 – Sunshine Tomorrow’

Coming off the biggest hit of their career and submerged in the mythical recording of “SMiLE,” The Beach Boys were in turmoil. They struggled to understand chief songwriter and producer Brian Wilson’s increasingly erratic behavior. The Beach Boys sank even lower on the popularity chart by pulling out of the Monterrey Pep Festival in 1967, which they helped create. After totally aborting “SMiLE” and pulling out of the Monterrey Pop Festival the band decided to stay relevant they needed to change their sound.

The band convened at Brian’s house and started work on a record that would be unlike anything the band had done in its short 6 year history. Late September 1967 Mike, Carl, Dennis, Alan and Brian began writing and recording the album “Wild Honey”. Flush with R&B and soul influences it was a breath of fresh air to the ‘Boys. Fast forward to June 30th, 2017 from the seemingly endless archives, “Sunshine Tomorrow” the 50th Anniversary of “Wild Honey” is released to the world.

65 songs containing the original “Wild Honey” album, 2 aborted live albums from 1967, 13 previously unreleased songs from the recording sessions, 10 songs from the sessions of the”Smiley Smile” album from July 1966 and various other live tracks spanning August thru December 1967. What is most extraordinary here is the 2 aborted live albums. “Lei’d in Hawaii” Just a few months after Brian Wilson stopped work on SMiLE and Capitol Records released the extremely confusing “Smiley Smile” someone had the idea to send the band to Hawaii to record a live album.

What is special about this release is Brian Wilson made the trip with band in what turned out to be his first live performances with them since 1964. The weirdness surrounding the band followed the band though and is clear through out the performance. The band came back to Los Angeles and upon listening to the tapes, Capitol Records decided it wasn’t good enough for release. One of the stand out tracks that see’s its official release here is the Beach Boys cover of The Box Tops “The Letter”. Brian handles a lot of vocals on these 2 aborted live albums.

Capitol had the band enter Western Star Studios and re-record the “live” album then add canned crowd noise. Sadly, that was still deemed unusable. After a few weeks the band started on “Wild Honey”. The title comes from when during a break from recording, Mike Love saw a jar of wild honey in one of Brian Wilson’s cupboards. The cover artwork comes from a stained glass window Brian had in his living room.

The Beach Boys

Most fans of the bands post Good Vibrations years love this album and the differences between the music and the surf sound they were known for. You can hear the difference in the motivation on stage as well when performing songs such as “Wild Honey”, “Darlin” and “Arent You Glad”. I saw Brian Wilson in concert back in 2015 and before performing “Wild Honey” he told the crowd, “This next song is from one of my favorite records we’ve done, Wild Honey.”

Released the same year as The Doors debut album and The Jimi Hendrix Experience debut, “Wild Honey” stands on its own but clearly shows a band struggling to fit in with the counter culture. Considered by many to be apart of the “establishment,” The Beach Boys would struggle between the years of 1967-1974 to find chart success and acceptance. Thankfully, the country would be yearning for nostalgia closer to the bicentennial and The Beach Boys would once again will ride the wave of popularity.

New albums are not very forth coming from this band with only 2 studio albums of new music in the last 25 years. Archival releases like this are what is keeping the band alive in the hearts of their fans. It is amazing the amount of unreleased material these bands have. Smart business is releasing these deluxe and special editions at a time when music sales are down. The interviews and track by track commentary help provide a little clearer picture as to what was going on with The Beach Boys in 1967.

Everyone knows “I Get Around”, “Good Vibrations” and “California Girls” but do yourself a favor and give the other Beach Boys music a chance. You might be pleasantly surprised.

John E. Thunder – Staff Writer
Born in the 70’s and raised in the 80’s, John is a true child of the the greatest decade. A lifelong fan of Star Wars and glam rock, he shows no fear in still rockin’ a fanny pack. While Jason Voorhees may have struck fear into his heart as a boy, now it’s responsibilities of adulthood which leave him quaking in his boots. A father of 3 boys, he takes great pride in passing on the great music and movies decades past to future generations. John E. can be found on a beach during the summer and traveling the country in the fall and winter. His motto is ….”Gene Simmons, Gene Lovell and G.I. JOE taught me everything that I’ll ever need to know”.

The Beach Boys:  1967 – Sunshine Tomorrow [2CD, digital]

Disc 1

Wild Honey Album (Stereo)
(New stereo mix, except as noted *. Recorded September 15 to November 15, 1967 at Brian Wilson’s house and at Wally Heider Recording in Hollywood, California)
1. Wild Honey (2:45)
2. Aren’t You Glad (2:16)
3. I Was Made To Love Her (2:07)
4. Country Air (2:21)
5. A Thing Or Two (2:42)
6. Darlin’ (2:14)
7. I’d Love Just Once To See You (1:49)
8. Here Comes The Night (2:44)
9. Let The Wind Blow (2:23)
10. How She Boogalooed It (1:59)
11. Mama Says * (Original Mono Mix) (1:08)

Wild Honey Sessions:  September – November 1967 (Previously Unreleased)
12. Lonely Days (Alternate Version) (1:45)
13. Cool Cool Water (Alternate Early Version) (2:08)
14. Time To Get Alone (Alternate Early Version) (3:08)
15. Can’t Wait Too Long (Alternate Early Version) (2:49)
16. I’d Love Just Once To See You (Alternate Version) (2:22)
17. I Was Made To Love Her (Vocal Insert Session) (1:35)
18. I Was Made To Love Her (Long Version) (2:35)
19. Hide Go Seek (0:51)
20. Honey Get Home (1:22)
21. Wild Honey (Session Highlights) (5:39)
22. Aren’t You Glad (Session Highlights) (4:21)
23. A Thing Or Two (Track And Backing Vocals) (1:01)
24. Darlin’ (Session Highlights) (4:36)
25. Let The Wind Blow (Session Highlights) (4:14)

Wild Honey Live: 1967 – 1970 (Previously Unreleased)
26. Wild Honey (Live) (2:53) – recorded in Detroit, November 17, 1967
27. Country Air (Live) (2:20) – recorded in Detroit, November 17, 1967
28. Darlin’ (Live) (2:25) – recorded in Pittsburgh, November 22, 1967
29. How She Boogalooed It (Live) (2:43) – recorded in Detroit, November 17, 1967
30. Aren’t You Glad (Live) (3:12) – recorded in 1970, location unknown

31. Mama Says (Session Highlights) (3:08)
(Previously unreleased vocal session highlights. Recorded at Wally Heider Recording, November 1967)

Disc 2

Smiley Smile Sessions:  June – July 1967 (Previously Unreleased)
(Recorded June and July 1967 at Brian Wilson’s house, Western Recorders, SRS, and/or Columbia Studios, except as noted *)
1. Heroes And Villains (Single Version Backing Track) (3:38)
2. Vegetables (Long Version) (2:55)
3. Fall Breaks And Back To Winter (Alternate Mix) (2:28)
4. Wind Chimes (Alternate Tag Section) (0:48)
5. Wonderful (Backing Track) (2:23)
6. With Me Tonight (Alternate Version With Session Intro) (0:51)
7. Little Pad (Backing Track) (2:40)
8. All Day All Night (Whistle In) (Alternate Version 1) (1:04)
9. All Day All Night (Whistle In) (Alternate Version 2) (0:50)
10. Untitled (Redwood) * (0:35)
(Previously unreleased instrumental fragment. Studio and exact recording date unknown. Discovered in tape box labeled “Redwood”)

Lei’d In Hawaii “Live” Album:  September 1967 (Previously Unreleased)
(Recorded September 11, 1967 at Wally Heider Recording in Hollywood, CA, with additional recording September 29, 1967 (except as noted *). Original mono mixes from assembled master ½” reel, dated September 29, 1967, discovered in the Brother Records Archives.)
11. Fred Vail Intro   (0:24)
12. The Letter (1:54)
13. You’re So Good To Me (2:31)
14. Help Me, Rhonda (2:24)
15. California Girls (2:30)
16. Surfer Girl (2:17)
17. Sloop John B (2:50)
18. With A Little Help From My Friends * (2:21)
(Recorded at Brian Wilson’s house, September 23, 1967)
19. Their Hearts Were Full Of Spring * (2:33)
(Recorded during rehearsal, August 26, 1967, Honolulu, Hawaii)
20. God Only Knows (2:45)
21. Good Vibrations (4:13)
22. Game Of Love (2:11)
23. The Letter (Alternate Take) (1:56)
24. With A Little Help From My Friends (Stereo Mix) (2:21)

Live In Hawaii:  August 1967 (Previously Unreleased)
(The Beach Boys recorded two complete concerts and rehearsals in Honolulu on August 25 and 26, 1967. Brian Wilson rejoined the group onstage for these shows; Bruce Johnston was not present. The following tracks derive from the original 1″ 8-track master reels discovered in the Brother Records Archives.)
25. Hawthorne Boulevard (1:05)
26. Surfin’ (1:40)
27. Gettin’ Hungry (3:19)
28. Hawaii (Rehearsal Take) (1:11)
29. Heroes And Villains (Rehearsal) (4:45)

Thanksgiving Tour 1967:  Live In Washington, D.C. & Boston (Previously Unreleased)
(The touring Beach Boys – Mike, Carl, Dennis, Al, and Bruce – embarked on a Thanksgiving Tour immediately after delivering the finished Wild Honey album to Capitol Records. For this tour, the band was augmented by Ron Brown on bass and Daryl Dragon on keyboards.)
30. California Girls (Live) (2:32) – recorded in Washington, DC, November 19, 1967
31. Graduation Day (Live) (2:56) – recorded in Washington, DC, November 19, 1967
32. I Get Around (Live) (2:53) – recorded in Boston, November 23, 1967

Additional 1967 Studio Recordings (Previously Unreleased)
33. Surf’s Up (1967 Version) (5:25)
(Recorded during the Wild Honey sessions in November 1967)
34. Surfer Girl (1967 A Capella Mix) (2:17)
(Previously unreleased mix of Lei’d In Hawaii take from the Wally Heider Recording sessions in September 1967)

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