‘Nina Simone and Her Friends’ Gets a New Day with Remastered Release

‘Nina Simone and Her Friends’ Gets a New Day with Remastered Release
October 20, 2021
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Nina Simone and Friends


















Edited by JOHN DALY

Nina Simone and Her Friends, the 1959 album originally released by Bethlehem Records, has been remastered and will get a holiday release.

The compilation album is comprised of the few remaining unreleased tracks from the 1957 Little Girl Blue recording session plus songs recorded by two other Bethlehem artists, jazz vocalist Carmen McRae and song stylist Chris Connor.

An exclusive “emerald-green” limited-edition 180-gram LP will be available, along with CD and digital-streaming versions (high-definition and standard) on December 3, 2021.

The reissue features a fresh stereo master done by Michael Graves as well as a vinyl remastering by the renowned Kevin Gray. Cheryl Pawelski produced the set, which includes a new essay by Daphne A. Brooks, author of Liner Notes for the Revolution.

Available as a sneak-peak, “African Mailman” is an instrumental track recorded during the Little Girl Blue sessions and showcases Nina Simone’s compelling piano playing. At the time, Simone was in her mid-20s and still aspiring to be a classical concert pianist.

NINA SIMONE AND HER FRIENDS
TRACK LIST:
1. Nina Simone – “He’s Got the Whole World in His Hands”
2. Chris Conner – “Someone to Watch Over Me”
3. Carmen McRae – “Old Devil Moon”
4. Nina Simone – “I Loves You, Porgy”
5. Chris Connor – “I Concentrate on You”
6. Carmen McRae – “You Made Me Care”
7. Nina Simone – “For All We Know”
8. Chris Connor – “From This Moment On”
9. Carmen McRae – “Too Much in Love to Care”
10. Nina Simone – “African Mailman”
11. Chris Connor – “All This and Heaven Too”
12. Carmen McRae – “Last Time for Love”

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Single Girl, Married Girl Captures ‘Generations’ with Performance at Hotel Café

New Release: ‘Dark Mark Vs Skeleton Joe’ a Cool Collaboration

New Release: ‘Dark Mark Vs Skeleton Joe’ a Cool Collaboration
October 18, 2021
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Dark Mark v Skeleton Joe – Courtesy


















Edited by JOHN DALY

Dark Mark vs. Skeleton Joe featuring Mark Lanegan of Screaming Trees and Joe Cardamone of The Icarus Line have released their self-titled debut album via Rare Bird-Kitten Robot Records.

The new record was preceded by the single “No Justice.”

Dark Mark vs. Skeleton Joe takes an electronic turn and reveals a new, experimental sound. An artist and author, Lanegan has collaborated with bands and musicians including UNKLE, Neko Case, The Duke Spirit and Queens of the Stone Age and others.

“The fact that it’s not like anything either one of us have done before is what makes this so interesting for me,” Lanegan said. “When you have done as much stuff as Joe and I, you have to constantly search for the different and challenging to keep yourself engaged.”

“The project is called Dark Mark vs. Skeleton Joe because we both have assumed these alter egos over the years,” Cardamone said. “The material we wanted to do together seemed to take well to the idea that our personas here are as if we’re now outcasts to our own creative selves.”

The album is available via Spotify and Apple Music via Rare Bird/Kitten Robot Records. Pre-order vinyl for the record here.

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Johnny Marr Reinforces his Signature as Songsmith on ‘Fever Dreams Pt. 1’

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Setting the Standard: James Williamson Engineers Unique Sounds with New Collaborations

August 15, 2016
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James Williamson’s ‘Re-Licked’ Show: ‘Alternative Music’s A-List’ Brings Raw Power to New Project

January 20, 2015
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Single Girl, Married Girl Captures ‘Generations’ with Performance at Hotel Café

Single Girl, Married Girl Captures ‘Generations’ with Performance at Hotel Café
October 19, 2021
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Single Girl Married Girl – Harriet Kaplan


















By HARRIET KAPLAN

Single Girl, Married Girl offered lovely, lilting pop, folk, and Americana music that went down smooth and easy at the Hotel Café . 

The seven-song set of original material at Hotel Cafe’s Main Stage recently was featured from the band’s upcoming album due for release on November 19th, Three Generations Of Leaving. This album chronicles the challenges of three generations of women (the matriarch, one of her daughters, and her estranged granddaughter) that come from the same family. It touches on an expansive time frame from the 1950s, 1960s to present. 

Single Girl Married Girl Harriet Kaplan photo

Chelsey Coy who is the principle lead singer and who plays banjo penned the songs along with her husband and co-writer Gary Knight. With a brave intensity and candidness, Coy and Knight tackle the very real and difficult issues that run the gamut of loss and drug addiction also insecurity and depression. 

There were several high points in the set including: “Walking on Water,” “Let You Back In,” “Control” and their latest single, “Wreck Cut Loose.” The songwriting style of Single Girl, Married Girl has been complimentary and favorably compared to past elements hardening a folk vibe of Pete Seeger, Joan Baez combined with a modern twist of Jenny Lewis and Brandi Carlisle.

Coy has strong, clear and powerful voice that captivated the audience. She’s also a talented and very accomplished musician. The crowd was quietly fixated on her very approachable, humble and gracious presence which was anchored by a self-assured demeanor. Coy has a very pleasant and engaging personality. 

Single Girl Married Girl Gary – Photo by Harriet Kaplan

Between songs, Coy, dressed in a ’60s-inspired pantsuit with paisley patterns on it, talked to the audience, often telling stories about the songs and promoting the upcoming album. Accompanying Coy was Jesse Fichman on electric guitar, Ben Greenberg on acoustic guitar and backing vocals, Hannah Rose Dexter on upright bass and Oskar Haggdahl on drums and Jadea Kelly who sang background on “Looking.” All the backing players deftly, tastefully and with subtlety and nuance gave the arrangements with just the right touch and feel.

Single Girl, Married Girl have a signature sound and style that works incredibly well together as an ensemble. Hotel Cafe is the perfect place to showcase their exceptional gifts as performers and musicians with impactful and powerful songs that seemed to tap in universal and relatable themes most people can embrace and take to heart.

Single Girl Married Girl at Hotel Cafe – Photo by Harriet Kaplan

Set List

Water on Water

So She Runs

Let You Back In

Wreck Cut Loose

Runaway

Control

Looking

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New Release: ‘Dark Mark Vs Skeleton Joe’ a Cool Collaboration

Johnny Marr Reinforces his Signature as Songsmith on ‘Fever Dreams Pt. 1’

Johnny Marr Reinforces his Signature as Songsmith on ‘Fever Dreams Pt. 1’
October 17, 2021
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Johnny Marr Fever Dreams Pt. 1 review – Courtesy


















By AVA LIVERSIDGE

Johnny Marr’s latest solo project, a double LP entitled Fever Dreams, is to be released on New Voodoo Records early next year. Marr has taken a new approach to record releases as he dropped the EP, Fever Dreams Pt. 1, four of the upcoming album’s new tracks.

Fever Dreams is Marr’s first solo work since his focus shifted to penning the score of the latest Bond film, No Time to Die, with Hans Zimmer, one of his many high-profile collaborators.

On Fever Dreams Pt.1, Marr is waxing electronic with each of the pulsating, cyber-rock flourishes that permeate the EP’s four tracks.

The release’s lead single, “Spirit, Power & Soul,” is a far cry from the lament that has throbbed over much of this year’s new music. It launches into what is essentially a dance song imbued with the new wave, fuzz-laden sound that marked much of the 80’s alternative scene — in which Marr occasionally resided.

His earnestness in looking to introduce the EP with something to offset the time’s overarching morose previewed Fever Dreams with a synth-driven romp — a balance of space-age and sugary.

On track two, “Receiver,” something noticeably dark hangs over, despite its undeniably pop-y melody. Next, “All These Days” features a formidable vocal performance by Marr over an ever-stretching swath of his pulsating riff.

Marr lends himself to a digitized soundscape throughout, but as the EP closes, he offers the signature songsmith that has remained steadfast throughout the many guises of his musicianship. “Ariel” opens with a serial arrangement followed by synth runs; the track contracts and expands into a fully-realized pop cut.

But, “Ariel” derives its dulcet tone from Marr’s underlying ambition: To create something for someone he “wanted to make feel better.” His mind drifted to Sylvia Plath, the tragedy of the tormented genius, and, thus, the track was named “Ariel.” Marr’s ability to weave such intimate, visceral aspects of artisanship whilst dedicating himself to a modernized, uplifting record is Fever Dreams Pt. 1’s greatest success.

Johnny Marr is an artist with a rich history of collaboration. His music-making partners include those in the highest of alternative echelons– besides his time with Morrisey, conceiving one of England’s most celebrated feats of alternative music via the Smiths, Marr has lent a hand to the works of New Order, The The, Electronic, and, most famously, Modest Mouse, among others. His legacy is one of a master collaborator; a supplemental force. This foundation has always guided the indie statesmen towards sonorous solo projects.

Johnny Marr Fever Dreams – Courtesy

So, on Fever Dreams Pt. 1, we can pick up threads from past projects as compelling, sometimes disparate elements– New Order’s electro-pop beats, the Smiths’s undying sensitivity, Modest Mouse’s experimental acumen, and The The’s avant-garde. Marr embodies the artistic processes he has been privy to, something admirable for a musician of his stature. He’s still open to learning.

Part One was meant to lift us out of our dour milieu; we can only guess where parts two, three, and four of Fever Dreams will take us. One hopes that Marr continues to acquiesce to the whiff of cyber-esque experimentalism present in Part One; if so, Fever Dreams will mark the beginning of yet another age for Marr.

Marr is neither resistant to the time he occupies nor is stagnant in his musicianship — ever-growing, Fever Dreams is postured to unfold into anything.

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Hall and Oates Release ‘Live At The Troubadour’ on Vinyl

Hall and Oates Release ‘Live At The Troubadour’ on Vinyl

Hall and Oates Release ‘Live At The Troubadour’ on Vinyl
October 15, 2021
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Live at Troubadour Hall and Oates – Courtesy


















Edited by JOHN DALY

Hall and Oates bring fans and listeners to West Hollywood with the release of Live At The Troubadour for the first time ever on vinyl.

Daryl Hall and John Oates, the renowned Rock and Roll Hall of Fame duo, will drop the 3-LP vinyl collection on Nov. 26, 2021, AKA Black Friday.

It’s a collection of stripped-back classics, including “You Make My Dreams,” “Maneater” and “Sara Smile.” The collection will also be released in 2CD format and is available to stream on DSPs here.

“Playing the Troubadour in LA has been a ‘rite of passage’ for live musicians for 64 years and Daryl and I played our first show there opening for the late great Harry Chapin in 1973,” Oates said. “Over the years I always loved seeing shows and hanging out there with musicians and friends …returning to play again in 2008 was a full circle moment for me and the vibe was amazing.”

Live At The Troubadour was initially released in CD and DVD format in 2008. The new release adds to the duo’s extensive discography, which is still resonating with existing and new fans across the globe.

“It’s always interesting to return to the scene of the crime,” Hall said.

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That’s ‘All She Wrote’ Folks: New Zealand’s Six60 Rocks The Fonda – Review

That’s ‘All She Wrote’ Folks: New Zealand’s Six60 Rocks The Fonda – Review

That’s ‘All She Wrote’ Folks: New Zealand’s Six60 Rocks The Fonda – Review
October 14, 2021
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Six60 at The Fonda in Hollywood – Photo by Ricardo Curiel


















Review by HARRIET KAPLAN
Photos by RICARDO CURIEL

New Zealand’s Six60 put on an incredibly polished, crowd-pleasing show at the Fonda Theatre recently. The event drew New Zealanders from near and far who came to see their favorite guys and it’s no wonder why.

It was a very upbeat, positive and lively performance that illustrated why Six60 fills stadiums around the world. The band features vocalist Matiu Walters on guitar, Ji Fraser on lead guitar, Chris Mac on bass, Marlon Gerbes on synths and samples, and Eli Paewai on drums. They were in constant motion onstage, smiling often and clearly in a great mood to play live. 

Six60 performs at The Fonda – Photo by Ricardo Curiel

Six60’s unbridled enthusiasm and endless supply of energy helped to generate crowd participation. That wasn’t very hard to do as many fans were out in force and very excited to see their favorite group perform, several of the fans were born in New Zealand and also people flew in from outside of California to see Six60 perform. 

They would sing along to every number, take photos and video the group and hold up homemade banners paying tribute to this iconic and successful act. Six60’s music is a sonic blend of pop, rock, reggae and dubstep. The band has released four albums that have gone to Number one and 44 Platinum singles. Six60 has also played to crowds of more 20,000 people at one time across the globe. 

Six60 at the Fonda – Photo by Ricardo Curiel.

The expansive set list at Fonda Theater encompassed 19 songs that are reflective of their musical output to date. The material is motivational and inspirational and features general themes that are universal and relatable to literally anyone and tend be athematic.

Highlights included  “All She Wrote,” “Please Don’t Go,” “Never Enough,” and “Ghosts.” Matiu Walters is a striking and handsome frontman who is real natural onstage. He is very comfortable, relaxed and self assured. Walters has a solid melodic vocal range and very sings well and can handle all the styles of music Six60 perform with seamless ease and just like the seasoned pro that he is. 

Six60 rocks The Fonda – Photo by Ricardo Curiel.

The rest of the band is a great fit so to speak and complimentary to one another musically. The vibe and personalities of all members really meshed just right together. They all seemed in sync and unison onstage. The stage had a clean look with great production values and lighting along with gorgeous imagery projected on the screens behind the band.

Six60 – Photo by Ricardo Curiel

Overall, the Six60’s show was hit and winner with their fans delivering catchy and accessible songs they know and love. One could say it was too slickly done and maybe too perfectly executed but Six60 delivered the goods live, yes like a well-oil machine, but they did reach their audience, too, on a visceral level emotionally. There was a lot of heart and feeling emitting from the stage beyond the obvious precision and perfection that gave the show real substance and dimension when all was said and done.

Six60 set list

Never Enough
Please don’t go
All she wrote
Only
Rolling stone
Vibes
White lines
Ghosts
DGIU
Rivers
Closer
Long Gone
Tomorrow
Forever
Raining
Greatest
Sundown

Encore

Finest
Roots

Follow Ricardo Curiel’s photography here.

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Grunge-Pop Band Chlorine Drops First Single + Video ‘Thanks for Nothing’

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Review: Jack West at Hotel Café Proves He’s a Storyteller for The Ages

October 6, 2021
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Photos and Review by HARRIET KAPLAN A very straightforward and earnest performance from 16-year-old singer-songwriter Jack West accompanying himself on acoustic guitar was simple and unadorned at the Hotel Café Main Stage.  Already at such […]

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Grunge-Pop Band Chlorine Drops First Single + Video ‘Thanks for Nothing’

Grunge-Pop Band Chlorine Drops First Single + Video ‘Thanks for Nothing’
October 13, 2021
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Chlorine – Courtesy image


















Edited by JOHN DALY

Chlorine has released its debut single and accompanying music video, “Thanks for Nothing.”

The grungy-pop project comes from the mind of Jared Russell, who has stayed busy over the years in other Pacific NorthWest rock groups and as a touring live guitarist.

“Thanks for Nothing” also features a Four Year Strong connection, with studio production done by Alan Day and studio drums courtesy of Jake Massucco.

Ever since beginning his professional journey in music, Russell was mentored and taken under the wing of Brandon Carlisle (RIP) of Teenage Bottlerocket. Russell credits him as the person who inspired him not only as a best friend, but sealed his direction with pursuing music as a way of life.

After a move to Portland, Russell spent time touring internationally supporting groups like Simple Plan and Waterparks and soon after formed Chlorine during the downtime of 2020. The group traveled East to Massachusetts to track with Alan Day, crafting a set of songs that will soon be released.

“I founded Chlorine in 2021 and set out to do a grunge revival project while following my pop punk roots,” Russell said. “I have been playing in punk rock bands since I was 12 years old and don’t plan to stop anytime soon. ‘Thanks For Nothing’ is a song I’m proud to release and I hope everyone feels the intense energy of the track.”

The music video for “Thanks for Nothing” also features notable influencer @meredeathmetal and was directed by Matt Fitzpatrick (Youth Parade Productions).

Stream “Thanks For Nothing” online now on Youtube, Spotify and Apple Music

 

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‘The Beatles: Get Back’ Book, Out Today, Illustrates the Production of ‘Let It Be’

‘The Beatles: Get Back’ Book, Out Today, Illustrates the Production of ‘Let It Be’

‘The Beatles: Get Back’ Book, Out Today, Illustrates the Production of ‘Let It Be’
October 12, 2021
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The Beatles: Get Back book available now – Courtesy of Apple Corps Ltd.


















Edited by JOHN DALY

THE BEATLES: GET BACK collector book, a companion piece for the THE BEATLES: GET BACK feature documentary by Peter Jackson, has been released.

The book tells the story of The Beatles’ creation of their 1970 album, Let It Be, in their own words. The publication is illustrated with hundreds of previously unpublished images, including photos by Ethan A. Russell and Linda McCartney.

Check out Peter Jackson’s Sneak Preview of ‘THE BEATLES: GET BACK’ here:

The book includes transcribed conversations from more than 120 recorded hours of the band’s studio sessions with hundreds of previously unpublished images. THE BEATLES: Get Back also includes a foreword written by film director Peter Jackson and an introduction by Hanif Kureishi.

The book’s texts are edited by John Harris from original conversations between John, Paul, George and Ringo spanning three weeks of recording, culminating in The Beatles’ historic final rooftop concert.

The book is available here.

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Review + Photos: The Imaginaries Make Music That’s Very Real at Hotel Cafe

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U.S. EXCLUSIVE: Paul McCartney Releases Never-Before-Seen Photos for ‘Flowers’ Re-Release

February 27, 2017
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Desert Trip Dispatch: Our Ace Reviewer Bob Busby Gives A Thumbs Up Wrapup From ‘Oldchella’

October 18, 2016
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Rock Photos in Review: The Rolling Stones, Peter Frampton, The Cure and More

January 2, 2020
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CALIFORNIA ROCKER STAFF We assembled the best of the year in pictures from live events throughout Southern California last year as seen through the lenses of our staff photographers and reviewers. From The Rolling Stones […]

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Review + Photos: The Imaginaries Make Music That’s Very Real at Hotel Cafe

Review + Photos: The Imaginaries Make Music That’s Very Real at Hotel Cafe
October 11, 2021
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The Imaginaries at the Hotel Cafe – Photo by Luis Moreno


















Review and Photos by LUIS MORENO

The Imaginaries and their music are honest, simple and real. 

The Imaginaries are the husband and wife team of Maggie McClure (keyboard and vocals) and Shane Henry (guitar and vocals). They’re on a journey around the country from one tiny little stage to another celebrating the release of their self-titled debut album, The Imaginaries, which released earlier this year. 

What I loved about them is the sincerity in their music and their desire to do it well. You can definitely hear the Oklahoma influence and the southern sounds in the roots of their revival  swampy style music.  

The Imaginaries at the Hotel Cafe – Photo by Luis Moreno

When the husband and wife team walked out on to the stage, I thought a perfect size stage for those two.  But then four more musicians including the drummer came out.  So, there they were, six on a stage at the Hotel Café that was probably meant for maybe three people. 

The Imaginaries played the entire album on a shuffle setting if it were on your iPod. They started with a ramblin’ song titled “Enough of You.”  Then straight into a real bluesy “Geronimo” with a slide steel guitar sound that let you know this song had Muscle Shoals written all over it. 

The Imaginaries at the Hotel Cafe – Photo by Luis Moreno

The evening closed out with “Revival” a very swampy wet sound like it was straight out of the movie O Brother, Where Art Thou. Then Maggie’s voice came sauntering as a sultry siren lulling you into her mood. The percussion then took command, driving the track into a powerful and expressive rocker track.

The Imaginaries at the Hotel Cafe – Photo by Luis Moreno

The Imaginaries, complete with their cool southern rock sound, good nature and humble presence, play music that deserves to be heard by music lovers everywhere. And though it may take a little time, there’s no doubt they’ll accomplish that goal, one tiny stage at a time.

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We Are Scientists Don’t Experiment to Obtain Good Results with ‘Huffy’

We Are Scientists Don’t Experiment to Obtain Good Results with ‘Huffy’

We Are Scientists Don’t Experiment to Obtain Good Results with ‘Huffy’
October 8, 2021
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We Are Scientists Drop Huffy – Danny Lee Allen


















By JOHN DALY

We Are Scientists have returned with the new album Huffy, a 10-track collection of cleverly written tracks that bust out with pop-punk power.

Keith Murray and bass player Chris Cain rip through a range of appealing tracks on Huffy applying some trademark tricks including their collective quirky sense of humor. But the Scientists don’t experiment with this great-sounding album.

We Are Scientists release ‘Huffy’ – Courtesy

While tracks like “You’ve Lost Your Shit” and “I Cut My Own Hair” and “Pandemonium” tap into the band’s core sound of raging rockers, the tracks “Sentimental Education” and “Bought Myself a Grave” show off the Scientists’ true musical talent. Huffy is a keeper for We Are Scientists fans. Get it here.

Check out ‘Huffy’ on Spotify:

In addition, Huffy is starting to expand into something more than a collection of well-received indie rock songs. The tracks have inspired a line of We Are Scientists custom cocktails. 

Currently being unveiled on Instagram, complete with video tutorials and accompanying theme songs, fans can now learn to mix their very own classic Keylime Yum, Dog Tongue and Earth Scoop cocktails at home.

Check out ‘Sentimental Education’ here:

 

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Jim Ward Performs ‘Daggers’ for an El Paso and LA Crowd at The Troubadour

Live Music Review: Paris Jackson Finding Her Own Way with Solo Record, ‘wilted’

Live Music Review: Paris Jackson Finding Her Own Way with Solo Record, ‘wilted’
October 7, 2021
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Paris Jackson – Harriet Kaplan photo


















Photos and Review by HARRIET KAPLAN

Paris Jackson, daughter of Michael Jackson, “The King of Pop,” recently performed at Hotel Café, playing a short but pleasant set.

Jackson played original music from her debut solo album, wilted, which features 11 tracks that show a diverse range of musical style.

The material was obviously very personal in nature and is inspired by the juxtaposition of love and heartbreak and has an alternative indie-folk-rock flavor to it. She accompanied herself on the acoustic guitar. 

Jackson spoke briefly between songs during the subdued and intimate performance at the venue’s sold-out Main Stage. 

Paris Jackson – Photo by Harriet Kaplan

Jackson seemed somewhat more at ease during this show than when she performed with her then-partner Gabriel Glenn under the group moniker “The Sunflowers” at The Roxy. At that time, the singer-songwriter released a self-titled EP under the group name The Sunflowers with Glenn. She was far more tentative and shy at that time, but at Hotel Café she seemed more confident in her performance.

Jackson has played the rounds of local clubs in honing her stage work. The 23-year-old musician and model is working hard to perfect her music and to embrace her musical roots. 

The title track for the new album, “Wilted,” came out of a collaboration with Andy Hull and Robert McDowell from Manchester Orchestra. They both worked on her demos after Jackson signed with Republic Records.

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Juliana Riccardi and her Blues Band Bring ‘Full Cup’ Sound to Hotel Cafe

August 31, 2021
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Photos and Review by HARRIET KAPLAN Juliana Riccardi and her big blues band proved that the second stage at a Hotel Cafe continues to burst at the seams with talent.  The New York-based singer-songwriter-guitarist Riccardi […]

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EXCLUSIVE: After Turning Down Trump, Moby To Play ‘Anti-Inauguration Show’ at Hotel Cafe on Jan. 20

January 13, 2017
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By DONNA BALANCIA, California Rocker
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Jim Ward Performs ‘Daggers’ for an El Paso and LA Crowd at The Troubadour

Jim Ward Performs ‘Daggers’ for an El Paso and LA Crowd at The Troubadour
October 7, 2021
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The enthusiastic Troubadour crowd engages with Jim Ward – Photo by Luis Moreno


















Photos and Review by LUIS MORENO

What I love about Jim Ward’s music is it’s a great blend of indie rock, alternative country, and Americana. But the other night at The Troubadour was just as much a celebration of El Paso, Texas, as it was for Ward’s newly released solo album, Daggers.

Ward’s music tends to appeal to a broad group, including a large Latino fan base, perhaps because he’s known for his work in Texas bands At The Drive-In, Sparta and Sleepercar. But his solo work was well-received at The Troubadour the other night and he puts on an energetic show.

Jim Ward performs at The Troubadour – Photo by Luis Moreno

The night was about Ward but his references to El Paso really kept this crowd motivated.  At times throughout the show Ward would banter and engage with the fans, who clearly adore him.

Ward came out strong with the single “Day by Day” from Daggers.  The song is about responsibility, kindness and not giving up, remembering to take life day by day.  Ward then jumped all the way back to 2004 with “Breaking the Broken” from Sparta’s Porcelain album. 

Jim Ward gets rousing response from fans at The Troubadour – Photo by Luis Moreno

About halfway through his set Ward took it down a notch or two with “Lines in the Sand” another Sparta track from 2004. The song starts off with a mellow guitar echoing throughout with the drummer and bass slowly coming along for what seems like a stroll. The tempo then starts to pick up only to bring you back to nice conversation while you stroll. But fear not, the finish brings the listener back to the start.

In between songs, Ward took the time to photobomb two young guys taking selfies and the guys’ admiration for Ward seemed to jump 100 notches.

Jim Ward plays to the crowd at The Troubadour – Photo by Luis Moreno

Ward finally reached the last song of the set and mentioned how he doesn’t do or like encores and proceeded to finish the evening with “King Yourself.”  “King Yourself” is another song about taking responsibility and remembering that “You can King Yourself, But you’re first against the wall.”

The night was filled with just good indie rock, and plenty of people — from El Paso and Los Angeles — who showed up for Ward’s great performance and good music.

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Review: Jack West at Hotel Café Proves He’s a Storyteller for The Ages

Review: Jack West at Hotel Café Proves He’s a Storyteller for The Ages
October 6, 2021
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Jack West at Hotel Cafe – Photo by Harriet Kaplan


















Photos and Review by HARRIET KAPLAN

A very straightforward and earnest performance from 16-year-old singer-songwriter Jack West accompanying himself on acoustic guitar was simple and unadorned at the Hotel Café Main Stage. 

Already at such a young age, West, from Rochester, N.Y., is a seasoned professional and takes his craft very seriously. His voice and point of view lyrically are very strong: Dealing with the pandemic, life, and relationships. 

West is a powerful vocalist that has a scrappy punk sensibility that really is radio-friendly. Sitting on a stool on the stage, West held court and was confident, direct, and passionate in his delivery of the material from his debut album in 2019, For the Record and his other albums.

Jack West featured at Hotel Cafe – Photo by Harriet Kaplan

Performing 13 original numbers including “Better with Him,” “Missing Out,” “Forever,” “Unsinkable,” “Run Back to Me,” “A Little Shine,” “The Flower City,” Goodbye L.A. and “Montreal” and four covers: “Lighting Bolt” (Jake Bugg), “Hotel Yorba” (White Stripes), “Growing Up (Bruce Springsteen), the audience could feel and sense the depth and breadth of talent. Though there was a relatively small crowd at Hotel Café, West played his heart and soul out as if performing before many people.

West already has achieved some significant accolades at 16 years old. In 2017, he performed with Pearl Jam’s Eddie Vedder in Nashville at 12 years old. He has already collaborated with Barret Jones, the Seattle producer behind songs from the Foo Fighters, Nirvana, and more. West lists Nirvana, the Beatles, Neil Young, and Pink Floyd as his musical inspirations. His touring career really took off after an appearance at the BottleRock Festival in Napa, CA. 

It was followed by performances at the 50th Woodstock Celebration in Bethel, NY, as well as rock photographer Danny Clinch’s Transparent Gallery in Ashbury Park. Unfortunately, his touring schedule was cut extremely short in 2020. But now, West is back performing around the country.

 

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Exclusive Premiere: Al Staehely Vaults Back to LA Days with ‘Post Spirit’ Collection

Exclusive Premiere: Al Staehely Vaults Back to LA Days with ‘Post Spirit’ Collection

Exclusive Premiere: Al Staehely Vaults Back to LA Days with ‘Post Spirit’ Collection
October 6, 2021
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Al Staehely – Photo by Hill Taylor White


















By DONNA BALANCIA

Al Staehely takes listeners on a journey through some of life’s most memorable moments with his new album, Post Spirit 1974-1978 Vol. 1.

The album covers the former Spirit player’s collection of unearthed tracks produced during the hazy, analog days of 1970s Los Angeles.

“The ’70s L.A. music scene was a special time,” Staehely said. “Today, in 2021, many try to recreate the ’70s analog experience in their songwriting and recordings. I was lucky to have been writing and making music during that time.”

For anyone who listened to the radio in the 1970s, this collection out on Oct. 7 by the Texas musician is a fond look back at the fun, carefree days of youth. Young listeners of today and aspiring musicians can learn a thing or two from this weathered minstrel, whose music captures the most deep-rooted emotions of yesterday and today.

Al Staehely – Photo by Hill Taylor White

Staehely was lead vocalist, principal songwriter and bass player on Spirit’s fifth album, Feedback (1972). He went on to enjoy a music career in bands like the Staehely Brothers, and The Nick Gravenites-John Cipollina Band, while also writing songs for performers like Keith Moon, Bobbie Gentry, Patti Dahlstrom, Marty Balin and others.

In 1980, Staehely returned to Texas and worked as a lawyer by day and musician by night, performing with Roy Orbison, Emmy Lou Harris, Jefferson Starship, and toured Europe with Cipollina of Quicksilver and Gravenitis of Electric Flag. His other life, as a Houston entertainment attorney, hasn’t kept Staehely from pursuing his writing and performing his music.

With the new collection, Post Spirit, Staehely captures that most popular time of Americana-Rock. Among his collaborators are Steve Cropper, Jim Horn, Snuffy Walden and Pete Sears, renowned players in the genre.

But Staehely took it one step further, virtually creating a genre of his own: A metropolitan, jazzy blend of folk-rock with easy lyrics that cut to the chase. Staehely’s long-buried tracks range from lovelorn ballads to upbeat rockers. The twangy, jazz-tinged “Stand In Love,” and R&B-influenced “Safecracker” practically usher in the era of Steely Dan. Post Spirit wends its way through love and dreams, tempered with some sage, albeit naive, advice of youth.

Additional musicians on the album include: Gary Mallaber, Al Garth, John Staehely, Curly Smith, Veyler Hildebrand, Steve Beckmeir, Otis Hale, Skip Edwards, Rosemary Butler, Renee Armand, Venetta Fields & Clydie King (the Blackberries), Evelyn Rubio and Andy Kahan.

“These never-before released recordings from my ‘vault’ are the real thing, written and recorded in L.A. during that era in some of the best studios, with some of the best musicians working at that time,” Staehely said.

Staehely is taking the music on the road with some upcoming shows, check out his website here. 

Listen to ‘Post Spirit’ here:

Al Staehely · Post Spirit 1974-1978 Vol. 1

Pre-save the album here.

Check out ‘Wide Eyed & Innocent’ here:

‘Post Spirit 1974-1978 Vol. 1’ Track Listing:

  • Wide Eyed And Innocent
  • Feel The Heat
  • Chipping Away
  • Like A River
  • Stand In Love
  • Safecracker
  • Too Long Alone
  • Without Love
  • Coasting
  • 10 Put Your Life In My Hands
  • Tenderhooks
  • Wish I’d Said
  • Lady Was A Racehorse
  • All Is Forgiven
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    Review: Jack West at Hotel Café Proves He’s a Storyteller for The Ages

    Japanese Breakfast Show Brings Beacon of Hope to Downtown Los Angeles

    Japanese Breakfast Show Brings Beacon of Hope to Downtown Los Angeles
    October 5, 2021
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    Photos and Review by LUIS MORENO
    Photo Editor

    Driving into downtown Los Angeles at night the first thing I noticed were the empty the streets. There were many buildings with a “For Lease” signs in their huge windows.

    In contrast as I looked further down Main Street I saw a bright light emanating from The Regent’s marquee that touted Japanese Breakfast. The light seemed to generate more than a name, it almost seemed like a beacon of hope and destination.

    Once I walked into The Regent I could feel a sense of unity and eagerness. It was a great change from the scene on the streets.

    Japanese Breakfast at The Regent – Photo © 2021 Luis Moreno

    Japanese Breakfast the indie rock band headed by Korean-American Michelle Zauner, who is also a director and author of the book Crying in H Mart.  Japanese Breakfast is on tour supporting their latest album Jubilee released last June via Dead Oceans.

    Read: Michelle Zauner gets a coat check in hometown venue at EastCoastRocker.com

    Zauner walked on stage in a sheer white dress sprinkled with some red through it. The reason I mention it is because it would capture the energy of her fans … light and vibrant.

    Japanese Breakfast brings light to The Regent – Photo © 2021 Luis Moreno

    Zauner started the evening with “Paprika” from her latest album which she also performed on the Jimmy Kimmel Live show.  With every bang of the gong the crowd would cheer.

    The next 2 songs on the set list would go to “In Heaven” and “That Woman That Loves You” from the Psychopomp album which are more up tempo songs.  The songs would continue the Aurora Borealis experience that was growing with every beat.

    Japanese Breakfast would then go back to a song from Jubilee with “Kokomo, IN” which kept the tranquil experience on track.  Zauner really seemed in touch with her audience and what they love about her which is honesty and vulnerability.  So if you’re familiar with her music, books and videos then you know she doesn’t know how to be anything else but earnest.

     

    Check out Japanese Breakfast music here:

     

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    KISS Kicks Off 45th Anniversary of ‘Destroyer’ by Dropping New Version of ‘Beth’

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    VIDEO PREMIERE: Tiger Rider Battles the Forces of Evil with ‘The Prince’

    VIDEO PREMIERE: Tiger Rider Battles the Forces of Evil with ‘The Prince’

    VIDEO PREMIERE: Tiger Rider Battles the Forces of Evil with ‘The Prince’
    October 5, 2021
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    By JOHN DALY

    The fight between good and evil continues and Tiger Rider gives hope the bad guys can be defeated in the new video for their track “The Prince.”

    Brooke Dickson of The Regrettes and Chase Petra is featured in the video. Her sister is Tiger Rider bassist Heather Dickson, and other members of the band are guitarist and vocalist Nick Papageorge and drummer Patrick Ahern.  Daphne Sweetland is a considerable opponent in the vid.

    The nightmarish scenario pits Brooke against devilish forces to battle it out. But is it temptation or complacency that is really the evil force at work for all of us?

    The track starts out with gentle guitar strumming reminiscent of sounds from ancient times and gradually builds to a fully energized, borderline doom-metal track that emphasizes outstanding  drumming, heavy bass and innovative guitar.

    Related: Read our review of Slender Dan’s “Pay With a Gift”

    Check out Tiger Rider’s ‘The Prince’ here:

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    Japanese Breakfast Show Brings Beacon of Hope to Downtown Los Angeles

    KISS Kicks Off 45th Anniversary of ‘Destroyer’ by Dropping New Version of ‘Beth’

    KISS Kicks Off 45th Anniversary of ‘Destroyer’ by Dropping New Version of ‘Beth’
    October 4, 2021
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    By JOHN DALY

    KISS has released an acoustic mix of the band’s well-known song, “Beth,” the first track from the upcoming  KISS – Destroyer 45th Deluxe Editions.

    “Beth (Acoustic Mix)” was released in 1976. For the new acoustic mix of “Beth,” the original acoustic guitar track was taken from its analog roots and has now been restored and mixed with the original piano, vocal and synthesizer tracks.

    While many bands are celebrating 50th anniversary rereleases, Kiss celebrates the 45th anniversary of  Destroyer, which was originally released in 1976. It sold a million copies in its first year.

    Bob Ezrin produces.

    UMe will release KISS – Destroyer 45th in the form of a Super Deluxe 4-CD + Blu-ray Audio box set as well as on standard double black vinyl and limited edition yellow and red double colored vinyl, 2-CD set, and digital. Destroyer 45th can be pre-ordered here.  It will be released on Nov. 19.

    Additional tracks include “Detroit Rock City,” “Shout It Out Loud” and “God Of Thunder.”

     

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    Samantha Fish Blends New and Vintage Tracks During Performance at Troubadour

    Samantha Fish Blends New and Vintage Tracks During Performance at Troubadour

    Samantha Fish Blends New and Vintage Tracks During Performance at Troubadour
    October 3, 2021
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    Samantha Fish feature photo – Photo by Luis Moreno


















    Photos and Words by LUIS MORENO

    It may be 14 miles from my house to The Troubadour, but the live performance there by Samantha Fish made me feel right at home. I wasn’t all that familiar with her music, but after the other night, I’m a believer. Samantha Fish is one bad ass musician.

    Her band is tight, but loose enough to give her guitar playing and wide-ranging performance more than enough room to run the gamut from raunchy to lovely and moody, with gorgeous depth.  

    Samantha Fish performs at the Troubadour – Photo by Luis Moreno

    Fish opened with “Faster” the first track off her her latest album of the same nameThe difference between the studio album and the live version is with the live version she kicks up the raunchiness and fullness of the sound.  The Samantha Fish crowd is devoted, enjoying every moment as fans shook their fists and banged their heads with each song. 

    What caught me off guard was her beautiful rendition of Barbara Lewis’ 1963 hit “Hello Stranger.” It was such lovely and sauntering version, with her guitar caressing the melody.  She continued the mood with a sexy “Love Letters” from her previous album Kill or be Kind.  

    Samantha Fish at Troubadour – Photo by Luis Moreno

    About midway through the night Fish played “Kill or be Kind,” the title track of her previous album. This one was much more up-tempo, where she let her voice just belt it out.

    There is no doubt Fish has her hardcore fans. As I moved through the crowd, I heard voices singing her songs word for word and others unsure about the lyrics but still singing with enthusiasm.  

    Samantha Fish plays the Troubadour – Photo by Luis Moreno

    The evening started to come to a close and she finished off with “Bulletproof,” a dirt filled song on guitar that accents her voice.  She started and finished strong. I’m not going to disclose her encore song… The Samantha Fish show is a must that people need to enjoy for themselves.  

    So the bottom line is after a night of listening to Samantha Fish, it’s clear she can rock, raunch out and even lullaby you if she wants. I am now a fan also – I’m an official “Fish head.”

    Samantha Fish at the Troubadour – Photo Luis Moreno
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    Joyous Wolf Delivers Wild Performance at The Viper Room

    Craig Morgan – Almost Home Lyrics

    He had plastic bags wrapped ’round his shoes
    He was covered with the evening news
    Had a pair of old wool socks on his hands

    The bank sign was flashing 5 below
    It was freezing rain and spittin’ snow
    He was curled up behind some garbage cans

    I was afraid that he was dead
    I gave him a gentle shake
    When he opened up his eyes
    I said, “Old man are you okay?”

    He said, “I just climbed out of a cottonwood tree
    I was runnin’ from some honey bees
    Drip dryin’ in the summer breeze
    After jumpin’ into Calico creek

    I was walkin’ down an old dirt road
    Past a field of hay that had just been mowed
    Man, I wish you’d just left me alone
    ‘Cause I was almost home”

    Then he said, “I was just comin’ ’round the barn
    ‘Bout the time you grabbed my arm
    When I heard Momma holler, “Son, hurry up”

    I was close enough for my own nose
    To smell fresh cobbler on the stove
    And I saw daddy loadin’ up the truck

    Cane poles on the tailgate
    Bobbers blowin’ in the wind
    Since July of ’55
    That’s as close as I’ve been”

    Yeah, I just climbed out of a cottonwood tree
    I was runnin’ from some honey bees
    Drip dryin’ in the summer breeze
    After jumpin’ into Calico creek

    I was walkin’ down an old dirt road
    Past a field of hay that had just been mowed
    Man, I wish you’d just left me alone
    I was almost home

    I said, “Old man, you’re gonna freeze to death
    Let me drive you to the mission”
    He said, “Boy, if you’d left me alone
    Right now I’d be fishin’”

    I just climbed out of a cottonwood tree
    I was runnin’ from some honey bees
    Drip dryin’ in the summer breeze
    After jumpin’ into Calico creek

    I was walkin’ down an old dirt road
    Past a field of hay that had just been mowed
    Man, I wish you’d just left me alone
    ‘Cause I was almost home

    Man, I wish you’d just left me alone
    I was almost home

    Ray Charles – I Wonder Who’s Kissing Her Now? Lyrics

    I wonder who’s kissing her now
    I wonder who’s teaching her how
    I wonder who’s looking into her eyes
    Breathing sighs and telling lies
    Wonder who’s buying the wine
    The lips that I used to call mine
    I wonder if she ever tells him of me

    I wonder who’s kissing her now
    I wonder who’s buying the wine
    The lips that I used to call mine
    I wonder if she ever tells him of me
    I wonder, I wonder, pretty baby how I wonder
    I wonder who’s kissing you now

    Lisa Stansfield – Just Can’t Help Myself Lyrics

    It’s like a clock in my head
    And it’s only a matter of time
    Before you say goodbye
    It’s like a clock in my head
    And it’s tick ticking away
    ‘Til ya walk into the night

    And I don’t want you to go
    Right now
    No I don’t want you to go
    Go right now

    ‘Cos I know it’s wrong
    I know you treat me bad
    See the trouble that I have had
    But I just can’t help myself
    Give me a reason
    And I’ll be a cause that’s lost
    I’ll put up with all the gossip
    I just can’t help myself

    I just can’t help myself

    I toss and turn in my bed

    I’m going out of my head
    Just to make it through the night
    Craving the comfort you give
    Craving the warm of your kiss
    I give in to the fight

    And I don’t want you to go
    Right now
    No baby I don’t want you to go
    Right now
    No no no no

    ‘Cos I know it’s wrong
    I know you treat me bad
    See the trouble that I have had
    But I just can’t help myself
    Give me a reason
    And I’ll be a cause that’s lost
    I’ll put up with all the gossip
    I just can’t help my sweet self
    I just can’t help myself
    Give me a reason
    Ooh sweet thing

    Marie-mai – Tous Les Chemins Lyrics

    Quand je ferme la porte quand je perd mes couleur.
    Quand le doute l’emporte quand revienne mes peurs
    Quand le poids que je porte t’apporte temps de douleur
    Quand les larme l’emporte qu’il est loin le bonheur

    Quand j? ai besoin de me refaire
    Quand le monde est a l’envers

    Tous les chemins me ramène a toi
    Tous les chemins me conduise dans tes bras
    Je me sens a l’abris loin de les vautour
    Y a plus que toi qui m? entour

    Quand les point repère se confonde au brouliare

    Quand je ferme les paupières et que Vien le cafard
    Comme une nuit ne porte plus conseil
    Je m’étant vers ton soleil

    Tous les chemins me ramène a toi
    Tous les chemins me conduise dans tes bras
    Je me sens a l’abris loin de tout les vautours
    Je ne craint plus pire tu m’inspire chaque jour
    Je me sens a l’abris loin de tout les vautours
    Ha plus que toi qui m’entoure

    Tous les chemins…

    Ween – Mister, Would You Please Help My Pony? Lyrics

    Mister, would you please help my pony?
    He’s over there behind the tree
    He’s down in the dirt would you help him?
    I think it’s his lung

    Mister, would you please help my pony?
    He’s chewing bark and not the leaves
    He’s crying like a baby, would you help him?
    I think it’s his lung

    Mister, would you please help my pony?
    He’s down and he ain’t getting up
    He coughed up snot in the driveway
    And I think his lung’s f*cked up

    Pony
    Pony
    Pony

    Mister would you please help my pony?
    I think it’s his lung

    Mister, would you please help my pony?
    He’s over there lookin at me
    He can’t talk because he’s a pony
    I think it’s his lung

    Mister, would you please help my pony?
    He’s over there behind the tree
    He’s down in the dirt would you help him?
    I think it’s his lung

    Loretta Lynn – God Bless America Again Lyrics

    [ with Conway Twitty ]
    God bless America again you see all the troubles that she’s in
    Wash her pretty face dry her eyes and then God bless America again

    God I sure do wish you bless America again
    You know like you did way back when it all began
    You blessed her then but we just sorta kinda take it for granted
    And never did ask again
    So God just hold her hand that’s all
    And if she should stumble please don’t let her fall

    God bless America again…

    You know I don’t understand to everythin’ I’m readin’ here
    About what’s wrong with America
    And if you don’t have a lotta good learnin’
    I guess there’s a lotta things you don’t understand
    But let me say this God she’s like a mother to me
    And though all I am or ever hope to be I owe to you and to her
    Wash her pretty face…

    Jeremy Zucker – Don’t come over, i’m an asshole Lyrics

    [Verse 1]
    Don’t come over, I’m not even dressed yet
    Got a 9 o’clock, and things to do later
    I’m such an asshole, I kind of forget what we were talking about
    I digress, it’s more than depression

    [Pre-Chorus]
    Now that’s progress, no one’s dead yet
    And once I start to realize
    The situations I fantasize won’t help me
    And if it’s not unhealthy, then this is where I stay

    [Chorus]
    You’re leaving at the break of dawn
    Don’t try to be civil
    It’s not like we ever got on
    Just lie to mе a little

    [Verse 2]
    Don’t come over, I’m not еven dressed yet
    Had a 9-to-5, “it wasn’t a vibe,” you’d say
    I’m such an asshole, I started to chill with a few of your friends
    I took statements, most of ’em hate ya

    [Pre-Chorus]
    Now that’s priceless, no one’s righteous
    And once I start to realize
    The situations I fantasize won’t help me
    And if it’s not unhealthy, then this is where I stay

    [Chorus]
    I’m walking in the dead of night
    I’ll sleep with the sun up
    It’s not like me to compromise
    Treat me like you wanna

    [Verse 3]
    Don’t come over, I’m not even dressed yet
    Yeah, I get you’re bored, just gut me a little more
    You’re such an asshole, it’s kind of insane that you’d threaten to die
    Fuck the doctors, no one can stop you now

    Jeremy Zucker – I can’t look at you Lyrics

    [Verse 1]
    Seaport in the summer
    The waiter pours me wine
    You compliment my sweater
    I think I got that shit online
    You told me that you’re sober
    But get high with your friends
    You said that you were younger, and substance pulled you under
    I should have known how this would end

    [Chorus]
    Well it’s alright, if you lie to me
    And I don’t see through
    Why would I assume?
    That you’d play me, for a fucking fool
    I’m not in the mood
    Now I can’t look at you

    [Verse 2]
    Somehow I can’t remember
    If you’re even alive
    Thank god we’re not together
    And nobody asks if you’re alright
    I let friends go, I made enemies
    But never like this, now you’re dead to me
    I blocked your cellphone and your handle
    I think it’s over, I think you’re cancelled
    Your dad called me, when we last spoke
    He asked about you, that’s a bad joke
    I should have left you, a little sooner
    Now that’s humour

    [Chorus]
    When you say that it’s alright, if you lie to me
    And I don’t see through
    Why would I assume?
    That you’d play me, for a fucking fool
    I’m not in the mood
    Now I can’t look at you

    Wale – Poke It Out Lyrics

    [Intro: Wale]
    (Cool N Dre)
    Go, go, go, go, go
    Listen (Go, go, let’s go)

    [Chorus: Wale]
    I just wanna see if you gon’ lie or you gon’ love me
    I was gettin’ broads way before I got the money, honey
    Since I been a star, they don’t love me
    The ceilin’ got stars when the star got no ceiling
    Stick it out (Stick it out), poke it out (Poke it out)
    Stick it out (Stick it out), poke it out (Poke it out), yeah
    Yeah, she got a little butt, so what?
    Big bag, she can show enough
    Stick it out (Stick it out), poke it out (Poke it out), yeah
    Stick it out (Stick it out), poke it out (Poke it out), yeah

    [Verse 1: Wale]
    My regards to the broads that thought I was done
    Pick a side, pick a side and die on the joint
    I been lettin’ things slide, they tryin’ too hard
    ‘Cause I ain’t left the city once, still travel abroad
    Nigga, I’m back on my boss shit
    The stick in the Honda Civic, we in the car service
    I really just mind my business and pray that God sort ’em
    Can’t really be long winded
    You talkin’ short money, today, we not cost cuttin’
    Can you stick it out?
    Told me she was quarantined, them brand new titties out
    And it might be a couple weeks to make them bitches bounce
    So I mean it when I be like, “What’s the turn around?”
    No, really, turn around, okay

    [Chorus: Wale]
    I just wanna see if you gon’ lie or you gon’ love me
    I was gettin’ broads way before I got the money, honey
    Since I been a star, they don’t love me
    The ceilin’ got stars when the star got no ceiling
    Stick it out (Stick it out), poke it out (Poke it out)
    Stick it out (Stick it out), poke it out (Poke it out), yeah
    Yeah, she got a little butt, so what?
    Big bag, she can show enough
    Stick it out (Stick it out), poke it out (Poke it out), yeah
    Stick it out (Stick it out), poke it out (Poke it out), yeah

    [Verse 2: J. Cole, J. Cole & Wale]
    Turn around, I wanna see (I wanna see)
    Do it look like how it look on IG? (Mm)
    Bad from every angle, she got herself a trainer
    I know that nigga can’t help but take a little peek, uh
    Cole World and Folarin co-starrin’
    We both flexin’, Bo Jacksons, bogartin’
    These cap niggas that rap with piss-poor jargon
    My latest whip, my latest chick was both foreign
    I know all my hoes miss me
    I been the shit since I hit elementary
    She know who run it, the one that keep it hunnid
    To find a better nigga, you gon’ have to live a century (Century)
    Evidently, the coach can’t bench me
    The franchise player, I don’t know how to miss
    And they can’t buy a layup, I’m anti what they are
    I can’t take my eyes off your pants, I swear
    Girl, you shinin’ like a damn Moncler
    I’m thinkin’ we should dip like the Cam’ron era
    If you the big steppa, I’m the landmine here
    That’s the one they know they can’t come near

    [Chorus: Wale & J. Cole]
    I just wanna see if you gon’ lie or you gon’ love me
    I was gettin’ broads way before I got the money, honey
    Since I been a star, they don’t love me
    The ceilin’ got stars when the star got no ceiling
    Stick it out (Stick it out), poke it out (Poke it out)
    Stick it out (Stick it out), poke it out (Poke it out), yeah
    Yeah, she got a little butt, so what?
    Big bag, she can show enough
    Stick it out (Stick it out), poke it out (Poke it out), yeah
    Stick it out (Stick it out), poke it out (Poke it out), yeah

    [Outro: Wale & J. Cole]
    Break it down, look
    Poke it out, I wanna
    See you play whether you
    Meg Thee Stallion or like
    Coi Leray, okay
    I just wanna see if you gon’ lie or you gon’ love me
    I was gettin’ broads way before I got the money, honey
    Since I been a star, they don’t love me
    The ceilin’ got stars in there, boy
    Stop playin’

    TWICE – The Feels (The Stereotypes Remix) Lyrics

    [Intro: Chaeyoung]
    Boy, I, boy, I, boy, I know
    I know you got the feels
    Boy, I, boy, I, boy, I know

    [Verse 1: Nayeon, Momo, Sana, Tzuyu]
    Uh, I’m so curious
    ‘Bout ya boy, wanna keep it cool
    But I know everytime you move
    Got me frozen, I
    Get so shy, it’s obvious (Yeah, yeah)
    Catching feels like butterflies
    If I say what’s on my mind
    Would I hit bullseye?
    Shoot! I’m ready, aim and fire

    [Refrain: Tzuyu, Jihyo, Dahyun, Nayeon]
    Baby, I (Woah)
    Feel like cupid’s alive
    Ali-i-ive tonight
    Yeah, tonight
    If your heart beats the same way
    Let me know (Yeah, let me know)
    ‘Cause I’m boom-boom-boom
    From head to toe and I (From head to toe)

    [Pre-Chorus: Mina, Chaeyoung, Jeongyeon]
    I know love
    It is such a funny thing
    A mystery allure
    Gotta get to know you more
    ‘Cause I, I can feel a real connection
    A supernatural attraction-ah
    I got the feels for you, yeah, yeah, yeah, yeah

    [Chorus: Nayeon, Jihyo]
    You have stolen my heart, oh, yeah
    Never let it go-oh-oh
    No, never let it go-oh, oh-oh, oh-oh, oh
    Lightning straight to my heart, oh, yeah (Oh, yeah)
    I got all the feels for sure
    Yeah, I got all the feels for ya

    [Post-Chorus: Momo, Nayeon, Jihyo]
    Boy, I, boy, I, boy, I know
    I know I get the feels
    Boy, I, boy, I, boy, I know
    I know you feel it too

    [Verse 2: Sana, Tzuyu, Chaeyoung, Dahyun]
    (Uh-uh, yeah)
    Sway in the moonlight, dance in the dark
    I, I know that I caught your eye
    Are we on the same vibe?
    I wonder what’s on your mind
    ‘Cause you got me good and I wanna be ya boo
    If it’s dumb, well, I wanna be a fool
    Underneath the neon lights, baby
    Electricity tonight, baby

    [Pre-Chorus: Mina, Chaeyoung, Jeongyeon, Jihyo]
    I know love
    It is such a funny thing (Yeah)
    A mystery allure
    Gotta get to know you more (No)
    ‘Cause I, I can feel a real connection (Connection)
    A supernatural attraction-ah (Attraction, ah)
    I got the feels for you, yeah, yeah, yeah, yeah (Ah)

    [Chorus: Nayeon, Jihyo]
    You have stolen my heart, oh, yeah (Oh, yeah)
    Never let it go-oh-oh
    No, never let it go-oh, oh-oh, oh-oh, oh
    Lightning straight to my heart, oh, yeah (Oh, yeah)
    I got all the feels for sure
    Yeah, I got all the feels for ya (Oh, yeah)

    [Post-Chorus: Sana, Nayeon, Momo, Jihyo]
    Boy, I, boy, I, boy, I know
    I know I get the feels
    Boy, I, boy, I, boy, I know
    I know you feel it too
    Boy, I, boy, I, boy, I know
    I know I get the feels
    Boy, I, boy, I, boy, I know
    I know you feel it too (Feel it too)

    [Bridge: Mina, Nayeon]
    You got my attention (Oh)
    So, what’s your intention? (Oh)
    Yeah, tell me, baby, what’s the deal?
    Oh, one look and I know it
    Baby, my eyes reveal
    That you, you, you give me the feels, oh yeah

    [Chorus: Jeongyeon, Jihyo, Nayeon]
    You have stolen my heart, oh, yeah (Oh yeah)
    Never let it go-oh-oh (No, no)
    No, never let it go-oh, oh-oh, oh-oh, oh (No, no)
    Lightning straight to my heart, oh, yeah (Oh, yeah, yeah, yeah)
    I got all the feels for sure
    Yeah, I got all the feels for ya

    [Post-Chorus: Chaeyoung, Nayeon, Momo, Jihyo]
    Boy, I, boy, I, boy, I know (The feels)
    I know I get the feels (The feels) (Oh, yeah)
    Boy, I, boy, I, boy, I know (Ayy) (Yeah, yeah, yeah)
    I know you feel it too (Yeah, yeah, yeah)
    Boy, I, boy, I, boy, I know (The feels) (The feels, come on)
    I know I get the feels (The feels)
    Boy, I, boy, I, boy, I know (Ayy)
    I know you feel it too (Yeah)

    Calum Scott – Rise Lyrics

    [Verse 1]
    I’ve been staring at the coastline
    Thinking of every choice I’ve made
    To lead me here right now
    Standing on solid ground
    And I’ve been hiding in the shadows
    Wondering if I’m on the right road
    Some place I’ve never been
    Is this how it all begins?

    [Pre-Chorus]
    Oh-oh
    ‘Cause I’ve got my best suit on and I’m ready
    I’ve got my sleeves rolled up and I’ll be on my way
    While my heart’s thumping, boom-boom, boom-boom

    [Chorus]
    You’re gonna see me rise
    Oh, and rise, rise, rise, rise

    [Verse 2]
    For every valley, there’s a mountain
    For every answer, there’s a new question
    Is it worth all this?
    I’m pushing myself to the edge
    ‘Cause we’re all looking for a reason
    Find a shelter from the storm within
    Just keep your eyes ahead
    And dust yourself off again

    [Pre-Chorus]
    Oh-oh, oh
    ‘Cause I’ve got my best suit on and I’m ready
    I’ve got my sleeves rolled up and I’ll be on my way
    While my heart’s thumping, boom-boom, boom-boom

    [Chorus]
    You’re gonna see me rise
    Oh, and rise, rise, rise, rise

    [Pre-Chorus]
    Oh, ’cause I’ve got my best suit on and I’m ready
    I’ve got my sleeves rolled up and I’ll be on my way
    While my heart’s thumping, boom-boom, boom-boom

    [Bridge]
    You’re gonna see me rise
    You’re gonna see me rise
    Not how you fall back down
    But how you get back up
    Before you hit the ground

    [Chorus]
    You’re gonna see me rise
    Oh, rise, rise, oh rise, yeah

    [Outro]
    You’re gonna see me rise
    See me rise
    See me rise
    You’re gonna see me rise
    You’re gonna see me rise
    See me rise (Mm-mm)
    See me rise
    You’re gonna see me rise