In my further quest for owning all Matt Nathanson items listed on Discogs, I found another gem. This Promo CD is for the song “Suspended” off his 2003 album and major label debut called ‘Beneath these Fireworks’. The song didn’t chart, no surprise as he’s never been a big radio hits guy (even though his stuff is better than radio). The album didn’t do well either and shortly after releasing his first major label debut on Universal, Universal dropped him. Such is the story of so many artists and bands.
The song was written by Matt Nathanson, Mark Weinberg and Eric Bazillion who you know as a founding member of the band The Hooters. The song is about being in a relationship that might not be the best relationship, but man, the sex is so good you are willing to accept anything to stay in it. You suspend belief and think that is all is great just to stay for sex despite how lost and miserable you might be. Better for some human contact than nothing at all. Now, that is one way to look at it, the other is that he is fully committed and in love, but she’s not quite there. The line, “When you pretend that I’m all that you waited for”, shows that he knows she’s not in to it anymore, just pretending. But he’s okay…he loves her and wants to stay and be together.
Either way, it is very sad really, but crafted in to a beautiful song.
The song is rather generic sounding, very poppy, and upbeat song. Musically, the sounds contradict the sadness in the lyrics. The thing that sucks you in is Matts interpretations of his lyrics. His delivery and vocals are the draw as they are both haunting at times and still smooth, slick and beautiful. He has a way of drawing you in and getting lost in the song.
Give the song a listen and let me know what you think. Thanks for stopping by and have a wonderful day.
Friday Pilots Club don’t like tying themselves down to a single genre. Revelling in that alternative-inclined attitude, the 5-piece band forays in and out of different sonic territories at will. This is exemplified on their new EP titled I LOVE YOU, ROBOT SUPERSTAR!.
The project arrived on 27th October with the song “Poison or Patience” which features singer OSTON. Band member Drew Polovick says this is “a song dealing with rehashing, ruminating, and spiraling over all your mistakes and regrets. ‘Poison or Patience’ is self loathing at its finest. Through distorted vocals and self-depreciating lyrics, the song chronicles a toxic journey of self empowerment and going down all the wrong paths, and looking to either Poison or Patience to fix you.”
Listen to the whole EP via Spotify below and stay connected with Friday Pilots Club on Instagram.
Chennai-based musician and culinary enthusiast Sneha Sridhar is in Bengaluru for an experimental session, featuring music and chocolate.
Various research over the years have claimed that music can influence our perceptions of taste and that’s the idea Sneha wants to play with at her workshop this Sunday at the Indian Cacao and Craft Chocolate Festival happening in the city.
“The basic idea is to have fun, get chocolate lovers to taste different types of chocolate while different kinds of music play in the background. Here, the music is acting as a stimulus for the participants to see what flavour gets more pronounced based on the musical notes that they are listening to,” shares Sneha, who is also a DJ.
She adds, “I have worked with music quite a lot and have experimented its effect on our emotions and general perception of things. In terms of food, I work with recipes, tasting etc…but here, for the first time I’m merging both the concepts.”
The sound of music…and chocolate
When Sneha came across the idea for the first time, she looked it up online and familiarised herself with the studies before trying out various kinds of food while playing classical music in the background.
“Music can change your perception of what you eat, not specifically chocolate, but food in general. Restaurants abroad tune their music to suit the ambience and also to accentuate the flavours of the food that they are serving. Another simple example is that of airline food. The food that’s served in flights tastes bland to us even though it may be flavourful on ground. And that happens because of the white noise. We may not actually hear the noise but the frequencies that get through our ears affect the way our palette perceives taste. As a result, one might not be able to catch all the flavours.”
At the interactive session lasting 30 minutes, participants will be served with different kinds of unnamed chocolate without mentioning what any of those tastes like. They will be asked to taste them while different kinds of tracks are played in the background after which the participants will note down whether it tasted sweet, umami or bitter. The results will be compared to see if everyone felt the same way and if not, how it turned out to be different.
We ask Shena what music she will be playing and how it will impact the taste, and she shares, “I’ll be playing some jazz, some band music, mostly tracks that are on the classical front, but definitely not something that you would hear in a club. I wouldn’t want to reveal how and which flavours will be enhanced as it would spoil it for those attending.”
No apologies for returning to Arts Council England (ACE)’s funding cuts. The headlines are last week’s but the impact of a single announcement will ricochet through lives and livelihoods for years, starting now. Trimming costs in hard times makes sense. Giving new contenders, all over the country, a slice of the pie is fair. Cutting down, in one wanton act, an entire forest of hard-won achievement is beyond reason or redemption. To penalise a capital city, one of Europe’s most populous and culturally magnetic, is economic folly, quite aside from any other criticisms that might be levelled.
Many issues will arise in the aftershock. They will be addressed in months to come. For now, a reminder of the worst hit areas for musicians, inevitably barely mentioned in news reports. Contemporary music, the future of the art form, has been hammered. The London Sinfonietta – more than 50 commissions and world premieres in the past four years alone – has lost 41% of its grant. Manchester’s brilliant Psappha ensemble, an invaluable platform for new work in the north-west, has had its status withdrawn as a National Portfolio organisation (NPO) – not one of 990 announced for the 2023-26 investment round eligible for a share of the £446m available across all the arts. Most baffling of all, the peerless Britten Sinfonia has been similarly deprived: a low insult to one of the most inventive of UK ensembles, which works closely with composers and serves the orchestrally impoverished east of England and beyond.
Opera’s losses, the sums more eye-watering, the carping voices louder, have attracted more attention, though not entirely. We should protest loudly against the cut, scarcely addressed, to Welsh National Opera, which is partly funded by ACE, as well as the Arts Council of Wales: a third of its ACE grant has been severed. This for a company that tours beyond Wales to Bristol, Liverpool, Birmingham, Southampton and Oxford, and which this season especially has created some of the finest quality productions around. The cuts to Glyndebourne’s touring arm – the very part of the organisation that embraces a wider public around the country, as well as nurturing talent – also appear irrational.
We might assume this country has no native roots in this extravagant “foreign” art form. Not so. Two new productions this past week were of works premiered here: Gilbert and Sullivan’s The Yeomen of the Guard (1888), engagingly directed by Jo Davies for English National Opera, was first seen at the beautiful Savoy theatre, purpose-built for G&S’s comic operas. Handel’s Alcina, which premiered at the Theatre Royal, Covent Garden in 1735, opened last Tuesday at the Royal Opera House in a sparkling new staging by Richard Jones.
The loss of ENO’s NPO status has caused most outrage, and with good reason. (The rumours of relocating to Manchester, already provided for by excellent Opera North, have no substance as yet, and certainly make no sense.) The true history of ENO, its purpose and its irreplaceable qualities, can never be told by the much publicised backstage wrangles. Instead, go and experience this new Yeomen, nimbly conducted by Chris Hopkins, and consider – and celebrate – the incalculable musical and technical ingredients. (When Terry Pratchett noted that opera happens “because a large number of things amazingly fail to go wrong” he was being quite precise.)
This is a true “company” work, not implying cosy staleness but the opposite: an orchestra and chorus well drilled and vigorous; singers at all stages of their career, some with international profiles happy to come back to the place that nurtured them. Take the senior principals. You could write a short digest of ENO’s reach and ambition by looking at their collective track record, with some three dozen productions between them. Strutting around in high boots and breeches as Dame Carruthers, the mezzo-soprano Susan Bickley brings wit, authority and assurance to every note sung or word spoken. Her appearances span Purcell to Berlioz to Ligeti.
Steven Page (Sir Richard Cholmondeley), Alexandra Oomens (Elsie Maynard) and Richard McCabe (Jack Point) in ENO’s The Yeoman of the Guard. Photograph: Tristram Kenton/The Guardian
The baritone Steven Page, one of the best G&S performers around, full of vim as Sir Richard Cholmondeley, is similarly versatile, from Verdi to Offenbach to Henze. And the bass-baritone Neal Davies, a canny Sergeant Meryll, can sing Handel or Janáček or Ryan Wigglesworth with equal aplomb. ENO Harewood Artists starting out, such as newcomers Innocent Masuku (Leonard) and Isabelle Peters (Kate), are learning from these experts. So too are the more established young talents of soprano Alexandra Oomens, mesmerising as Elsie, and Heather Lowe, bursting with personality as Phoebe. John Molloy’s charmingly eccentric jailer and Anthony Gregory as the love interest, Colonel Fairfax, add verve and style.
Davies and her design team, led by Anthony Ward and (lighting) Oliver Fenwick, have mixed historical periods, between the Tudor era and the 1950s. Jack Point, terrifically played by the actor Richard McCabe, is a teddy boy in drape jacket and two-tone brogues. At the matinee, the day after the Arts Council news, the entire cast took their curtain call wearing T-shirts bearing the slogan “Choose Opera”. The campaign has begun in earnest. Midweek, ENO secured an emergency meeting with the culture secretary, Michelle Donelan, requesting a reinstatement of funding. Welsh bass-baritone Bryn Terfel has started a petition to the same effect. Details here. An action is planned for 11am on Monday, assembling outside the Coliseum, on behalf of companies affected by cuts. Expect the noise to grow.
A slow but ‘powerful unfurling’: Mary Bevan as Morgana, Lisette Oropesa in the title role and friends in Alcina. Photograph: Tristram Kenton/The Guardian
The Royal Opera’s Alcina – given short shrift here in terms of space, but not admiration – rippled with delicious animal magic in Jones’s perceptive, clever and quietly subversive staging, designed by Antony McDonald, with choreography by Sarah Fahie, and conducted by Christian Curnyn. Featuring two witchy sisters, the alluring Alcina (international star soprano Lisette Oropesa, glamorous in glittery little black dress) and Morgana (the ever popular British soprano Mary Bevan, enchanting in waitress-punk attire), this opera reveals its considerable treasures only after a slow start. It was indeed slow, in terms of tempi, but worth the wait for the powerful unfurling.
Malakai M Bayoh in Alcina: ‘heroic’. Photograph: Tristram Kenton
Every singer in this attractive cast showed their mettle. Despite the work’s title, the dominant role is that of the knight Ruggiero, sung by Emily D’Angelo, still getting into her stride but showing formidable vocal control. Each singer, though, had first-night intonation problems, especially at the top of their range. Could this have been in part due to the use of modern pitch, instead of the significantly lower baroque pitch Handel would have known? The orchestral playing was characterful, ROH strings using baroque bows for the first time; two continuo players were properly applauded at the final curtain. The biggest cheers went to 12-year-old Malakai M Bayoh as Oberto, who overcame some crass noises off to give a heroic performance: a name for the future and just try stopping him.
Star ratings (out of five) The Yeoman of the Guard ★★★★ Alcina ★★★★
Country music stars are spilling details on who their dream duet partners would be.
When given the chance to choose any artist to team up with, some singers opted for fellow country music artists, while others chose pop stars or late crooners.
Jessie James Decker, Dierks Bentley and more stars spoke with Fox News Digital about who their ideal duet partner would be and why.
“OK, ultimate duet partner? I would probably say Jimi Hendrix, but somebody living — probably Chris Martin from Coldplay,” singer Lindsay Ell said.
CMAS 2022: LAINEY WILSON ON WINNING FEMALE VOCALIST OF THE YEAR, WALKING WITH DAD ON CARPET: ‘A DREAM’
Lindsay Ell says her ultimate duet partner would be Jimi Hendrix, but her contemporary choice is Chris Martin. (Jason Kempin/Getty Images)
“I just love how Chris uses genres and takes them on such a crazy worldwide stage, and so I think musically and production wise we could just create something amazing,” she explained.
Jordan Davis said he would have loved to have worked with one of his idols in the music industry — the late John Prine.
Prine died in 2020 from coronavirus complications at the age of 73.
“Ultimate duet partner, oh John Prine,” Davis said. “John Prine is the reason why I fell in love with songwriting. He’s the best songwriter to ever live in my opinion, so it would be John Prine.”
Prine wrote many hit songs throughout his illustrious career as a singer-songwriter, including “You Never Even Called Me By My Name,” “Angel From Montgomery,” “Hello In There” and “In Spite of Ourselves.”
Bentley, who has worked with many of the industry’s top musicians throughout his career, also chose a late idol.
Dierks Bentley revealed he would have liked to have worked with Frank Sinatra on a duet. (Taylor Hill/FilmMagic)
“You know, I’ve had so many great partners. I had the chance to sing with Alison Krauss, I’ve dueted live with Taylor Swift. That was pretty cool,” Bentley said. “I’m a huge Frank Sinatra fan, so he’d probably be the guy.”
Tyler Hubbard’s dream collaboration would be a country-pop crossover with former boy band member Justin Timberlake.
“Ooh, ultimate duet partner. I just thought about Justin Timberlake all of a sudden,” Hubbard said. “I don’t know why, but I think he would be fun to collaborate with.”
Timberlake has previously collaborated with another country star, Chris Stapleton. The two teamed up for the 2018 song “Say Something” and their 2013 duet “Drink You Away.”
Decker is one of the lucky few in the industry to be able to say she has already worked with her dream duet partner, having released a single with him just two weeks ago.
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She hopes she and Billy Currington will be back at the CMA Awards next year as nominees for their collaboration on the song “I Still Love You.”
Jessie James Decker says she already got to work with her dream duet partner, Billy Currington, on her newest song “I Still Love You.” (Taylor Hill/FilmMagic)
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“My ultimate duet partner is my partner right now on a duet I just launched two weeks ago, it’s called ‘I Still Love You’ with Billy Currington, my favorite artist,” Decker explained to Fox News Digital on the CMAs red carpet.
“He’s had 13 No. 1 songs. He’s my favorite male singer in this town, and being able to sing with him, put out a video, I’m manifesting that we will be celebrating that single here next year this time.”
Lori Bashian is an entertainment production assistant for Fox News Digital.
Published: Published Date – 07:37 PM, Sat – 12 November 22
Visakhapatnam: Renowned music artiste – ‘Sangeeta Kala Sagara’, “Sangeeta Vidya Praveena”, “Sangeeta Sudhanidhi”, “Veena Vidya Nidhi”, and retired staff artiste at All India Radio, Mallapragada Jogulamba passed away here in the early hours of Saturday. She was 80 and hailed from a family of rich heritage in classical music.
Jogulamba started learning music at the tender age of 7 years and was trained by H. Narasimha Rao, K Joga Rao and “Vainika Shiromani” Vasa Krishnamurthy in the intricacies of Carnatic music. She was the recipient of three gold medals from the competitions conducted by Sri Vijaya Tyagaraja Sabha and won the first prize in the competition conducted by Andhra Pradesh Sangeeta Nataka Academy in 1996.
As a staff artist at All India Radio, Visakhapatnam, Mallapragada Jogulamba’s name is well known to all music lovers. Several of her programs at AIR won national awards.
For over 50 years, Jogulamba conducted several hundreds of music programs, both in Vocal and Veena. Special Bhakti Ranjani, Apuroopa Swara Pallavalu, Sri Muttayya Bhagavatar Kritulu, Veena Panchakam, Devi Vaibhavam, Sampradaya Mangala Haratulu, Gauri Shankara Vaibhavam, Mahati Nada Jhari were some of her notable compositions.
“Six” is a complex, subversive and biting takedown of the modern music industry, the ongoing ignorance of the roles women play in history, and the destructive legacy of the patriarchy.
It’s also a love letter to modern pop.
The Broadway musical “Six,” which runs through Dec. 31 at the Emerson Colonial Theatre, puts the story of Henry VIII’s wives on stage. The queens, often reduced to the grim rhyme “divorced, beheaded, died, divorced, beheaded, survived,” become pop stars competing against each other on a sort of dystopian “American Idol.” It’s wickedly funny, very dark, incredibly smart, and shot through with gloriously bouncy and bright pop music.
“Sometimes some of the themes in the show hit me hard on particular days,” Gabriela Carrillo told the Herald – Carrillo plays Catherine Parr, the wife that survived. “Sometimes I hear a line in a new way and I have to be careful not to completely break down and cry.”
Carrillo’s Parr plays a unique role in the show. She questions why the women need to compete with each for the audience’s attention.
“I love playing this role,” Carrillo said. “I go on such a major journey through the show that I think surprises the audience, surprises Catherine Parr as a character.”
The role, and all of “Six,” seem tailor made for Carrillo.
A Berklee-alum, Carrillo spent most of her teen years in love with pop. Musical theater sat firmly in the background, while writing and singing songs aimed at the Top 40 dominated her life. And “Six” is as much a contemporary pop tribute as it is a Broadway show. The historical queens channel music queens from Adele to Beyoncé, Nicki Minaj to Miley Cyrus – fans of Lily Allen’s “Sheezus” must see “Six.”
“You almost forget that you are doing a theater production,” Carrillo said. “I feel like I get to tap into all sorts of pop diva archetypes that live within me during the show and that is so fulfilling and so fun. If I was in a more traditional show, that pop side of me would have to come out in another way. I’d have to do some of my own live shows or maybe I would just have it screaming inside of me to get out.”
The performances have the energy of Dua Lipa at the Garden. The songs are as tight as a Carly Rae Jepsen jam. But this is still a musical – which a narrative arc a concert or album doesn’t offer.
The characters bicker and snipe through this dark story and glittering spectacle, but Carrillo sees the show’s moral through the bitter parody.
“A message of ‘Six’ is not to be threatened by those who can lift you up,” she said.
Searching for freedom and putting his heart on the sleeve for us all to be inspired by, Peter Thomas-Warman looks for the vital enlightenment that has been hiding away for too long on Revolution Then.
Peter Thomas-Warman is an Australian indie folk bedroom singer-songwriter and radiographer who projects his vocals rather sweetly.
Soaring so high and with so much love and care, Peter Thomas-Warman is that underground musician who assembles poetic-like stories to warm even the coldest veins back to life again. Revolution Then encapsulates the feelings of so many lost humans, who are searching for that empowering light.
Revolution Then from Australian indie folk bedroom singer-songwriter and radiographer Peter Thomas-Warman is an emotional roller coaster and shall surely massage your heart awake. Lyrically aware and with melodies that are made from actual experiences in life, this is the type of song to play when meditation is needed.
When it’s time to stand up for what is right, everything minor falls away forever.
Listen up to this new single on Spotify and see more on IG.
Japanese-French music artist Maïa Barouh shares a new visual for “RINGO,” an ambient cinematic track from her incredible new album “AIDA.” She has previously released a series of fantastic singles, “HAFU,” “TAIRYO,” and “Sushi,” which showcased her irresistibly-catchy sound.
Tracks like “TOKYO ONDO” and “HAFU” are fierce, bass-loaded explorations of unconventional beats and tasty Asian motifs that twist and turn, embedding more and more in the psyche on each listen. Her vocals and presentation take impulses from the eccentric Tokyo underground scene, traditional folk singing, tribal grooves, French rap, and electronic elements: a culturally blended album that fluctuates between sources and reinvention.
Regarding the music video, she says, “The Ringo video is the first collaboration with my sister, the director Amie Barouh. She was the perfect person to film this dive into my childhood and the memories of our father. In the clip, the characters play their own role. A strange, dreamlike group of circus performers to which I belong.”
Stream Maia Barouh’s “RINGO” on Spotify.
Connect with Maia Barouh: Instagram | Twitter | Spotify
This holiday season, take a break from the mundane. Now through January 6th hundreds of unique holiday selections from WSKG Classical can be heard on ALEXA and GOOGLE smart speakers.
You can just say “Alexa, play Holidays A2Z” or “Hey Google, ask WSKG Radio to play Holiday A2z.”
The WSKG Classical Holiday music stream, which is “Commercial Free. Subscription Free. Fee Free”, offers nearly 1000 musical tracks.
“So, the quality is high and repetition will be minimal,” said radio director Charles Compton. “We took fifty years to build WSKG’s holiday music library into a high end resource for outstanding classical performances,” he said.
You can also load our music streams into your car’s media center for hands free listening. Maybe your new car is on this list of ALEXA friendly dashboards? Maybe you prefer GOOGLE?
WSKG Classical’s music streams are also available on our WSKG app, the NPR1 app, TuneIn, iHeart, Fire TV and at YourPublicRadio.org.
![Maïa Barouh delivers a new visual for “RINGO” from her new album “AIDA” [Video]](https://lseband.org/wp-content/uploads/2022/11/Maia-Barouh-delivers-a-new-visual-for-RINGO-from-her.jpg)
