Album Release Quotes

Ani DiFranco or Ani, as she is universally know to her fans, was, to a certain kind of white, middle-class woman, girl power in the purest sense. At twenty, she founded her own record label, Righteous Babe. She's released dozens of albums (and has sold over four million copies), had a baby, documented her life on the road, and opened for Bob Dylan.

Would Revolver have become the album toward which every superlative was hurled had it been released under the same conditions that Sgt. Pepper was? Without a doubt.

WOMEN’S LIBERATION ROCK BAND This real (yes real) band formed in New Haven and Chicago in the 1970s and released an album of songs that included “Ain’t Gonna Marry,” “Dear Government,” and “So Fine.

Thank you to Taylor Swift, for writing evermore, the perfect Christmas album, and for releasing RED TV in the middle of my developmental edits, so I could listen to “Forever Winter” on repeat while rewriting the flashbacks in this book for the millionth time.

Softley’s first album, Songs for Swingin’ Survivors (Columbia), produced by Donovan’s management team of Peter Eden and Geoff Stephens, is one of the three great solo folk albums released in Britain in 1965, alongside Bert Jansch’s second, It Don’t Bother Me, and John Renbourn.

Entrepreneurs who kept their day jobs had 33 percent lower odds of failure than those who quit. If you’re risk averse and have some doubts about the feasibility of your ideas, it’s likely that your business will be built to last. If you’re a freewheeling gambler, your startup is far more fragile. Like the Warby Parker crew, the entrepreneurs whose companies topped Fast Company’s recent most innovative lists typically stayed in their day jobs even after they launched. Former track star Phil Knight started selling running shoes out of the trunk of his car in 1964, yet kept working as an accountant until 1969. After inventing the original Apple I computer, Steve Wozniak started the company with Steve Jobs in 1976 but continued working full time in his engineering job at Hewlett-Packard until 1977. And although Google founders Larry Page and Sergey Brin figured out how to dramatically improve internet searches in 1996, they didn’t go on leave from their graduate studies at Stanford until 1998. “We almost didn’t start Google,” Page says, because we “were too worried about dropping out of our Ph.D. program.” In 1997, concerned that their fledgling search engine was distracting them from their research, they tried to sell Google for less than $2 million in cash and stock. Luckily for them, the potential buyer rejected the offer. This habit of keeping one’s day job isn’t limited to successful entrepreneurs. Many influential creative minds have stayed in full-time employment or education even after earning income from major projects. Selma director Ava DuVernay made her first three films while working in her day job as a publicist, only pursuing filmmaking full time after working at it for four years and winning multiple awards. Brian May was in the middle of doctoral studies in astrophysics when he started playing guitar in a new band, but he didn’t drop out until several years later to go all in with Queen. Soon thereafter he wrote “We Will Rock You.” Grammy winner John Legend released his first album in 2000 but kept working as a management consultant until 2002, preparing PowerPoint presentations by day while performing at night. Thriller master Stephen King worked as a teacher, janitor, and gas station attendant for seven years after writing his first story, only quitting a year after his first novel, Carrie, was published. Dilbert author Scott Adams worked at Pacific Bell for seven years after his first comic strip hit newspapers. Why did all these originals play it safe instead of risking it all?

And it was deeply layered. That was the biggest thing Aurora had going for it. It sounds like a good-time album when you first listen to it. It's an album you can play at a party. It's an album you get high to. It's an album you can play as you're speeding down the highway. But then you listen to the lyrics and you realize this is an album you can cry to. And it's an album you can get laid to. For every moment of your life, in 1978, Aurora could play in the background. And from the moment it was released, it was a juggernaut.

... and being part of Stan 'Twitter is much more fun than logging on just to frown at politicians or congratulate acquaintances on their new jobs. When I'm doom-scrolling through a timeline full of terrible news and inane bickering, it's a treat to come across all-caps excitement or an ultra-niche joke. Or to wake up and find that there is a conversation going on and that I understand it, and that people are excited about something and I am too. This is the type of thing that can buoy a person for an hour or so at a time. In the same way that holidays give shape to formless years, album promotion and single releases give color to the days that line up one after another. There is a reason to stay up late. There is a reason to wake up early. There is something to do at lunch when you feel like you'd like to cry and take a nap. There are people who swear they hacked into an airport security camera, and aren't you interested to see what they saw, even if you find that totally weird and ultimately quite scary? I like Stan Twitter because it is so peculiar, even as millions of people participate in it and it should have become generic.

Then the giant consolidation happens in ’98, ’99, when all the labels that were out there signing everything in the world got merged. We went from five to three pretty quickly, didn’t we? And then there were hundreds of records that never got released. Bands got dropped. You could write a book about the bands who got signed to labels and never had an album come out in ’97, ’98, ’99, 2000. That’s a whole story. So what’s really interesting is this moment that we’re talking about, for the bands we’re talking about, the evil warnings of getting swallowed by the system had actually really just happened to a bunch of artists.

but I didn’t realize how sick Leon was until he arrived at the studio in LA. He looked like the ailing patriarch in a Tennessee Williams play: a long white beard, dark glasses and a cane. He struggled to walk. He would sit in a La-Z-Boy recliner in the studio for a couple of hours a day and sing and play. That was all he could manage, but what he did in those two hours was incredible. There were moments when I wondered if his contributions to the album were going to be released posthumously. One day, his nose started running: it was fluid leaking from his brain. He was rushed into hospital for surgery and treated for heart failure and pneumonia while he was there.

Baby,” Day said softly, his throat still sore from being choked. God turned around slowly and faced him. Day choked up at the pained expression on his man’s face. He could see that God’s eyes were moist and red-rimmed. Day inched toward him and didn’t stop until he was pressed against that broad chest. God’s strong arms came around him and squeezed him hard. The guttural moan the man released against his temple made Day’s heart seize. God pulled back and gripped a handful of Day’s hair pulling so that he was looking up at him. God bent down and oh so gently grazed his soft lips across his. Day’s body vibrated from the sensual feeling. God rubbed his face all over Day’s as if he was marking him with his scent. God’s grip tightened in his hair and he moaned again. Day could feel God’s body trembling and Day didn’t know at that moment if the shaking was from residual fear or need, so he didn’t move as he let his lover do what he needed to do. God released the punishing grip and his large palms shook as they ghosted over Day’s face. His chin was tilted up by firm fingers and again was blessed with feathery-soft kisses. God leaned back in and draped his arms completely around him and Day embraced him back. The soft piano from the album serenaded them and God just barely rocked their bodies back and forth in a very slow dance. Every few seconds he’d stop to place kisses on his forehead before leaning back in.

42. What is the name of her first EP? Title 43. When was her first EP released? September 9, 2014 44. What was she nominated for at the 2014 American Music Awards? New Artist of the Year 45. What was she nominated for at the 2014 MTV Europe Music Awards? Best Song with a Social Message 46. What was she nominated for at the 2014 NewNowNext Awards? Best New Female Musician 47. What was she nominated for at the 2014 Capricho Awards? Revelation International 48. What was she nominated for at the 2015 People's Choice Awards? Favorite Breakout Artist and Favorite Song 49. What was she nominated for at the 2015 Grammy Awards? Record of the Year and Song of the Year 50. Which albums of hers are self-released? I'll Sing with You and Only 17

Do you like Phil Collins? I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was on Duke where Phil Collins' presence became more apparent. I think Invisible Touch was the group's undisputed masterpiece. It's an epic meditation on intangibility. At the same time, it deepens and enriches the meaning of the preceding three albums. Christy, take off your robe. Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. Sabrina, remove your dress. In terms of lyrical craftsmanship, the sheer songwriting, this album hits a new peak of professionalism. Sabrina, why don't you, uh, dance a little. Take the lyrics to Land of Confusion. In this song, Phil Collins addresses the problems of abusive political authority. In Too Deep is the most moving pop song of the 1980s, about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as anything I've heard in rock. Christy, get down on your knees so Sabrina can see your asshole. Phil Collins' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially songs like In the Air Tonight and Against All Odds. Sabrina, don't just stare at it, eat it. But I also think Phil Collins works best within the confines of the group, than as a solo artist, and I stress the word artist. This is Sussudio, a great, great song, a personal favorite.

When I got off the phone, my earbuds were still in from the call and my phone started playing a song, which it sometimes does, without my explicit instruction. The song it played was a U2 song from an album that was released when I was finishing high school, an album I played on a CD boom box, lying on my bed, staring up at the ceiling, thinking about how I was at the end of some beginning, which made what came next the beginning of the end. I walked over to the bodega on a corner at Sixth and bought a pack of cigarettes. The man who sold them to me didn’t look at me funny; he didn’t tell me I was too old to be playing games like this. I went back to the bench and lit a cigarette and inhaled, the smoke entering my body and filling it with poison, with something. — THE HOUSE IN East Hampton was no longer Toby’s, as if it ever was,

I’ve repeated this process with virtually every major classic-rock artist and band that I love. I am now fully versed in the postsixties work of the Kinks, even the double-album rock operas that go on for forty-two hours. I enjoy at least one Doors album, An American Prayer, that was completed and released seven years after Jim Morrison died. I will defend not only both Page & Plant albums, but also the Page & Coverdale record. I own albums by every iteration of Crosby, Stills, Nash and Young, and will argue that Crosby & Nash is in fact better than CSNY (though not CSN). I’m still not crazy about nineties Springsteen, but I will listen to Human Touch and Lucky Town when I don’t feel like playing Darkness on the Edge of Town or The River for the ten thousandth time. Come to think of it, Lucky Town is in fact much better than most people (even myself) give it credit for.

Aurora was romantic and brooding and heartbreaking and volatile all at once. In the age of arena rock, Daisy Jones & The Six managed to create something that felt intimate even though it could still play to a stadium. They had the impenetrable drums and the searing solos—they had songs that felt relentless in the best way possible. But the album also felt up close and personal. Billy and Daisy felt like they were right next to you, singing just to each other. “And it was deeply layered. That was the biggest thing Aurora had going for it. It sounds like a good-time album when you first listen to it. It’s an album you can play at a party. It’s an album you get high to. It’s an album you can play as you’re speeding down the highway. “But then you listen to the lyrics and you realize this is an album you can cry to. And it’s an album you can get laid to. “For every moment of your life, in 1978, Aurora could play in the background. “And from the moment it was released, it was a juggernaut.

The Beatles were particularly prominent examples, and Dylan’s central position in rock history is rooted in that brief period when he and the Beatles were running neck and neck. He released Bringing It All Back Home in the spring of 1965, Highway 61 Revisited that summer, and Blonde on Blonde a year later. Rubber Soul, the first Beatles album conceived as a cohesive artistic statement, was released in December 1965, followed by Revolver seven months later. In commercial terms the Beatles were in a different league: on the American market, they released four LPs of new material in 1965 and two in 1966, and each spent more than five weeks at number one on Billboard’s album chart, while Dylan would not have a number one album until the mid-1970s. But they were evolving from teen-pop hit-makers into mature, thoughtful artists, with Dylan as their acknowledged model. McCartney recalled playing him a tape of their new songs when he came through London in the spring of 1966: “He said, ‘O I get it, you don’t want to be cute anymore!’ That summed it up. . . . The cute period had ended. It started to be art.

I open the door to see him on my doorstep and he doesn’t even say hello. He says, “Let’s cut the crap, Daisy. You need to record this album or Runner’s taking you to court.” I said, “I don’t care about any of that. They can take their money back, get me kicked out of here if they want. I’ll live in a cardboard box.” I was very annoying. I had no idea what it meant to truly suffer. Teddy said, “Just get in the studio, love. How hard is that?” I told him, “I want to write my own stuff.” I think I even crossed my arms in front of my chest like a child. He said, “I’ve read your stuff. Some of it’s really good. But you don’t have a single song that’s finished. You don’t have anything ready to be recorded.” He said I should fulfill my contract with Runner and he would help me get my songs to a point where I could release an album of my own stuff. He called it “a goal for us all to work toward.” I said, “I want to release my own stuff now.” And that’s when he got testy with me. He said, “Do you want to be a professional groupie? Is that what you want? Because the way it looks from here is that you have a chance to do something of your own. And you’d rather just end up pregnant by Bowie.” Let me take this opportunity to be clear about one thing: I never slept with David Bowie. At least, I’m pretty sure I didn’t. I said, “I am an artist. So you either let me record the album I want or I’m not showing up. Ever.” Teddy said, “Daisy, someone who insists on the perfect conditions to make art isn’t an artist. They’re an asshole.” I shut the door in his face. And sometime later that day, I opened up my songbook and I started reading. I hated to admit it but I could see what he was saying. I had good lines but I didn’t have anything polished from beginning to end. The way I was working then, I’d have a loose melody in my head and I’d come up with lyrics to it and then I’d move on. I didn’t work on my songs after one or two rounds. I was sitting in the living room of my cottage, looking out the window, my songbook in my lap, realizing that if I didn’t start trying—I mean being willing to squeeze out my own blood, sweat, and tears for what I wanted—I’d never be anything, never matter much to anybody. I called Teddy a few days later, I said, “I’ll record your album. I’ll do it.” And he said, “It’s your album.” And I realized he was right. The album didn’t have to be exactly my way for it to still be mine.

For attractive lips, speak words of kindness. For lovely eyes, seek out the good in people. For a slim figure, share your food with the hungry. For beautiful hair, let a child run his fingers through it once a day. For poise, walk with the knowledge you’ll never walk alone. ...카톡【ACD5】텔레【KKD55】 We leave you a tradition with a future. The tender loving care of human beings will never become obsolete. People even more than things have to be restored, renewed, revived, reclaimed and redeemed and redeemed and redeemed. Never throw out anybody. ♥물뽕 구입♥물뽕 구매♥물뽕 판매♥물뽕 구입방법♥물뽕 구매방법♥물뽕 파는곳♥물뽕 가격♥물뽕 파는곳♥물뽕 정품구입♥물뽕 정품구매♥물뽕 정품판매♥물뽕 가격♥물뽕 복용법♥물뽕 부작용♥ Remember, if you ever need a helping hand, you’ll find one at the end of your arm. As you grow older, you will discover that you have two hands: one for helping yourself, the other for helping others. Your “good old days” are still ahead of you, may you have many of them 수면제,액상수면제,낙태약,여성최음제,ghb물뽕,여성흥분제,남성발기부전치유제,비아,시알,88정,드래곤,바오메이,정력제,남성성기확대제,카마그라젤,비닉스,센돔,,꽃물,남성조루제,네노마정,러쉬파퍼,엑스터시,신의눈물,lsd,아이스,캔디,대마초,떨,마리화나,프로포폴,에토미데이트,해피벌륜 등많은제품판매하고있습니다 원하시는제품있으시면 추천상으로 더좋은제품으로 모시겠습니다 It is a five-member boy group of YG Entertainment who debuted in 2006. It is a group that has had a great influence on young fashion trends, the idol group that has been pouring since then, and the Korean music industry from the mid to late 2000s. Since the mid-2000s, he has released a lot of hit songs. He has played an important role in all aspects of music, fashion, and trends enjoyed by Korea's generations. In 2010, the concept of emphasizing exposure, The number of idols on the line as if they were filmed in the factory instead of the "singer", the big bang musicality got more attention, and the ALIVE of 2012, the great success of the MADE album from 2015 to 2016, It showed musical performance, performance, and stage control, which made it possible to recognize not only the public in their twenties and thirties but also men and women, both young and old, as true artists with national talents. Even today, it is in a unique position in terms of musical performance, influence, and trend setting, and it is the idol who keeps the longest working and longest position. We have made the popularity of big bang by combining various factors such as exquisite talent of all members, sophisticated music, trendy style, various arts and performances in broadcasting, lovecalls and collaboration of global brands, and global popularity. The big bang was also different from the existing idols. It is considered to be a popular idol, a idol, because it has a unique musicality, debut as a talented person in a countless idol that has become a singer as a representative, not a talent. In addition, the male group is almost the only counterpart to the unchanging proposition that there is not a lot of male fans, and as mentioned several times, it has been loved by gender regardless of gender.

Sam was about to travel to Asia with her boyfriend and she was fretting about what her backers would think if she released some of her new songs while she was 'on vacation'. She was worried that posting pictures of herself sipping a Mai Tai was going to make her look like an asshole. What does it matter? I asked her, where you are whether you're drinking a coffee, a Mai Tai or a bottle of water? I mean, aren't they paying for your songs so that you can... live? Doesn't living include wandering and collecting emotions and drinking a Mai Tai, not just sitting in a room writing songs without ever leaving the house? I told Sam about another songwriter friend of mine, Kim Boekbinder, who runs her own direct support website through which her fans pay her monthly at levels from $5 to $1,000. She also has a running online wishlist of musical gear and costumes kindof like a wedding registry, to which her fans can contribute money anytime they want. Kim had told me a few days before that she doesn't mind charging her backers during what she calls her 'staring at the wall time'. She thinks this is essential before she can write a new batch of songs. And her fans don't complain, they trust her process. These are new forms of patronage, there are no rules and it's messy, the artists and the patrons they are making the rules as they go along, but whether these artists are using crowdfunding (which is basically, front me some money so I can make a thing) or subscription services (which is more like pay me some money every month so that I can make things) or Patreon, which is like pay per piece of content pledge service (that basically means pay me some money every time I make a thing). It doesn't matter, the fundamental building block of all of these relationships boils down to the same simple thing: trust. If you're asking your fans to support you, the artist, it shouldn't matter what your choices are, as long as you're delivering your side of the bargain. You may be spending the money on guitar picks, Mai Tais, baby formula, college loans, gas for the car or coffee to fuel your all-night writing sessions. As long as art is coming out the other side, and you're making your patrons happy, the money you need to live (and need to live is hard to define) is almost indistinguishable from the money you need to make art. ... (6:06:57) ... When she posts a photo of herself in a vintage dress that she just bought, no one scolds her for spending money on something other than effects pedals. It's not like her fan's money is an allowance with nosy and critical strings attached, it's a gift in the form of money in exchange for her gift, in the form of music. The relative values are... messy. But if we accept the messiness we're all okay. If Beck needs to moisturize his cuticles with truffle oil in order to play guitar tracks on his crowdfunded record, I don't care that the money I fronted him isn't going towards two turntables or a microphone; just as long as the art gets made, I get the album and Beck doesn't die in the process.

According to Buckmaster, the two were very taken at the time with Kraftwerk’s recently released Radio-Activity. This album caught Kraftwerk at a transitional phase of their career, channelling free-form experimentalism towards more tightly controlled, robotic rhythms that are like the sonic equivalent of a Mondrian painting. Radio-Activity is a clear influence on Low, with its mix of pop hooks, unsettling sound effects, retro-modernism; its introspection and emotional flatness. The theremin-sounding synths of “Always Crashing in the Same Car” and the electronic interludes on “A New Career in a New Town” in particular have a RadioActivity feel to them.

Anna Carey is a freelance journalist from Drumcondra in Dublin who has written for the Irish Times, Irish Independent and many other publications. Anna joined her first band when she was fifteen and went on to sing and play with several bands over the next fifteen years. Her last band, El Diablo, released two albums and toured all over the country. The Real Rebecca was her first book, published in 2011, starring our heroine, and went on to win the Senior Children’s Book prize at the Irish Book Awards. Readers haven’t stopped asking for the next book.

I refuse to write out lyrics for any of my domestic releases. I remember when I was 11 or 12 years old and I would listen to a song over and over and I would make up my own lyrics because I couldn't understand what they were saying. And later when I got the internet I googled the lyrics: What was he really saying?

If this feminist world we proclaim is so dope, why wouldn’t a Black girl like her want to be part of this work, too? And if her husband Jay-Z’s recently released confessional album 4:44 is any indicator, perhaps feminism helped Bey find her power when she was confronted with an unfaithful partner. Feminism has certainly been a soothing reminder of my badassery every time I’ve been forced to mend my own broken heart.

McNair is one of the more interesting figures floating around in the crowded world of mid-1960s Soho, and his trajectory reveals much about the musical fluidity of the times. In the closing years of the 1960s McNair released his giddy flute to fly across John Martyn’s second album The Tumbler, Davy Graham’s Large as Life and Twice as Natural (1968), Magna Carta’s self-titled progressive-folk debut from 1969, and Hello (also 1969), an album of introspective, symphonic folk-pop by Marc Brierley.

The events of 9/11 were predicted in the ‘Back to the Future’ movies, and, in dozens of other, movies, magazines, and album covers…including Busta Rhymes’ 1997 album, titled, ‘When Disaster Strikes.’ When Disaster Strikes, was released a mere four years before the events of 9/11 unfolded. The art on the DVD features a sinister-looking

The White Album was released in November 1968 to mixed reviews. Some people consider it their favorite Beatles album. Personally, I think it’s their least inspired effort, and I find it difficult to listen to. Of course, that may have a lot to do with my knowing the circumstances behind it. Unless you have nurtured an album, crafted it, lived with it every day, it’s just a piece of plastic with some songs on it. But if you’re aware of people’s talents and you see them just crumble and destroy themselves, it’s tough to deal with. I

I would rather be a failure on my own terms than a success on someone else's," Waits said on the album's release.

Born on March 20, 1971, she celebrated her 100th birthday this past March. During the war she toured the battle zones, where British forces were fighting by giving concerts for the troops. The songs most remembered from that era are We'll Meet Again, The White Cliffs of Dover, A Nightingale Sang in Berkeley Square and There'll Always Be an England. During the Second World War she earned the title of “the Allied Forces Sweetheart.” And in 1945 she was awarded the British War Medal and the Burma Star for her untiring devotion to the Crown and the men in uniform. As a songwriter and actress, her recordings and performances were enormously popular. This popularity remained solid after the war with recording of Auf Wiedersehen Sweetheart, My Son, My Son and I Love This Land, which was released to mark the end of the Falklands War. In 2009, at age 92, she became the oldest living artist to top the UK Albums Chart, with We'll Meet Again, The Very Best of Vera Lynn. Commemorating her 100th birthday she released the album Vera Lynn 100, in 2017, which number 3 on the charts, making her the oldest recording artist in the world and the first centenarian performer to have an album in the charts. Vera Lynn devoted much time working with wounded ex-servicemen, disabled children, and breast cancer. She is held in great affection by veterans of the Second World War and in 2000 was named the Briton who best exemplified the spirit of the 20th century.

To be sure, most dropouts do not become geniuses or success stories. But prominent among the dropout titans of recent history are Bill Gates (Harvard), Steve Jobs (Reed College), Mark Zuckerberg (Harvard), Elon Musk (Stanford), Bob Dylan (University of Minnesota), Lady Gaga (New York University), and Oprah Winfrey (Tennessee State). Jack Ma never went to college, and neither did Richard Branson, who dropped out of high school at age fifteen. Creative force Kanye West dropped out of Chicago State University at age twenty to pursue a musical career; six years later he released his first album to great critical acclaim and commercial success: The College Dropout (2004). The point is not to encourage dropping out but rather to observe that these transformative figures were somehow able to learn what they needed to know. Here successful people and geniuses share a common trait: most are lifelong learning addicts. It’s a good habit to have.

First digital-only full-length album release. In 1999, four years before the launch of iTunes, the quirky rock band They Might Be Giants released Long Tall Weekend via the music-download service eMusic. Though it was later released on CD, at the time, downloading the album was the only way to get it. The first album released in digital and CD formats simultaneously was Mezzanine by the electronic music act Massive Attack.

First digital-only full-length album release. In 1999, four years before the launch of iTunes, the quirky rock band They Might Be Giants released Long Tall Weekend via the music-download service eMusic. While a handful of promotional copies were pressed on CD for the music press, downloading the album was the only way to get it—a first. The first album released in digital and on CD simultaneously was Mezzanine by the electronic music act Massive Attack in April 1998.

This third album by the group was the first to be entirely written by Lennon-McCartney.

Brian Wecht was born in New Jersey to an interfaith couple. His father ran an army-navy store and enjoyed going to Vegas to see Elvis and Sinatra. Brian loved school, especially math and science, but also loved jazz saxophone and piano. “A large part of my identity came from being a fat kid who was bullied through most of my childhood,” he said. “I remember just not having many friends.” Brian double majored in math and music and chose graduate school in jazz composition. But when his girlfriend moved to San Diego, he quit and enrolled in a theoretical physics program at UC San Diego. Six months later the relationship failed; six years later he earned a PhD. When he solved a longstanding open problem in string theory (“the exact superconformal R-symmetry of any 4d SCFT”), Brian became an international star and earned fellowships at MIT, Harvard, and the Institute for Advanced Study in Princeton, New Jersey. He secured an unimaginable job: a lifetime professorship in particle physics in London. He was set. Except. Brian never lost his interest in music. He met his wife while playing for an improv troupe. He started a comedic band with his friend Dan called Ninja Sex Party. “I was always afraid it was going to bite me in the ass during faculty interviews because I dressed up like a ninja and sang about dicks and boning.” By the time Brian got to London, the band’s videos were viral sensations. He cried on the phone with Dan: Should they try to turn their side gig into a living? Brian and his wife had a daughter by this point. The choice seemed absurd. “You can’t quit,” his physics adviser said. “You’re the only one of my students who got a job.” His wife was supportive but said she couldn’t decide for him. If I take the leap and it fails, he thought, I may be fucking up my entire future for this weird YouTube career. He also thought, If I don’t jump, I’ll look back when I’m seventy and say, “Fuck, I should have tried.” Finally, he decided: “I’d rather live with fear and failure than safety and regret.” Brian and his family moved to Los Angeles. When the band’s next album was released, Ninja Sex Party was featured on Conan, profiled in the Washington Post, and reached the top twenty-five on the Billboard charts. They went on a sold-out tour across the country, including the Brooklyn Bowl in Las Vegas.

Bryan’s Elektra demos would finally be released, by Sundazed Records, in 1997, as the album ifyoubelievein.

The abandoned CBS tracks, most still in demo form, were finally released in 2009 as the album Love Lost, courtesy of reissue specialists Sundazed Records

Along with Alice Bag (née Alicia Armendariz), front woman of the Bags, and the members of the all-Chicano, Chula Vista–bred quartet the Zeros, Humberto “Tito” Larriva was one of the first prominent Latino performers on the L.A. punk scene. Born in Ciudad Juárez, Chihuahua, Larriva had arrived in L.A. in 1975. The singer–guitarist–actor (later featured as a heavy in several of director Robert Rodriguez’s films) had founded the wound-up punk trio the Plugz, sometimes billed as Los Plugz, with Chicano drummer Charlie Quintana and Anglo bassist Barry McBride in 1978. That year, a three-track single by the band became the second release (following a 45 by the Germs) from Slash Records, the fledgling imprint of the like-named L.A. punk magazine. It prefaced the Plugz’s self-released 1979 album Electrify Me, which included a high-velocity, lyrically retooled version of Ritchie Valens’s “La Bamba.” It

The Blasters proved to be the most prominent and popular of these acts by far. Originally a quartet, the band was bred in Downey, just down the freeway from East L.A. In their teens, brothers Phil and Dave Alvin were bitten by the blues bug; they became habitués of the L.A. club the Ash Grove, where many of the best-known folk and electric blues performers played, and they sought out the local musicians who could teach them their craft, learning firsthand from such icons as Big Joe Turner, T-Bone Walker, and Little Richard’s saxophonist Lee Allen (who would ultimately join the band in the ’80s). But the Blasters’ style was multidimensional: they could play R&B, they loved country music, and they were also dyed-in-the-wool rockabilly fans who were initially embraced by the music’s fervent L.A. cultists. Their debut album, 1980’s American Music, was recorded in a Van Nuys garage by the Milan, Italy–born rockabilly fanatic Rockin’ Ronnie Weiser, and released on his indie label Rollin’ Rock Records, which also issued LPs by such first-generation rockabilly elders as Gene Vincent, Mac Curtis, Jackie Waukeen Cochran, and Ray Campi. By virtue of Phil Alvin’s powerful, unmannered singing and Dave Alvin’s adept guitar playing and original songwriting, the Blasters swiftly rose to the top of a pack of greasy local bands that also included Levi and the Rockats (a unit fronted by English singer Levi Dexter) and the Rockabilly Rebels (who frequently backed Ray Campi). Los Lobos were early Blasters fans, and often listened to American Music in their van on the way to their own (still acoustic) gigs. Rosas says, “We loved their first record, man. We used to play the shit out of that record. Dave [Hidalgo] was the one who got a copy of it, and he put it on cassette.

Besides opening for such punk and roots attractions as the Blasters and the Plugz, they were billed with rockabilly performers like Rip Masters, James Intveld, and the Rebel Rockers, and with such other East L.A. invaders as Los Illegals and the Brat. They also made their first trip out of town as a rock group, traveling to Austin, Texas, for shows with Joe “King” Carrasco and Rank & File, the L.A./ Texas combine that would soon release their debut album on Slash; the latter, a country-skewed “cowpunk” group, featured brothers Chip and Tony Kinman of the early L.A. punk band the Dils and Alejandro Escovedo, formerly the guitarist for the San Francisco punk act the Nuns.

Compared to all this, Ronstadt and Browne were still trying to graduate from the kids' table. Ronstadt had released her first album for Geffen, Don't Cry Now, in September 1973. Browne followed a few weeks later, in October, with his second album, For Everyman. Both albums sold respectably, but neither cracked the Top 40 on the Billboard album chart. And while Geffen had great expectations for both artists, in early 1974 each was still building an audience. Their tour itinerary reflected their transitional position. It brought them to big venues in Detroit, Boston, Philadelphia, and Washington, DC, but also took them far from the bright lights to small community theaters and college campuses in Oxnard, San Luis Obispo, New Haven, and Cortland, New York. At either end, there wasn't much glamour in the experience. They had moved up from the lowest rung on the touring ladder, when they had lugged their gear in and out of station wagons, but had progressed only to a Continental Trailways bus without beds that both bands crammed into for the late-night drives between shows. "The first thing that happened is we were driving all night, and the next morning we were exhausted," Browne remembered. "Like, no one slept a wink. We were sitting up all night on a bus."' "Touring was misery," Ronstadt said, looking back. "Touring is just hard. You don't get to meet anybody. You are always in a bubble . . . You saw the world outside the bus window, and you did the sound check every day."9 The performances were uneven, too. "While Browne is much more assured and confident on stage than he was a year or two ago, he's still very much like a smart kid with a grown-up gift for songwriting," sniffed Judith Sims of Rolling Stone. She treated Ronstadt even more dismissively, describing her as peddling "country schmaltz."' The young rock journalist Cameron Crowe, catching the tour a few days later in Berkeley, described Browne's set as "painfully mediocre."" But Ronstadt and Browne found their footing as they progressed, each alternating lead billing depending on who had sold more records in each market. By the time the cavalcade rolled into Carnegie Hall, the reception for Browne and Ronstadt was strong enough that the promoters added a second show. In February 1974, Jackson Browne and Linda Ronstadt were still at the edge of the stardom they would soon achieve.

In research for this piece, I went to Wikipedia and learned this album incorporates elements of new wave and something called shoegaze. … Cool … I also learned that upon its release some music critic named Robert Christgau dismissed this classic as a “dud.” … Listen here, Rob, you can go fornicate yourself on an iron stick!

One of her best songs ever is 'Annabel Lee,' which she just released a few years ago on her underrated 2011 album In My Dreams. It's a six-minute sex-and-death trip with a lyric from one of her hot dead rock-and-roll boyfriends: Edgar Allan Poe. The key line is: 'The moon never beams without bringing me dreams.' Poe might have written that line in 1849, but he clearly always meant it for Stevie Nicks to sing.

38 Paul was still thinking of singles and albums as he did during the Beatles’ days, and as many British groups (and record labels) did in the 1960s—as separate releases, with no crossover. With few exceptions, when the Beatles released a song as a single, it was removed from consideration as an album track. They explained this as a value-for-money issue: fans who already bought a single should not have to buy those tracks again on the next LP. It was different in the United States. Singles were considered teasers for albums. Record executives like Coury considered albums more marketable when they had hits on them, and American consumers considered it a convenience to have the songs they knew as singles on albums as well. In the Beatles’ case, because Capitol LPs typically included 12 songs, compared with

And Denny Laine, just weeks after the LP was released, had developed a sour view of the project, and Wings generally. “I look on Band on the Run as definitely their [Paul and Linda’s] album,” he complained to Disc’s Caroline Boucher, while promoting Ahh . . . Laine!, finally released on December 7. “We’re not a group anymore. I’m one of the three, or I’m an individual. If it was Wings I’d feel more a part of it. But it’s not my songs and I’d like to feel more involved and contribute as much as they do.

But the experience was also fulfilling: Paul’s new album had the variety that was his hallmark, with ballads and rockers, acoustic tracks, and high-energy electric cuts. But most importantly, where each of his post-Beatles releases had tracks that Paul knew were throwaways—throwaways that he liked, or that struck him as having a personality that earned them a place on an album, but throwaways all the same—Band on the Run had an energizing consistency, track for track.

Before joining Fleetwood Mac, Californians Stevie and Lindsey had released one album, Buckingham/Nicks (Polydor), but it quickly found its way into the cut-out bins (“We were tax write-offs,” says Lindsey) and they were dropped from the label. Emotional entanglements or not, they weren’t about to slam the door in the face of success. “Really, each one of us was way too proud and way too stubborn to walk away from it,” Stevie recalls. “I wasn’t going to leave. Lindsey wasn’t going to leave. What would we have done? Sat around L.A. and tried to start new bands? Nobody wanted to do that. We like touring. We like making money and we like being a band. It was just grit your teeth and bear it.

more and more idol groups began to release albums as a series under a single concept just as BTS had done, and the importance of “story-planning”—the so-called “Universe”—was also becoming clear.

In Korea, the volume of records purchased directly by consumers is announced via the Hanteo Chart. 29 The Hanteo Chart reflects total real-time sales, but Hanteo are notified by record stores of advance order and sales figures from autograph sessions to commemorate album releases, which generally take place on weekends, and these figures are lumped together. This means that sales numbers on the Hanteo Chart suddenly go up, and fans say that “[ sales] exploded.

In January 1975 came some personnel news bizarre even by the standards of Fleetwood Mac. A duo called Buckingham Nicks who had released an album on Polydor Records were to abandon their own career to be subsumed into Fleetwood Mac.

When BTS released their new album MAP OF THE SOUL: PERSONA on April 12, 2019, at 6 P.M., a large part of their Korean audience on the music streaming platform Melon were unable to listen to it right away. Melon’s servers had crashed due to the sheer number of simultaneous access attempts.

This era and the collapse of its bright and flimsy liberation are what the Stones leave behind with the last song of Let It Bleed,” Greil Marcus wrote in Rolling Stone when the album was released. “The dreams of having it all are gone, and the album ends with a song about compromises with what you want—learning to take what you can get, because the rules have changed with the death of the ’60s.

McCartney II has similarly attained cult status among indie fans and artists who regard it as forward-thinking avant-electronica. But those people didn’t hear McCartney II in the context in which it was released. The album came out four months after McCartney spent nine days in a Japanese jail for possession of 219 grams of weed while on tour with Wings. The band fell apart after the tour was canceled, prompting McCartney to release his solo recordings as McCartney II. It’s not difficult to understand why McCartney was perceived at the time to be sort of dumb and perpetually stoned, and how this perception influenced the opinion that McCartney II was mere folly, rather than visionary genius. I think the truth about McCartney II is somewhere in the middle. I love the album because the songs are good and weird and utterly unlike anything else in McCartney’s catalog. But I also love it because the dumb/stoned aspects of the record are inextricable from the visionary-genius aspects. McCartney II is good because it’s good, and good because it’s bad.

It all culminated in the 1995 Anthology, which would have seemed like an embarrassing defeat only a few years earlier. The record company had figured out how to treat the catalog as a prestige item; the 1982 Reel Music compilation was the final U.S. release that could be described as a rip-off. The “drop-T” logo belatedly became a thing, with its elegant serifs—it never appeared on any original Beatle albums, but in the Nineties it became a brand as powerful (in a different way) as the Black Flag bars. The 1994 Live at the BBC, two CDs of radio tapes (proving, as Robert Christgau wrote, “in addition to everything else, they were the funniest rock stars ever”), was a tantalizing hint of how many goodies still remained in the vaults.

In many ways it might have been more surprising had the Beatles not regularly used stimulants during their ascent to fame. In the years 1962-64 they played over 750 concerts, often more than one a day; recorded and released 67 songs for EMI across eight UK singles, four albums and an EP (Long Tall Sally, the only one from that period to contain recordings unavailable elsewhere); appeared numerous times on television and radio; gave countless interviews and press conferences; starred in their first feature film; appeared in two Christmas pantomime shows; had their own US cartoon series; and conquered America. Their photographs were everywhere, their likenesses rendered on everything from toys and musical instruments to clothes and pillow cases, and their every word was devoured by their legions of fans.

Lennon was – whether by luck, accident or perceptive foresight – at the forefront of the psychedelic era’s passion for rose-tinted introspection, which channelled the likes of children’s literature, Victorian fairgrounds and circuses, and an innocent sense of wonder. McCartney, too, moved with the times when writing his children’s singalong Yellow Submarine. Among the hippie era’s other moments of nostalgia were Pink Floyd’s Bike and The Gnome from their debut album Piper At The Gates Of Dawn, recorded at EMI Studios as the Beatles worked on Sgt Pepper’s Lonely Hearts Club Band; Jefferson Airplane’s White Rabbit, laid down in 1966 but released in the same month as Sgt Pepper, and which drew from Lewis Carroll’s Alice stories just as Lennon did; and many more, from Tiny Tim’s Tiptoe Through The Tulips to Traffic’s psychedelic fantasy Hole In My Shoe. The Beatles continued writing songs evoking childhood to the end of their days. Sgt Pepper – itself a loose concept album harking back to earlier, more innocent times – referenced Lewis Carroll (Lucy In The Sky With Diamonds), youthful anticipation of old age (When I’m Sixty-Four), a stroll down memory lane (Good Morning Good Morning), and the sensory barrage of a circus big top extravaganza (Being For The Benefit Of Mr Kite!). It was followed by Magical Mystery Tour and Yellow Submarine, two films firmly pitched at the widest possible audience. A splendid time was, indeed, guaranteed for all.

Before the LOVE YOURSELF結 ‘Answer’ album, BTS would share the variety of promotional content the company had prepared for the new album, according to a detailed plan. Big Hit Entertainment’s intentions were clear within all of BTS’s activities—from the comeback trailer released first of all, to the stage direction at the end of year music award ceremonies—and these intentions were conveyed to ARMY and other music consumers.

In this scene, Freddie Mercury is depicted as being cornered psychologically. He was exhausted—with Queen’s enormous popularity, their schedule was accordingly hectic, the press was digging into their personal lives, and as a result, they were flooded with every kind of misunderstanding and criticism. When Freddie Mercury says he no longer wants a life that’s a repeat of albums and tours, Brian May answers back: That’s what bands do. Album, tour, album, tour. Like Queen, BTS couldn’t escape “what bands do.” Going back a little in time, to between the release of the album YOU NEVER WALK ALONE in February 2017 and LOVE YOURSELF承 ‘Her’ in September of the same year, BTS had performed thirty-two concerts across ten different countries and regions as part of the 2017 BTS LIVE TRILOGY EPISODE III: THE WINGS TOUR.

Asylum Records became a power base for David Geffen, with one of the best artist rosters in the business. It became the home label for what was to be known as the California sound. Elliot continued running the management company, most of whose artists recorded on Asylum, whose corporate philosophy was “benevolent protectionism.” The record company was different from other labels and was proud of its noninterference with the private and artistic lives of its artists, who in turn looked to David Geffen and company to insulate and protect them from the shocks and insults of commercially oriented sales and marketing types, aggressive promotion men, and demanding producers. The opening lineup at Asylum included Jackson Browne, the Eagles, and Joni Mitchell, with Linda Ronstadt joining shortly after. In 1974, the legendary Bob Dylan would leave Columbia and release two Top 10 albums with the company before returning to his original label. That didn’t matter to David. Crosby, Stills, Nash, and Young were Atlantic artists and they were doing quite nicely, thank you very much. Besides,

I’d like to think of this endeavor as a rewrite of a misinformed story you’ve been told, like the Taylor’s Version rerecordings. I’m no Taylor Swift, but if this ebook were an album, I’d title it Gypsy’s Version—the only version that should be told—raw, revealing, and in rhythm with the real me.

UA被开除退学办UA毕业证Q微2026614433办加拿大阿尔伯塔大学毕业证2020年本科版本hjSHJSHSVSBSVSBNVBNSVBNSVSBNSVSBNSVBNSVSBNSVSBNVSNBSVSNBSVNBSVSN Beyoncé gave us a new version of Nala in last year’s reboot of The Lion King, a reimagining of the original 1994 movie. She curated the accompanying soundtrack, The Lion King: The Gift. And now, the superstar elevates the iconic story through a seamless stream of music videos in her latest visual album, Black Is King, released last week on Disney+. Drenched in cross-cultural depictions of Black people, art, symbols, religion, and fashion across the Diaspora, Black is King is the story of Simba’s journey through tumultuous formative years before accepting his rightful place in the circle of life. …

The Pack of Boys has released their first album in Seoul two years ago, and now they were selling out arenas and Olympic stadiums all over the world. But all that could be heard were the shrieks of children playing in the distance.

Nebraska made it almost impossible for critics to miss Springsteen's willingness to take a chance in the name of his art. If Springsteen was driven simply by fame and mainstream success, there would have been no good reason to make or release a Nebraska. The album made it impossible to use the word "sellout.

I walked across the marble star map that traces a sidereal revolution of the equinox and fixes forever, the Reclamation man had told me, for all time and for all people who can read the stars, the date the dam was dedicated. The star map, he had said, was for when we were all gone and the dam was left. I had not thought much of it when he said it, but I thought of it then, with the wind whining and the sun dropping behind a mesa with the finality of a sunset in space. Of course that was the image I had seen always, seen it without quite realizing what I saw, a dynamo finally free of man, splendid at last in its complete isolation, transmitting power and releasing water to a world where no one is.

at Criteria Studios, so we rented, among other houses, 461 Ocean Boulevard, Miami Beach, the white stucco beach house made famous by Eric Clapton and his comeback album, called 461 Ocean Boulevard, released in 1974.

With appetites whetted by the release of the album’s lead-off single ‘Enter Sandman’ earlier that same week, on the evening of Saturday August 3, 1991, no fewer than 10,000 people convened on 7th Avenue in order to be the first to hear the fruits of Metallica’s labours. Among this number were the members of that summer’s other most celebrated band: Nirvana.

We eventually ended up with enough left-over material that we considered releasing it as a second album, including a set we dubbed ‘The Big Spliff’, the kind of ambient mood music that we were bemused to find being adopted by bands like the Orb,

The second solo album, released in 1969 with 11 tracks, then re-released in the same year, was catchy, highly anticipated, and flawed in

The compact disc may now be outdated technology, but a lot of music albums are still released on CD. A standard 700-megabyte CD is actually 703.125 megabytes (a rare case of the music industry giving something extra away for free), which is a total of 5,898,240,000 1s and 0s. By my calculations, the number of possible different CDs in base-10 would have 1,775,547,162 digits. Which is also the number of corners a hypercube would have in 5,898,240,000 dimensions. So whenever a musician claims they have written a new album, all they have really done is choose a corner on a very high-dimension hypercube.

Before the family could escape the war, Manson said, he had to release a record in response to the Beatles’ White Album, telling the pop stars how to find them. To do that, Manson had to enlist the support of Terry Melcher, a prominent Hollywood record executive and the son of Doris Day. At that time, Melcher was in a relationship with Candice Bergen, an actress who lived with Melcher at the now notorious address of 10050 Cielo Drive.

Anticipation draws you through your days—the impending release of a hyped new album, a trailer for a movie that we should see next month. You look forward to the future, even if you can no longer imagine life beyond that morning.

Beyoncé should release a country album,

I’m no Taylor Swift, but if this ebook were an album, I’d title it Gypsy’s Version

For my mother, the experience was emotional. When my music was evolving, I hadn’t allowed her to hear it. For years up on Cloverdale, I had always locked myself in my room, not letting anybody hear what I was doing. Then, after I moved out, I never invited her to hear me working in the studios. So, when Let Love Rule was released, she was completely shocked. She could hear how everything that I had experienced on my journey came alive in that album: Tchaikovsky; the Jackson 5; James Brown; the Harlem School of the Arts; Stevie Wonder; Gladys Knight and the Pips; Earth, Wind & Fire; Miles Davis; Jimi Hendrix; Led Zeppelin; KISS; the California Boys’ Choir; Prince; David Bowie; Miss Beasley’s orchestra; the Beverly Hills High jazz band; the magical spark between me and Lisa; the spirit of our daughter. More than anyone, Mom knew that I had poured every aspect of my life into this effort. That was enough to make her proud. But what blindsided her—and me as well—was the sight of thousands of fans singing lyrics that I had written—and most of those fans didn’t even speak English.