Robert E. Zucker is publisher of the Entertainment Magazine Online (EMOL.org) web site, launched in 1995. Prior to that, he published several local Tucson, Arizona newspapers from 1978-1994, including Entertainment Magazine (1985), Magazine (1982), Youth Awareness Press (1979), and Youth Alternatives (1978). In the past decade, he has published several books, including "Treasures of the Santa Catalina Mountains," "Entertaining Tucson Across the Decades (V 1-3)," "Kabbalah's Secret Circles," "Twilight of Consciousness," and "Traveling Show." His latest, "Print to Pixels," is in final editing. Through his company BZB Publishing, he has also published books for other local authors.
The Alessi Brothers’ timeless melodies have remained ethereal in American popular music, and have grown even more beloved across the globe, garnering nearly 50 million listens and averaging 350K monthly listeners on Spotify. Take for instance their hit song “Seabird,” the gentle tune is a favorite of British born superstar Harry Styles, as he featured the track on his Apple Music “at home” playlist to endure the pandemic. “Seabird” was also used during the credits of Taika Waititi’s film “Hunt for the Wilderpeople” and in the new comedy-drama series “Resident Alien”. Additionally, their tune “Do You Feel It” was recently sampled by The xx on “Say Something Loving“. They are also an unabashed favorite of international supermodel, author, and actress Emily Ratajkowski.
The duo have just released their latest pop single, “I’m In Love,” which is the first single off the upcoming album “Eden Roc.” The Lennon-McCartney original was penned during The Beatles’ early days, but never recorded for official release. (The Fab Four recorded and released the track in 1963, but the tune remained in relative obscurity).
Now, Billy and Bobby Alessi are polishing this hidden gem with the unique stylistic vocal harmonies they mastered as children.
“When brothers harmonize there’s just something special about the blend,” Billy said.
These harmonies are joined by shimmering acoustic guitars that propel the track full steam ahead – the way John Lennon liked his rhythm guitars – and ripping electric leads that further excite the mix.
“I’m In Love” is by no means the Alessi Brothers’ first foray into the music of the Fab Four. They tackled the “Sgt. Pepper” cut “She’s Leaving Home” with their band Barnaby Bye and laid down a ukulele rendition of the rather fitting “Two Of Us.”
They also provided background vocals on the John Lennon and Yoko Ono album “Milk and Honey” and remixed Paul McCartney’s “No More Lonely Nights.”
Even as their songs “Seabird”, “Oh Lori,” “Put Away Your Love,” “Sad Songs,” and “All for a Reason” charted around the globe, The Alessi Brothers made a second career writing music for other world renowned artists – such as Peter Frampton, Frankie Valli and Olivia Newton John – just as Lennon and McCartney wrote hits for others to record.
Now, with their third full-length offering in four years, the brothers unveil a new batch of sweet harmonies on the uplifting “Suite” and the sleepless and uncertain “So Many Maybes.” “Don’t Bring Me Down” offers a cool breeze with an emotive saxophone accompanying piano and percussion and the pair also reflect on the strenuous past few years on “There’s A Chance” and the pandemic fueled anthem “We Will Survive.”
The Alessi Brothers’ follow-up to 2020’s “Netherland” solidifies Billy and Bobby’s legacy, a career built on great ears for a hook and a melody, exceptional vocals and well crafted songs that know no boundaries of time or place. Exceptional talent bringing you classic, original, ear candy.
HACHETTE BOOKS ANNOUNCES STILL ALRIGHT, A MEMOIR FROM AWARD-WINNING SINGER-SONGWRITER AND FOLK, ROCK, AND POP ARTIST KENNY LOGGINS TO BE PUBLISHED ON JUNE 14TH
NEW YORK, NY – Mary Ann Naples, VP and Publisher of Hachette Books, announces the forthcoming publication of award-winning singer-songwriter Kenny Loggins’s memoir, STILL ALRIGHT. The book was acquired by Executive Editor Brant Rumble in a deal with Jud Laghi of The Jud Laghi Agency and Richard Abate of 3 Arts Entertainment and will publish on June 14, 2022.
In a remarkable career, Kenny Loggins has rocked stages worldwide, released twelve platinum albums, and landed hits all over the Billboard charts. His place in music history is marked by a unique gift for collaboration combined with the vision to evolve, adapt, and persevere in an industry that loves to eat its own.
Loggins served as a pivotal figure in the folk-rock movement of the early ’70s when he paired with former Buffalo Springfield member Jim Messina, recruited Stevie Nicks for the classic duet “Whenever I Call You ‘Friend,’” then pivoted to smooth rock in teaming up with Michael McDonald on their back-to-back Grammy-winning hits “What a Fool Believes” and “This Is It” (a seminal moment in the history of what would come to be known as Yacht Rock). In the ’80s, Loggins became the king of soundtracks with hit recordings for Caddyshack, Footloose, and Top Gun; and a bona fide global superstar singing alongside Bruce Springsteen and Michael Jackson on “We Are the World.”
In STILL ALRIGHT, Kenny Loggins gives fans a candid and entertaining perspective on his life and career as one of the most noteworthy musicians of the 1970s and ’80s. He provides an abundance of compelling, insightful, and terrifically amusing behind-the-scenes tales. Loggins draws readers back to the musical eras they’ve loved, as well as addressing the challenges and obstacles of his life and work—including two marriages that ended in divorce; a difficult but motivating relationship with the older brother for which “Danny’s Song” is named; struggles with his addiction to benzodiazepines; and the revelations of turning seventy and looking back at everything that has shaped his music—and coming to terms with his rock-star persona and his true self.
“Writing this book and piecing together the moments of my life has been a really eye-opening experience for me,” says Loggins. “It’s almost like therapy, to get to look at how honest I can be. How honest can I be about my motivations, my reactions to certain relationships and circumstances, what did I learn, and how did it affect my music.”
And Publisher Mary Ann Naples adds, “We’re thrilled by this opportunity to publish with a wonderful artist who has appealed to so many music fans across genres and generations, and who is ready to tell his story with wisdom, humor, and heart.”
Kenny Loggins will actively promote STILL ALRIGHT with a media tour and event appearances. The book will be published in hardcover, e-book, and an audio format by Hachette Audio on June 14, 2022 and is available for pre-order now.
Kenny Loggins emerged with Loggins & Messina, one of the bestselling musical duos of the 1970s, with their six releases between 1971 and 1976 (plus three live albums and four compilations), counting for 16 million units sold. Loggins has released 14 solo records since then with more than 25 million albums sold, charted five top-10 singles, and won two Grammy Awards for “What A Fool Believes” and “This Is it,” and received one Academy Award nomination for “Footloose.” Loggins’ song “Conviction of the Heart” was hailed as the “unofficial anthem of the environmental movement” by Vice President Al Gore, and his environmental television special for the Disney Channel, This Island Earth, won Emmy Awards for Outstanding Achievement in Writing and for the title track.
Loggins has also cut two live albums, two greatest-hits compilations, and two children’s records including Return to Pooh Corner, which remains the bestselling children’s album of the last two decades. He recently donated use of his single “The Great Adventure” to the San Diego Zoo for their Kids TV network which airs in children’s hospitals and Ronald McDonald Houses around the world, supporting his belief that “every child should experience the healing power of music.”
Known as “The Soundtrack King,” Loggins has had his music featured in several iconic films including Footloose, Caddyshack, and Top Gun. Loggins has millions of followers and listeners across social and streaming platforms and continues to sell out live shows both domestically and internationally.
Jason Turbow is the author of the bestselling The Baseball Codes: Beanballs, Sign Stealing and Bench-Clearing Brawls: The Unwritten Rules of America’s Pastime; Dynastic, Bombastic, Fantastic: Reggie, Rollie, Catfish, & Charlie Finley’s Swingin’ A’s; and They Bled Blue: Fernandomania, Strike-Season Mayhem, and The Weirdest Championship Baseball Had Ever Seen: The 1981 Los Angeles Dodgers. He has written for the New York Times, the Wall Street Journal, and SI.com, among many publications.
STILL ALRIGHT: A Memoir Kenny Loggins with Jason Turbow Hachette Books | June 14, 2022 $30 | Hardcover | 320 Pages | ISBN: 978-0-306-92536-8 StillAlright.com
VIDEO: AllOne “Don’t We?” Wordsmith explores countering perspectives of longing in animated video
Lyrical gunslinger Bruce Pandolfo, who records and performs under the moniker AllOne, has premiered the animated music video for his mesmerizing tale of two cities “Don’t We? (feat. Brian Kjellgren of Sargasm).”
AllOne conjures two characters’ dreamscapes with his unique blend of rapid fire delivery and knack for scene setting storytelling. Bri Martinsen, whose animation illustrates these two worlds, transports a man to a sunny countryside, complete with a vividly detailed general store. AllOne’s lyrics awaken all the scenes as the clerk “gently growls orders at ransacking grandkids,” his hair visibly “less pepper than salt” atop a mind saturated with “sepia-toned tales” of years gone by. With musty air and candy jars dusty to the touch, the scene is one of pure beauty in the enticed yet wandering mind of a city cabbie, slouching behind the wheel day after day in the noisy city traffic.
After a chorus graciously sung by Sargasm’s Brian Kjellgren, the cabby’s backroad fantasy is another man’s reality. Switching perspective, the underground star raps poetic about bustling taxis and tourists clogging the sidewalks, bumping shoulders with stars of page and screen. Street artists, novelists, jazz musicians, comedians all under “a billion blinding Iron Giant eyes” pouring through “modern monoliths that model Metropolis.” The man confined to the rural dreamscape of an urbanite longs to live among the racoon-eyed “sardonic sardined populace” of his counterpart’s city.
“‘Don’t We?’ is a grass is always greener tale,” Pandolfo said. “The power of daydreaming and how there’s always someone out there craving the thing you’re bored with or longing to escape. The writing was an opportunity to capture place in painting settings and images, almost a series of sketches. I loved the idea of the music representing the bucolic imagery as well as the metropolitan landscape. Conscious Robot did an incredible job, this was one of few songs on the album where the direction started with me and having a song written and structured already and giving them the direction to compose around it. The chorus is sung by my friend Brian Kjellgren of the Long Island metal band Sargasm.”
Emotionauts is AllOne’s eighth album overall, quenching fans’ thirst after a five-year wait for a full-length follow-up to 2016’s I’ve Been Thinking… But for the artist and his fans alike, the album is worth the wait. AllOne tackles the struggles of codependence, unrequited love, suicidal depression and ADHD. He expresses the pain of feeling like an outsider, leans into the cripilling uncertainty of youth that lingers into adulthood, and steps back to explore the vastness of the universe.
The Long Island-based rapper, slam poet and songwriter Bruce Pandolfo spent countless hours studying the craft of MCing, and the time had come to leap, whether the rip cord works or not. But this was no project born of carelessness. Pandolfo is nothing if not meticulous about the placement of every syllable in his dense, rapid-fire rhymes. He understands that there comes a time when, creatively speaking, you just have to risk falling on your face.
“I still feel like I can fall on my face with it,” he chuckled. “But at this point I don’t know if I’d feel comfortable without that level of uncertainty. There’s such a great spark of creativity in all that tension that comes with it.”
His career was born out of such a leap into uncertainty. A sophomore in high school, Pandolfo took his notebook down to a coffeehouse, and surrounded by seasoned poets who were all in their sixties, he took his place at the mic and gave it a go. He’s never looked back since.
An avid reader since childhood whose father was a rock guitarist, Pandolfo has nevertheless continued to step into unfamiliar arenas: hip hop, slam poetry, jamming with other musicians and (most recently) production and arrangement were all somewhat foreign territory for him when he discovered them, but he’s jumped in with both feet at every stage. He has also, over a span of 8 albums and 4 EPs broadened the DIY concept so that it no longer stops with the artist. Part of the AllOne mision is for the listener to feel encouraged to go out there and do it themselves.
Pandolfo’s musical journey begins as a teenager immersed in the cerebral end of the punk pool:
“My mother,” he explained, “encouraged reading so strongly that I still do it voraciously now. So my life has always been defined by words. Even the music I was drawn to pre-hip hop was very lyric-heavy bands like Bad Religion. I was always fascinated by how lyrical composition could completely transmogrify a genre. You take a piece of music that you might immediately have all these assumptions about because it’s easy to identify within certain genre parameters, but then you do something more ingenuitive with the words, and then you’ve changed that piece of music almost on an alchemical level. So when I got into rap music, I was naturally magnetized to people who were doing it on such an articulate level that I couldn’t help but be blown away by and fall in love with the genius of it.”
It was fortuitous, then — it actually altered Pandolfo’s destiny — that Epitaph Records began featuring cutting-edge hip hop artists like Sage Francis, Atmosphere and Eyedea & Abilities on its annual Punk-O-Rama compilations in the early 2000s. Pandolfo’s path was set. From there, he dove into slam poetry, which then led to the collaborations with Long Island musicians documented on AllOne’s 2010 debut Coal Aberrations. Since then, he has worked with a variety of different producers and instrumentalists, tending to organize each release according to a unifying theme, so that subject matter and musical presentation contrast significantly from release to release. Still, even when he delved into the blood-curdling world of true crime on his 2017 Dusty Dossiers EP, the common thread has always been Pandolfo’s irresistible attraction to being a constructive force. Even when he’s writing from, say, a murderer’s perspective, the goal is to inspire and motivate (no surprise from an artist who has the words “keep pushing” tattooed on one forearm and “pull through” on the other).
It’s clear throughout Emotionauts that Pandolfo has upped his lyrical prowess to deliver his most fully-realized work to date. He wastes no time expressing the innermost struggles that pain him on opener “Thought Ballon Aeronaut,” then turns to offer aid to fellow sufferers of anxiety and suicidal depression, urging them to seek community in niche spaces on “Left Field Day.” Whether pondering the ever complicating world of love on “Heart Syncing” or delivering gut-wrenching and striking honesty throughout “Anodyne as Oblivion,” fans can expect Pandolfo to stick to his strengths as a masterful wordsmith as comfortable with a mic as he is his trusty typewriter.
Conscious Robot’s spacious and experimental musicality makes numerous listens of Emotionauts necessary. “This is the strongest relationship and interactivity I’ve ever had with a producer,” Pandolfo said. “So it’s really the first time where I feel like I’m not just adding my vocals on top of the music. There’s a musicality and a progressive quality with Conscious Robot that hasn’t always been there in some of the more lo-fi boom-bap stuff that I’ve rapped on. I love that stuff, but it tends to have a uniform feel.”
With debut rap guest Kavi, songwriter Laurie Anne Creus, poet and singer Marie Polaris, metal guitarist and vocalist Brian Kjellgren, and Necter singer/songwriter Sam Raia, Emotionautus boasts the most collaborations of any AllOne full-length to date.
Fellow Singer/Songwriters and Friends Remember and Mourn The Loss of Country Music Legend Stonewall Jackson
NASHVILLE, Tenn. – Country music legend Stonewall Jackson passed away early Saturday at age 89 after a prolonged battle with vascular dementia. Some of Jackson’s hits included “Life To Go,” penned by the late, great George Jones, “Smoke Along the Track,” “B.J. the D.J.,” and “Waterloo,” which later became his signature song. Over his career, Stonewall landed 44 singles on the Billboard country chart. His 1971 Recorded Live at the Grand Ole Opry was the first “live” album ever recorded at Nashville’s ‘Mother Church of Country Music’, the Ryman Auditorium. The late Porter Wagoner would introduce Stonewall on his show by saying he came to the Opry “with a heart full of love and a sack full of songs.”
Wide Open Country’s Bobby Moore profiled Jackson just last year, saying “…he’s a representative of the days of smooth-voiced, sharp-dressed country singers who helped position what was once dismissed as “hillbilly” music as a commodity that would move uptown.”
Fellow artists mourn the loss of their friend and share fond memories of the great Stonewall Jackson:
“Stonewall’s breakout hit “Life To Go,” was written by George (Jones) and they both became members of the Grand Ole Opry in 1956. They held a special friendship over the years and although Stonewall was retired, he participated in the final George Jones No Show tribute event after he passed. I will always have a special place in my heart for Stonewall. May he Rest In Peace!” — Nancy Jones
“The Grand Ole Opry has always been a place of fellowship for all artists and I am saddened to hear of Stonewall’s passing. Although Stonewall and I never recorded or performed together outside of the Opry, his songs have had and always will have a lasting impact on country music. Stonewall will be missed.” — Lee Greenwood
“I first met Stonewall in the late ’50s right before I went into the Air Force while working with my brother Lefty. Stonewall was always a lot of fun to be around and I enjoyed hearing him sing all his hit songs on the package shows. It was always an honor to be on the same stage with him.” — David Frizzell
“Saddened to hear of the loss of one of the honky-tonk heroes of the ‘50s and ‘60s, Grand Ole Opry member STONEWALL JACKSON went home today. Rest easy sir.” — Joe Bonsall / The Oak Ridge Boys
“I had never met Stonewall, but I’ll say – as a favorite of country music and considered country music royalty, the image and style of Stonewall will always be honored and respected.” — Janie Fricke
“Stonewall was one of the sweetest men when coming to the Hee Haw set. Always loved it when he came to tape. He will be greatly missed.” — Lulu Roman
“Saddened to hear the news of the passing of fellow Grand Ole Opry Member “Stonewall Jackson. He was a real character. His style was reflected in everything he did. I most recently was driving around Nashville and noticed his tour bus parked. Oh, the stories that bus could tell. He made no apologies for who he was. I admired his grit, and how he stood up for what he believed in. My sincere condolences to his family. Rest In Peace.” — Rhonda Vincent
“So sad to hear of the great Stonewall Jackson’s passing. I had the pleasure of working some concerts with Stonewall when I was just starting out on my career. He always lit up each and every room he walked into. He was truly one of the great Legends and trailblazers of our industry. Gone but never forgotten!” — T.G. Sheppard
“Sorry to hear of the passing of Opry Member Stonewall Jackson. He was one of the pioneers of country music from the ’50s-’60s and he carried that music into the twenty-first century. Sending prayers to a former neighbor of mine and good ole boy, Mr. Stonewall.” — JD Shelburne
From the mind of Rich Hopkins, co-founder and guitarist of the Sidewinders/Sand Rubies, one of Arizona’s most accomplished rock‘n’roll exports, comes “THE WHOLE ENCHILADA- The History of Desert Rock 1976-1994.”
This whopping three-LP multi-media set and paperback book, a who’s-who anthology of Tucson’s musical trailblazers and it’s woefully overlooked, arrives March 15, 2022 on Tucson, Arizona’s own San Jacinto label. The paperback book is now available on Amazon.com.
The painstakingly compiled collection is a veritable Tucson musical family tree, leading us from from the mid-1970s through the mid-1990s, from the swoony Bob Meighan Band and the honky tonk of the Dusty Chaps (both whom signed to major labels in the 1970’s) to international indie giants Green On Red (Serfers), Howe Gelb and Giant Sandworms, Naked Prey, Al Perry and The Cattle, Desert Rock breakouts The Sidewinders, Yard Trauma, Black Sun Ensemble and many more.
Hit-makers unleash a lengthy masterpiece of worldly adventure
Burgeoning Colombian superstars Monsieur Job, who regularly chart on the Billboard Latino Top 40 alongside artists like Maluma and Karol G, have released the new album “W.T.F!” boasting hit after hit. The supersized (120 tracks!) release has already spawned 5 hit singles that climbed to #3 on iTunes’ Top 40 US Jazz Songs chart, a historic achievement for a Colombian artist. The group is tied with J Balvin for most hits (12) from a Colombian artist on Billboard’s Latin Digital Song Sales list for this year. Instant hits “Backstabbers” and “Piel Roja,” charged tunes “No More War” and “Another Casualty,” and dance-floor shakers “S.O.S. Siloe (feat. Jhomba c4) (Remix)” and “Chiki Chiki Bau Wau feat. Leu2 (Remix)” alongside 10 (tracks 98-107) psychedelic remixes of 2020 Billboard hits make W.T.F! not just an essential listen, but a masterwork that will elevate Monsieur Job to new heights.
Hip-Hop and Jazz have never had as strong a relationship as they do on “W.T.F!” Monsieur Job’s latest release fuses the two with Latin flair and sensibilities, as well as Contemporary R&B, Trap, Reggaetón, Dancehall, Reggae, Rockaton, Drum & Bass, Dance, House, Funk, Dub, Soul, Jazz, Classical, Global, Ambient, Cinematic, Experimental, Spanish Rock, Gothic Rock, Classic Rock, Pop, Twerk, Pop, and Soul.
W.T.F! is loaded with love and lust. The group serenades a soul-captivating love on “Malevo Maleva,” comparing her beauty to a garden of flowers, then things heat up on “Estoy Ready Pa’ Ti,” a plea for a woman to undress and get busy. Monsieur Job needs less talk and more action, which is most clear on “Entra Pero Come Callao” with the desire to make a meal out of a hotel room lover.
Any great love story involves tragedy, and such is the case here. The thumping remix for “Problemas (feat. Ruzzo)” paints love as a complicated affair, unpacking the woes and circus tricks of a manipulative relationship, while the soulful ballad “There Is Nothing I Can Do to Forget You” longs for love lost. “Quiero Darte la Mano (feat. Tito Murillo) (Remix)” addresses the tragic COVID-19 pandemic, the isolation it inflicted on humanity and our collective longing to touch one another safely again.
With rich and thick production, multiple electronic percussive elements blend masterfully with various vocals on the downtempo ballad “Al Oído,” then Caribbean flavor seeps out of the Reggae knockout “Got to Keep on Movin’,” banging bass and subtle strings lay the bed for the sensual “Like an Animal” and warm tones and stereo panning on instill an irresistible groove on “Perdidos en el mar… Buscándote.”
Without any words, the group invites listeners to a world of their own with unforgettable instrumental adventures like “Backstabbers,” a mid-tempo, cool breeze stroll gives way to dread of what may lurk around the corner, “Varanasi,” a masterclass in strings with electric guitars, sitars, and mandolines playing countermelodies each as beautiful as its predecessors, and “Another Casualty,” where somber keys are forced to soldier on and march to the pounding of the drums.
Wailing horns search for answers and identity on “Piel Roja” amidst tribal percussion and electronic Hip-Hop elements. These answers are perhaps found on “The Guiding Light,” the group’s latest heat-seeking missile on the charts, with horns confidently striding on a path to otherworldly liftoff.
“W.T.F!” is enlightened with all-star performances from Benjamin Mosquera, Ruben Aragon, Miguel Salazar, Laura Viteri, Camilo Mina, David Guerra and Abstain Caviedes (Monsieur Perine) as well as Carlos Zapata and Eduardo Manuel – who tour with Groupo Niche – Abstain Caviedes from Monsieur Perine and Leo Jaramillo and Juan Moreno of Monsieur Job.
W.T.F! is Monsieur Job’s magnum opus, a masterpiece made of bass-banging mountains and heartfelt valleys, where contagious remixes stand proudly alongside instrumentals of beauty all forged by the fires of world class musicians. With several chart-climbing singles, “W.T.F!” is a crowned jewel garnering praise and reverence for its creators.
Monsieur Job’s 2021 Billboard Hits:
1: “Bang Bang” #8
2: “Morocha (feat. Jhomba c4) (Remix)” #8
3: “Problemas” #22
4: “Ojalá Sea Viernes” #19
5: “Chiringuito” #16
6: “Chukiti” #23
7: “Fuck” #15
8: “Me Pregunto” #8
9: “Tu Party” #4
10: “Malevo Maleva” #5
11: “Estoy Ready Pa’ T” #6
12: “Entra Pero Come Callao” #7
Top Artist Collaborations for W.T.F!:
Collab 1: “Chukiti Remix” feat. Ñengo Flow
Collab 2: “Problemas Remix” feat. Ruzzo from the cuban band Orishas
Collab 3: “Chiringuito” feat. Dexta from Bad Dog Label
Collab 4: “Dale Rojo Dale” feat. Louis Towers “Papa Rasta” former artist of legendary colombian label Discos Fuentes
Collab 5 & 6: “Fuck & Ese Tumbao” feat. Charles King Champeta artist from Palenque, Bolivar
Collab 7: “Quiero darte la Mano” feat. Tito Murillo lead singer of Guayacan
Collab 8: “S.O.S Siloe Remix” feat. Jhomba c4
Collab 9: “Chiki Chiki Bau Remix” feat. Leu2
W.T.F! was written and Produced by Toby Holguin and Monsieur Job for Basswalk Latino
MONSIEUR JOB – W.T.F.! TRACKLIST
PEACE PIECE (Revisited)
CAPRI
DA FUNK
BACKSTABBERS
DASHAT
EME JOTA
IRONY
EDUARDO Y ADELAIDA
MADRID 87
PIEL ROJA
I DREAM IN COLORS
RAPSODIA
THANK YOU JESUS
THE GUIDING LIGHT
ANOTHER CASUALTY
SOUL SLURP
COLLAGE
THE LIFE
CHINGA TU MADRE
KISS THE RAIN
UNO CON EL MUNDO
VARANASI
RED
CHANGES
SPINNER Remix
ZIZI
CORRE CABALLITO Remix
MIRA LA OLA
PERDIDOS EN EL MAR…BUSCANDOTE
MIGHTY HIGH
I GET HIGH
NO PAIN
ESTOY READY PA TI
MUEVE TU CULO
ADIOS MI AMOR
NO MORE WAR
ME SAY ME DO Remix feat Jah Bloodz
I SEE IT IN THE PAPER
GOT TO KEEP ON MOVIN´
NO HAY NADA QUE PUEDA HACER
LA LUNA ESTA A FUEGO
TU PARTY
ENTRA PERO COME CALLAO
CHIRINGUITO
ESE TUMBAO
FUCK
CHUKITI
BAILA BEBE
VENTE CONMIGO
NO TENGO NADA QUE HACER
ME BRILLA LA CARA
MOROCHA Remix feat Jhomba c4
ME PREGUNTO
BANG BANG
MUERO POR TI
TU TE PONES A JUGAR
PROBLEMAS
EN TU CORAZÓN
S.O.S. SILOE Remix feat Jhomba c4
SUENAN LAS BALAS EN LA NOCHE
LA HISTORIA DE MI BARRIO
EL MICKEY MOUSE CRÍTICO
OJALA SEA VIERNES Roots Version
AL OIDO
QUIERO DARTE LA MANO
NO SE NI QUE PENSAR
NO ME DEJE ENGAÑAR
PERSA NELLA VIA
LIBRE
THERE IS NOTHING I CAN DO TO FORGET YOU
WHAT DO YOU WANT FROM ME
BAILA CONMIGO BAILA HASTA LA MUERTE
LIKE AN ANIMAL
TU BOQUITA
ZUMBALOO
YESHURALAIM JE T´ AIME
JUNTO A TI
LA DISTANCIA
OJALA SE VIERNES Trap Version
LA HISTORIA DE MI BARRIO Remix
CHIRINGUITO Remix feat Dexta
CHUKITI Remix feat Ñengo Flow
FUCK Remix feat Charles King ¨El Palenquero Fino¨ & Prix6
ESE TUMBAO Remix feat Charles King ¨El Palenquero Fino¨
I GET HIGH Remix feat Jah Bloodz
MIGHTY HIGH Remix feat Jah Bloodz
NO PAIN Remix feat Jah Bloodz
PROBLEMAS Remix feat Ruzzo
QUIERO DARTE LA MANO Remix feat Tito Murillo
YESHURALAIM JE T´ AIME Remix feat Jhomba c4
CHIKI CHIKI BAU WAU Remix feat Leu2
DALE ROJO DALE! Remix feat Louis Towers ¨Papa Rasta¨
ES TAN FACIL
MALEVO MALEVA
S.O.S. SILOE
MOROCHA
ME SAY ME DO
A ESCONDIDAS Remix
ME CONTAGIE Remix
BAJATE LAS BRAGAS Remix
BOOGIE BAILALO BRINCAO Remix
BUSQUE MAL Remix
CUCARACHA Remix
MUERO POR TI Remix
YO NO VOY A QUERER Remix
PICA PICA Remix
GUCCI CELINE Remix
CAPRI Remix
DA FUNK Remix
BACKSTABBERS Remix
EME JOTA Remix
THANK YOU JESUS Remix
RAPSODIA Remix
MUEVE TU CULO Remix
I GET HIGH Dub Version
NO PAIN Dub Version
NUCITA
CHIKI CHIKI BAU WAU
SPINNER
AU REVOIR (Piano Outro)
Straight from Cali, Colombia, a beautiful place high in the mountains above the clouds, Monsieur Job began as a solo project for band founder Toby Holguin, as he released the critically acclaimed album “Bass Pa$$i”. Looking to stimulate collaboration, Toby then decided to form a band with a musician he knew to be top notch, Leo Jaramillo. Both artists create their own style of music, and combined, Toby and Leo are Monsieur Job – a band that will truly rock your soul and make you move your feet.
An eclectic and versatile musician in the Latin genre, Toby had the idea to start doing Urban Music besides the Chill Out and Electronic Music he had been creating, which is the vision that created the album “Bass Pa$$i”. Then he started dropping broken beats with a more festive, shaky, groovy Caribbean Latin flavor, turning the tunes into an international mash up of world talents in a unique blend of genres. There is also an electronic division called “EMEJOTA BEAT BANG” which features Toby on his electronic side with his show in Pure Ibiza Radio, formerly known for his residency at Bora Bora Ibiza where he mixed seven annual summer compilations and participated in the World Tour. With the moniker; Ashbury & Haight and Toby Holguin he released two albums through Universal Mexico and Brazil, “Quantum Leap” and “Electrohousepunk01” in 2004 and 2005. He also remixed Carlinhos Brown, Juanes, and Estefano during his college years where he founded Basswalk Records and later Bad Barbie Records.
On their debut release together, “Chow Chow Eyyy Pow Pow”, the record hit the Euro Indie Music Chart at #1 for 9 consecutive weeks as well as progressive singles; “Kick it” Remix feat. Charly Black, “Pica Pica”, Niña Shake Your Body” feat. No Mercy & Vojke Djans and “Chilliando Hangueando” feat. Cholo, and “La Melancolic Happy” feat. Clindistino reaching the #1 position as well, the Digital Radio Tracker Top 10, and Top 200 for Best Albums, #2 for the Billboard Latin Rhythm Albums Chart, and the Billboard Top 10 Heatseekers Albums Chart for their album “Bass Pa$$i”. This album was recorded in Bogota and Miami at Basswalk Studios, and Barba Studios in Belgrade and mastered at Sterling Studios, New York. Zona de Dropeo, Música para mi Madre, and W.T.F.! were recorded in Basswalk Studios in Cali and Bogotá.
Moreover, the next few Monsieur Job studio albums; “Zona de Dropeo” and “Revisited 2020” were released in late summer 2019 and included 15 consecutive charted singles, 11 in the Billboard Top 10 singles and 4 in the Top 20 such as; “A Escondidas”, “Kick it”, “Boogie..báilalo brincao”, “Pica Pica”, “Bájate las Bragas”, “Busque Mal”, “Muero por ti”, “Vos Sos”, “Me Contagié”, “No Voy A Querer”, “Tanto Tiempo Sin Verte”, “Cucaracha”, Gato por Liebre”, “Gucci Celine”, and “La Clave”. They also peaked on the Top 10 Billboard Annual Artists of 2020 for Digital Latin Sales. As for 2021, they have maintained their efforts with twelve Billboard hits, 6 in the Top 10 of the Latin Digital Sales list so far this year with their fourth studio album W.T.F.! Moreover, Monsieur Job have also experimented with modern beats and Jazz, reaching five Top 10 singles in the ITunes Jazz Singles 2021, with their third studio album; “Música para mi Madre”.
Monsieur Job is managed and promoted by Basswalk Latino, Cali. For booking and availability contact Diego Rodriguez or Stephen Wrench.
Red (Taylor’s Version) boasts a staggering 30 songs, including nine previously unreleased tracks – “Better Man (Taylor’s Version) (From The Vault),” “Nothing New (Taylor’s Version) (From The Vault)” [feat. Phoebe Bridgers], “Babe (Taylor’s Version) (From The Vault),” “Message in a Bottle (Taylor’s Version) (From The Vault),” “I Bet You Think About Me (Taylor’s Version) (From The Vault)” [feat. Chris Stapleton], “Forever Winter (Taylor’s Version) (From The Vault),” “Run (Taylor’s Version) (From The Vault)” [feat. Ed Sheeran], “The Very First Night (Taylor’s Version) (From The Vault),” and “All Too Well (Taylor’s Version) (From The Vault)” [10 Minute Version].
Red (Taylor’s Version) debuted at #1 in the U.S. with total consumption reaching an astounding 605k units, while moving over 1.2 Million album equivalents globally in its first week. It also marked the biggest album sales debut in the U.S. with 369k units and the highest first week sales of any female artist in 2021.
In addition to being the first artist ever to simultaneously debut atop the Billboard 200 and Billboard Hot 100, Taylor has now become the only artist to do so for a third time, and in less than 16 months! Taylor’s new version of “All Too Well” marks her fourth #1 debut on the Billboard Hot 100. Clocking in at over 10 minutes, it is the longest song to enter and reach #1 on the Billboard Hot 100 chart, surpassing the previous record holder, Don McLean’s “American Pie,” which was first released in 1971 with a run time of 8 minutes and 42 seconds. Red (Taylor’s Version) also sees an astounding 26 songs enter the Billboard Hot 100 this week, all from the new release.
Upon going live, Red (Taylor’s Version)surpassed Spotify’s biggest opening day streams of all-time for a female with over 90 Million, a record previously held by Taylor herself. It’s Taylor’s fifth consecutive album to exceed 50 Million Spotify streams in 24 hours. With over 300 million streams, the album has achieved the largest streaming week of 2021 for an album by a female artist. Red (Taylor’s Version) immediately captured #1 on iTunes Overall Top Albums Chart and Apple Music.
Red (Taylor’s Version) also secured the biggest streaming week for a country album with the largest sales week for a country album since 2013, becoming the biggest release week for a country album since the Billboard 200 began ranking titles by equivalent album units. “All Too Well (Taylor’s Version)” also hits #1 on the Hot Country Songs chart. It debuts as Swift’s ninth Hot Country Songs leader and her second this year, after “Love Story (Taylor’s Version).”
What’s more, it has achieved the largest vinyl album sales week since tracking first began in 1991 with 114k sold, surpassing the last record that was also set by Taylor in 2021 with folklore’s sister album, evermore. With the release of Red (Taylor’s Version) she also secures the record for fastest accumulation of four #1 albums by a solo artist in history.
Red (Taylor’s Version) debuted at #1 in multiple countries around the world including the U.K.- where she topped first week numbers set by the original version of the album, Australia, Canada, Ireland, New Zealand, and Norway. “All Too Well” also debuted at #1 in Australia, Canada, Ireland, New Zealand and more.
Taylor Swift now has an unbroken streak of eight consecutive No.1 albums in the UK, where this release marks her fifth #1 album in less than three years following Lover (August 2019), Folklore (August 2020), Evermore (December 2020) and Fearless (Taylor’s Version) (April 2021). Red (Taylor’s Version) has also become her tenth #1 album debut in both Canada and New Zealand, her ninth #1 in Australia and her seventh #1 in Ireland, extending her record as the woman with the most chart-topping albums in these countries for this millennium.
To celebrate the release, Taylor wrote and directed a short film entitled All Too Well The Short Film, inspired by the 10-minute-plus fan favorite song of the same name. The 13-minute film stars Sadie Sink, Dylan O’Brien and Taylor Swift.
She also launched a full-scale television takeover appearing on The Tonight Show Starring Jimmy Fallon (watch HERE), Late Night With Seth Meyers (watch HERE), Good Morning America (watch HERE) and Saturday Night Live (watch HERE)- where she performed a captivating 10 minute version of “All Too Well” that lit the internet on fire along with a digital skit (watch HERE). Photo Credit: Mary Ellen Matthews The excitement continued with the release of the official music video for “I Bet You Think About Me (Taylor’s Version) (From The Vault)” [feat. Chris Stapleton]. The cinematic release was directed and co-written by Blake Lively and stars actor Miles Teller and Taylor(watch HERE). SEE WHAT CRITICS ARE SAYING ABOUT RED (TAYLOR’S VERSION): “5 Stars” – Rolling Stone, Rob Sheffield
“‘Red (Taylor’s Version)’ Makes a Classic Even Better” – Rolling Stone, Rob Sheffield
“Another towering victory, which should be coveted by fans…” – SPIN, Bobby Oliver
“5 Stars” – Rolling Stone UK, Mark Sutherland
“The most beautifully reconstructed pop record of 2021.” – Rolling Stone UK, Mark Sutherland
“5 Stars” – The Independent, Helen Brown
“A better, brighter version of a terrific pop album.” – The Independent, Helen Brown
“Taylor Swift’s Red Rerelease Proves What Fans Always Knew” –Slate, Ilana Kaplan
“4 Stars” –The Sun
“The superstar is back today with her brilliant album Red (Taylor’s Version)” –The Sun, Simon Boyle
“An assertion of her control in the face of men who believe they own her art, it is also a vindication of the original record’s enduring power.” – Sarah Carson The I Newspaper
“9/10” – Clash Magazine, Beth Kirkbride
“As ‘Red (Taylor’s Version)’ shows, this is an exercise in catharsis. Leafing back through the storybook of our own formative years, we feel it all.” – Clash Magazine, Beth Kirkbride
“4 Stars” – i Newspaper, Kate Solomon
“Red (Taylor’s Version) is a reminder of just how brilliant Taylor Swift can be…” – i Newspaper, Kate Solomon
“4 Stars” – The Times, Will Hodgkinson
“Red, her fourth full-length released in 2012, is different — an indispensable fan favorite, with songs so personal to Swift and crucial to unlocking her mass appeal that it’s hard to imagine her current artistry without it.” – Billboard, Jason Lipshutz
“9/10” – The Line Of Best Fit, Paul Bridgewater
“Taylor Swift’s reworking of Red finds even more magic in her pop blueprint” – The Line of Best Fit, Paul Bridgewater
“Over forlorn acoustic guitars, insistent drums and a halting piano, Swift wove together a collage of memories so vivid that loss was renewed fresh.” – NPR, Latesha Harris
“Casual fans and diehard Swifties alike are struggling to contain themselves.” – Huffington Post, Hilary Hanson
“4 Stars” –The Financial Times
“Taylor Swift has arrived at her breakthrough moment” … “All Too Well, an evocative memory of the good times that stands out as Swift’s heartbreak opus.” –The Times, Will Hodgkinson
Red’s Taylor is more mature, a little more wary, but never jaded; the record isn’t just her transition from country to mainstream, it’s also her journey into adulthood. –Evening Standard, Kate Rosseinsky
“4 Stars” –The i, Kate Solomon
“It’s both an interesting peek behind the curtain of a time in a young woman’s life and proof that Swift knows exactly how to formulate a cohesive album. The famously observant and obsessive Swifties will find the tweaks to the originals a thrill to explore: for the casual among us Red (Taylor’s Version) is a reminder of just how brilliant Taylor Swift can be when her heart is in tatters.” –The i, Kate Solomon
“Anyone else write a dramatic email to their boss this morning asking for—nay, DEMANDING—time off from work to emotionally come down from Taylor Swift releasing Red (Taylor’s Version)? Cool, same, glad I’m not alone.” – Cosmopolitan, Mehera Bonner
“Taylor Swift is a force of nature.” –HITS
“The artist’s ability to move the needle, particularly with her ultra-devoted fans, is unprecedented, as she motivates them to buy new versions of prior releases in astounding numbers.” ––HITS SEE WHAT CRITICS ARE SAYING ABOUT SATURDAY NIGHT LIVE & ALL TOO WELL THE SHORT FILM “Taylor Swift Stuns With 10-Minute Version of ‘All Too Well’ on ‘SNL’” – Billboard, Mitchell Peters
“On SNL, Taylor Swift Stopped Time.” – The Atlantic, Spencer Kornhaber
“Taylor Swift got only one song on the show, but boy did she make it count…” – The New York Times, Dave Itzkoff
“Taylor Swift sang the 10-minute ‘All Too Well’ on ‘SNL’ and we’re not fine at all.” – Los Angeles Times, Christi Carras
“Taylor Swift paralyzed time with the live television debut of her expanded version of “All Too Well”” – Rolling Stone, Ilana Kaplan
“Taylor Swift Absolutely Stuns On ‘SNL’ With Debut Of Full 10-Minute ‘All Too Well’” – The Huffington Post, Mary Papenfuss
“The singer-songwriter’s epic performance of “All Too Well” wins all breakups, forever.” – AV Club, Dennis Perkins
“Just Give In to the Exquisite Sappiness of “All Too Well”” – Vogue, Sarah Spellings
“Taylor Swift stole the Saturday Night Live spotlight.” – ET Online, Zach Seemayer
“I have seen All Too Well the short film, and the grade I would give it is an A+” – Variety, Ramin Setoodeh
VIDEO: [ai] “The Subway Song” Slide Guitar and a Catchy Chorus Make This Tune a Certain Smash Hit
Budding pop superstars [ai] have released the video for the single “The Subway Song” from their new offering No Cure for the Princess Disease, set to be unveiled later this year.
Fans of the rock n roll classics or late 80’s/early 90’s rock will enjoy the Replacements and Pixies-esque guitars that begin this tasty pop kernel. With easy to remember and relatable lyrics, a fine vocal timbre and upbeat vibe, “The Subway Song” is sure to make this exciting artist conglomerate an underground secret no more.
[ai]—as in I, eye, aye, etc.—is an independent musical collective directed by Texas-born singer-songwriter Mark Will. Based on the island of Taiwan, the backdrop for the songs on Carmina Formosa (2016) and Carmina Formosa Deluxe (2020), the group creates its sonic alchemy in collaboration with producer Zen Chien (a.k.a. the George Martin of Asia) at the legendary 112F Recording Studio in Taipei (a.k.a. Abbey Road East).
Tracks from the Carmina Formosa project have received considerable notoriety. The funk-inspired tune “The Kinkster” was honored as “most bonobo song” of 2016 by sex therapist Dr. Susan Block, and since that time it has been the unofficial theme song of her podcast and radio show. In July of 2021, “Dystopian Theme Song” was featured as “song of the day” on the Media Monarchy morning program, which showcases “real-deal independent protest music.” The ballad “Love in the Time of Tuberculosis” has been praised by the publication A&R Factory as an “archaically infectious serenade” and a “uniquely captivating soundscape.”
The band’s new album, No Cure for the Princess Disease, is scheduled for release in November of 2021. With innovative and surprising variations on the genres of hard rock, alternative rock, prog rock, rockabilly, pop, and punk, the Korea-themed record offers listeners a wide variety of auditory experiences. Mark Will’s songwriting is firmly rooted in the best of the classic rock tradition, his workmanlike basslines and emotive vocals are complemented by the virtuoso performances of guitarist C.J. Hsu and drummer Cody Byassee, and studio wizard Zen Chien’s production is, as always, state-of-the-art. It might safely be said that there is at least one song for every type of music fan on No Cure for the Princess Disease.
So if you like the bardic lyricism of Dylan, the exuberant craftsmanship of the Beatles, the raw power of the Stones, the conceptual experimentalism of Pink Floyd, the transgressive artistry of the Velvet Underground, and the DIY ethic of the Sex Pistols—well, dear listener, you may have found your new favorite band. Are you ready for the expat rock revolution? All in favor, say [ai]!
VIDEO: jake from the timeline “5g” the former Mashable comedian turns digital anxiety into pop catharsis
Comedian turned meta-pop artist jake from the timeline released a music video for the absurdly catchy synthetic single “5g” — directly to the timeline of Instagram, as one of his signature vertical music videos.
On ‘5g’, jake from the timeline gives voice to collective tech apprehension in our age of digital backlash, but this isn’t some cynical, above-it-all social commentary. Standing in for users everywhere, jake delivers pop songwriting, comic bon mots and manic, overdriven synth hooks to mark his spectacular ‘upgrade’ to the synthetic consciousness of 5g.
The music video for “5g”, which jake directed in his phone-vertical signature, is a shoutout to Verizon’s classic ‘can you hear me now?’ Test Man spots. Jake and his giant Airpod roam the post-industrial L.A. streetscape, just another piece of material dwarfed by opaque 5g towers cropping up everywhere.
The video feels like a piece of handmade digital art for the listener thrust into the forthcoming metaverse, turning fear and alienation into a sort of transcendent comic superpower. An absurd declaration of preparedness for our seemingly dystopic age, ‘5g’ assures us that it may be a brave new world, but we’ll get through it with our sense of humor intact.
“For better and for worse, our relationships are largely mediated by the internet,” jake said. “Some people are terrified by the way it’s influenced our world, some take on a kind of utopian attitude, and I can relate to both. To me, what’s important is to positivise that alienation and distortion, to make something constructive that expresses the value of playfulness and humor in a dangerously unsubtle environment.”
On an alternate timeline, jake from the timeline was Jake Fertig, a Mashable comedy director and performer who ‘saved drake’s life’ and started the ‘world’s youngest boy band’ until social media platforms shuttered editorial online video and his role along with it. Blurring the lines of reality and it’s digital twin, jake responded by posting banal instagram stories as performance art.
“I got the urge to start posting instagram stories that were increasingly dumb,” he said. “I’d post a video of myself talking about sitting in a chair, or recommending pasta to people visiting Italy. I had this idea that people would be scanning through their stories, the place that’s supposed to be saved for your ‘authentic’ behind-the-scenes self, and see something strange, someone who almost seemed to be performing. And I’d call myself jake from the timeline.”
Once a friend suggested he adopt the persona in his music, which was more private and confessional, he began to wonder: who better to make music about social media than someone who’s trajectory was altered by the course of digital progress?
“Ultimately, that’s what I make music for — real people like me who are trying to figure out how to live a good life in the age of the network.”
Classic Country Lyrics Meld with Americana Sounds for Satisfying Single
Emerging Americana singer-songwriter D. Boone Pittman has released the super fun video for the instantly satisfying single off of his latest album “Emerge”, entitled “She Likes the Beach” to his YouTube channel.
With jangling guitars and a vocal delivery reminiscent of giants of the genre like Alan Jackson and Garth Brooks, Pittman first revels in the differences between rural and island life, then laments the possibility of the loss of love. He likes to be amidst the beauty and majesty of the mountain air, while she longs to be immersed in the water and sunning on the sand of the nearest beach. Despite the disparities, their romantic connection keeps the relationship going strong, and in the end compromise saves the day.
D. Boone Pittman makes Eastern Kentucky seem as mythical, alluring and inviting as any setting that’s ever been immortalized in song. We’ve all come to know and love places because songs have inspired us to daydream about them: Memphis, El Paso, New Orleans, San Francisco, L.A.—from “Sweet Home Alabama” to “the South South Bronx.” But the scenery we encounter in Pittman’s songs is distinct in that he’s not just a troubadour passing through and observing for a night before heading for the next show. In fact, any place would be lucky to have a D. Boone Pittman to reveal its charms, its limitations, its stories, its humanity—its truth—to the world. Having grown up in the Powell County town of Stanton, it’s as if the lay of the land has soaked into his bones. And even when he touches on travails—be they his own or the more collective challenges he addresses for all of our benefit—his love of home pours into every note of his rockin’ blend of country and bluegrass.
