CMT Music Awards Moved To October | Hollywood News Source

Joining an ever-growing list of entertainment industry events the CMT Music Awards have announced that the event will be postponed until October.

Here is the official statement from CMT

 “Our top priority this last month has been rebuilding our hometown of Nashville following the tornado and ensuring the safety of our fans, employees, artists and partners during the COVID-19 crisis.” 

The event was originally set to run on June 3rd 2020.

This content was originally published here.

Davido reacts after Kiddominant and Peruzzi revealed they wrote most of his hit songs – Naija Gbedu

Davido has reacted after Peruzzi and Kiddominant revealed during an Instagram Live session that they wrote most of his hit songs.

During the live video, Peruzzi revealed that he’s written top hits for Davido. He said he wrote FIA, Nwa Baby, Risky and Assurance. On his part, Kiddominant said he wrote hits for Davido, including Dodo, Fall, The Money, and Like Dat.

The singer, who was being discussed, appeared to be watching the live video and he dropped a comment to let viewers know that he too has written something.

He commented: “SHEKPE !!!…. at least I write that one.”

This content was originally published here.

Grohl’s Isolated drums on Nirvana’s Smells Like Teen Spirit

‘Smells Like Teen Spirit’, by Nirvana is one of the world’s most iconic songs ever written. Kurt Cobain’s classic vocal captured the feeling of a generation and has continued to fuel angst-ridden teenagers who believe in Mr Cobain more than anyone else. Hey, we’ve all been there.

Yet while Cobain’s vision, lyrics and vocals were one thing, Krist Novoselic’s nous for authenticity was another, much of the song’s success can be pinned under the name of Dave Grohl, the band’s imperious drummer.

Cobain has said that the song gave Nirvana the proverbial gateway into mainstream and stated he was even trying to write the “ultimate pop song” when composing the song. Lyrically the song is a perfect balance of the anthemic and the intricate, something mirrored in Grohl’s performance.

Released in 1991 on September 10 from album Nevermind the iconic song initially didn’t chart and only really had an impact on the band’s fanbase at the time. But soon enough ‘Smells Like Teen Spirit’ began finding airtime on local radio stations and across the country the song began to pick up notoriety. When it hit MTV everything changed.

Suddenly the group would find themselves in the blinding glare of the spotlight. Their album began to fly off the shelves and they were given prime spots on late-night TV shows. They quickly rose up the charts and Nirvana’s name had been set in stone as the forefront of this new thing called grunge. The legend will go down in the history of music and none of it would’ve been possible without that song.

Dave Grohl, lead singer of Foo Fighters, way before the Foos were even an idea was, of course, Nirvana’s iconic drummer. As much as Cobain’s vocals it was his powerful drumming style the moved the band on. Their previous drummer Chad Channing had been a more than the respectable player but Grohl entered the fray as a man possessed. A relative kid, the young drummer was another face of generation X making his name.

Often overshadowed by the legacy Cobain left behind, Grohl’s contribution to the band should not be forgotten. When you get down to it and listen to the precise and powerful percussion with the help of the isolated drum track below, it is easy to see how the song is given extra weight by Grohl.

Often classed as the reason Nirvana eventually ‘made it’ out of the Seattle underground scene, his drumming is the perfect punctuation to Cobain’s words. The track has so much force behind it, it hooks in whole generations.

Right from the get-go ‘Teen Spirit” starts with a drum fill that is instantly recognisable. He doesn’t hold back, and he never gives up, dropping bomb after bomb and enjoying every furious minute of it. Listen below to Dave Grohl’s isolated drum track on Nirvana’s anthemic ‘Smells Like Teen Spirit’.

This content was originally published here.

20 iconic album covers created by Andy Warhol

“The idea is not to live forever, it is to create something that will.” – Andy Warhol

Andy Warhol, the artist, film director, and producer who acted as a pioneering figure of the pop art movement, always knew that the act of creating was something he was born to do.

His life’s mission, to birth differing forms of visual art, spilt onto canvas, film, sculpture, photography and, on many occasions the covers of music albums representing now-iconic artists.

In the late 1950s, as the record industry began to expand at an extraordinary rate, Warhol was hired by both Columbia and RCA Records on a freelance basis to create album covers and promotional content and, from there, carried the skill throughout his career.

When Warhol arrived in New York he met with his schoolmate George Klauber who was, at the time, working for a creative agency run by Will Burtin. Klauber did Warhol a favour and introduced him to Burtin and the opportunity to work with Columbia’s, and later RCA’s, art director Robert M. Jones.

Robert M. Jones remembered it fondly and suggested that the commissions may have been his first: “I gave him three little spots to do for the corners of the standard albums. He needed money. I never kept any records but I know that these little spots must have been amongst the first things he did, certainly in the first three to six months he was here. I gave him three different ones to do, at $50 apiece. And two days later he came back with a stack of drawings like that to satisfy the three drawings we needed.”

Here, we delve into some of Warhol’s most iconic album cover creations:

Carlos Chávez
A Program of Mexican Music – (1949)

Widely regarded as the first-ever album cover designed by Warhol who, at the time of creating it, was aged 21.

Carlos Chávez, the Mexican composer, conductor and music theorist required a record sleeve for A Program of Mexican Music and Warhol delivered a modest result with a brief glimpse into his illustration future.

Gioachino Rossini
William Tell Overture; Semiramide Overture – (1953)

A bold and striking design, this cover foreshadows the strong point of view Warhol would take up in the sixties. Taking on Arturo Toscanini conducting the NBC Symphony Orchestra, Rossini’s “William Tell Overture”, he uses the symbol of the apple to tell the whole story.

Count Basie
Count Basie – (1955)

Next up was the self-titled record of jazz pianist Count Basie which featured a stunning portrait fo the man himself. The musician’s face only enhanced by the block type.

Thelonious Monk
Monk – (1956)

Warhol added what would become his signature flair to the legendary jazz pianist’s 1956 release Monk which comprised some of his most sensational recordings between 1953-1954 for the Prestige label.

Kenny Burrell
Blue Lights, Volume 1 – (1958)

Blue Lights is another album to be graced by Warhol’s work as the record from American jazz guitarist Kenny Burrell recorded in 1958 and released on the Blue Note label as two 12 inch LPs entitled Volume 1 and Volume 2.

Tennessee Williams
Reading From the Glass Menagerie, The Yellow Book and Five Poems – (1960)

The next record Warhol took on was something a little different and a stretch from his previous work in jazz. This LP would be a spoken word piece from none other than the legendary writer, Tennessee Williams. The artist would continue to pay homage to the writer throughout his career.

John Wallowitch
This Is John Wallowitch – (1964)

Prolific American songwriter and cabaret performer John Wallowitch’s debut LP’s cover artwork was designed by Warhol, who was a close associate of the obscure singer’s esteemed photographer brother Edward Wallowitch who the artist was also romantically linked to for a brief period of time.

The Velvet Underground
The Velvet Underground & Nico – (1967)

If there’s one iconic album artwork that almost everyone will know is and Andy Warhol piece it’s this one. The 1966 self-titled album from Factory superstars.

Not only was the banana’s striking image a tongue in cheek one, it was also an interactive piece and featured a peelable skin to reveal a blushing pink fruit.

The Rolling Stones
Sticky Fingers – (1971)

Following on from his famous work with The Velvet Underground, Warhol took four years before creating another album cover it had to be something special to lure him back in and it doesn’t get more special than The Rolling Stones’ Sticky Fingers LP.

The suggestive image was conceived by Warhol with the photography and upon hearing the artist’s direction for the cover Jagger apparently instantly became infused with the zipper idea that the pioneering artist concocted.

The Rolling Stones
Brown Sugar / Bitch / Let It Rock – (1971)

Warhol was also behind the artwork for the lead EP from The Stones’ Sticky Fingers record which continued with the sexually evocative theme from the album cover that he created.

John Cale
The Academy in Peril – (1972)

His next venture would see him reunite with The Velvet Underground’s John Cale on his 1972 masterpiece The Academy in Peril which was the second solo record by the Camarthen native with Warhol reverting back to a more signature aesthetic than with his work with The Rolling Stones.

Paul Anka
The Painter – (1976)

The New Yorker then took four years off working on record covers before producing this portrait of Paul Anka for the Canadian singer-songwriter’s 1976 effort The Painter.

The Rolling Stones
Love You Live – (1977)

Continuing his relationship with The Rolling Stones, Warhol returned to working with the group and designed the artwork for their 1977 live double album Love You Live.

However; much to the artist’s dismay, Jagger had taken the decision to add hand-written titles to the cover art which angered Warhol and signalled the end of their working relationship.

Liza Minnelli
At Carnegie Hall – (1981)

Long-time close friend Liza Minnelli was his next project when he produced the artwork for her live album at New York’s Carnegie Hall for and the entertainer is reported to have 22 pieces of art depicting her that she cherishes which Warhol created for which is worth a staggering $40million.

Billy Squier
Emotions in Motion – (1982)

Billy Squier can count himself among the plethora of stars to have been given his very own Warhol portrait. The album was a second consecutive top 5 entry into the charts and featured the hit song ‘Everybody Wants You’.

Diana Ross
Silk Electric – (1982)

Ms Ross makes up one of the more iconic images from this collection as Warhol perfectly cpatures Ross’ iconography. The album contains the standout single ‘Muscles’ and was a moderate success across the globe. It may not be Diana Ross’ crowning glory but we imagine an image of the album cover hangs somehwere near her mantle.

Peer Raben
Querelle – Ein Pakt Mit Dem Teufel – (1982)

The soundtrack to 1982 film Querelle which sees a young sailor meet a murdered (and his supposed brother) in a French bordello, works as another advertisement for Andy Warhol’s keen eye. We’re sure the great novelist Jean Genet would approve.

Rats & Star
Soul Vacation – (1983)

A funk and soul record ready to be rediscovered by the masses, Rats & Star are the kinf of obscure artist who Warhol would have loved. As well as having an eye-pleasing name, the group also provided all kinds of nonsense on Soul Vacation.

John Lennon
Menlove Ave – (1986)

The second posthumous release of Lennon’s music, Menlove Ave is adorned with a poignant portrait of the Beatle. Warhol and Lennon enjoy an exploratory friendship and creative working relationship. They found solace and inspiration in one another and this artwork remains a clear depiction of Lennon’s otherworldly abilities.

Aretha Franklin
Aretha – (1986)

Having already [produced a whopping thirty studio albums by the time she releases 1986’s Aretha this album cover had to be really special. Luckily, Warhol was on hand with his timeless style. It wasn’t only Franklin’s thirty-first studio LP but was also her third with the title Aretha.

This content was originally published here.

THE BERGAMOT

Emmy Award-winning duo The Bergamot release new record Mayflies produced by legendary engineer/producer Matt Wiggins (UK). The sterling stream of singles released this year has set the world stage for The Bergamot. The group has recently been featured in People Magazine, PARADE Magazine, US Weekly, The Daily Record, The Daily Mirror, EARMILK, ALFITUDE, Where the Music Meets, and Keep Walking Music. The new album, Mayflies is set to be the biggest release in the group’s history. The band has announced a full U.S. tour this fall, more music videos upcoming, all the while the band’s fanbase grows by the day. It’s been an overnight success that has been 10 years in the making.

About The Bergamot:
The Bergamot’s journey began on October 20th, 2017. The Bergamot released their dreamy anthem P.D.R. (Both Records LLC). The single launched the band’s career who was discovered by Matt Wiggins (Adele, U2, Florence and the Machine) and then went on to achieve great reviews being called “The hottest emerging music talent” (People) and “a gorgeous sound” (Daily Mirror) and the “Best of 2019” on Where the Music Meets and mp3hugger.

Fans have discovered the band through an unbelievable series of music videos released to promote the new album “MAYFLIES”. The videos have been heralded by music critics as “Lush” (PARADE) and “The Perfect Blend” (EARMILK). These groundbreaking videos have brought light to difficult topics and continued to build upon the band’s momentum from “P.D.R.”. The videos have garnered over 150k views on YouTube and earned the band the #1 single (L.A.) ever released on the SubmitHub website.

In recent months, The Bergamot revealed a fully animated music video for “One Mile” and the fascinating “Bones” video filmed by evolve Films. The “Bones” music video was filmed underwater and marks a poignant message about depressions and suicide. The glitches of the video reflect a fragmented perspective and touch the viewer in an empathetic and revealing way. After making the band’s UK debut in The Daily Record and The Daily Mirror, the band is being heralded as “one of 2019 finest” (mp3hugger), “Best of 2019” Where the Music Meets, and a band that “We’ve been lauding for years” (Atwood Magazine).

The post THE BERGAMOT appeared first on JaxLive.

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21 Savage Claims Certain Atlanta OG Came Up With Drill Music :: Hip-Hop Lately

As Savage explained in an IG Livestream, Atlanta rapper Waka Flocka Flame is the father of drill.

“We been on that sh*t done here. Waka Flocka really started that sound. Facts,” Savage said.

If Waka Flocka is drill’s daddy that would put its date of birth around 2008.  And, yes, 21 Savage had left jolly old England for the U.S. by then.

This content was originally published here.

Burna Boy blasts those who say he ‘steals’ Fela’s songs – Daily Gossip

For a long time, accusations of ‘theft’ of Fela’s songs and artistry have dogged Burna Boy and his career.

On March 31, 2020, Nigerian superstar, Burna Boy took some time off his self-isolation to do a questions and answer (Q&A)session with fans on Twitter. This comes after Burna Boy had voiced his frustration at the limitation of his movement on March 27, 2020.

During the Q&A, he spoke about Wizkid, Fela, early days, new album in 2020 and ‘Odogwu (Remix)’ featuring Phyno, Zoro, Illbliss and Nigga Raw. Nonetheless, something dramatic happened when Burna Boy replied a fan who told Burna Boy that, “With all this fela songs yhu dey drop back to back shior.”

Burna Boy who had obviously had enough bit back and replied, “The Fools that say this sh*t don’t even really know Fela songs. Fela went through much more hate from you fuckers than I currently do and all he did was speak the truth even more than I do,” He tweeted, adding “U are just pained that I’m King and I’m Flawless with the vibes. Unstoppable.”

For a long time, accusations of ‘theft’ of Fela’s songs and artistry have dogged Burna Boy and his career. The last one was when legendary Nigerian rapper when to TVC and talked about how Burna Boy steals Fela’s songs and how Burna Boy wouldn’t have a career without Fela’s songs.

This content was originally published here.

Big Zulu Sends A “Voets*k” To AKA – SA Hip Hop Mag

Big Zulu Sends A “Voets*k” To AKA. If you have been following up on SA Hip Hop Mag you would be reminded that the past weeks have been hectic with the AKA-Cassper beef.

The conflict between the rappers didn’t just end with them, it escalated to a point where it involved other people.

Fans are known for doing a good job in pinning celebrities against each other on social media, at times artists find themselves on a trap. Big Zulu gave fans what they wanted : Drama. A fan commented on him stating that he would whoop AKA if it was him he was dissing like he was Mufasa.

Replying to a now deleted tweet Big Zulu told the fan and “his” AKA to go fu*c off. There’s never been a beef between the two nor have they worked together, but now it seems Zulu isn’t fond of AKA and his behavior of insulting parents.

“Abothuka mina ngomama nobaba bese ebeka iDate nendawo ubone ukuth ngeke ngimlume yin,” wrote Inkabi, meaning “those who will insult me with my parents must set a date and place and see if I won’t bite.”

See tweets:

— Big Zulu (@BigZulu_ZN) March 19, 2020

Awukhathali ukukhonkotha🐂 iNkabi ongasoze wayiluma 🐕nja https://t.co/MvTio0u02d

— Big Zulu (@BigZulu_ZN) March 21, 2020

Abothuka mina ngomama nobaba bese ebeka iDate nendawo ubone ukuth ngeke ngimlume yin https://t.co/cAs5CyKeXP

— Big Zulu (@BigZulu_ZN) March 21, 2020

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Kings of Leon Unveil Video for New Acoustic Song ‘Going Nowhere’ – Rolling Stone

Kings of Leon have unveiled a video for their new song, “Going Nowhere.” Directed by Casey McGrath, the black-and-white clip was shot live from Nashville, Tennessee and they released it on Tuesday.

The visual features band frontman Caleb Followill. He is seen sitting on the arm of a couch as he’s filmed with his back to the camera while he is alone performing the reflective ballad on acoustic guitar. The minimalistic backdrop and setting befits the song’s of-the-moment longing themes of yearning to be with someone while looking forward to better days. “I’m going nowhere/If you’ve got the time/And it’s a long, hard road/’til I can get to you,” Followill sings. “And I’ll be holding on/Hoping the sun comes shining through.”

“Stay safe. Stay home. We will see you as soon as we can,” the band captioned the video. Kings of Leon are currently scheduled for a handful of European tour dates over the summer. On September 25th, the band is also slated to headline Ohana Festival, which runs September 25th-27th, at Doheny State Beach in Dana Point, California. Kings of Leon released their seventh studio album, Walls, in 2016.

This content was originally published here.

Bill Murray Recalls How John Prine’s Music Helped Him Out Of Depression | Whiskey Riff

In the words of Woody Harrelson’s character, Tallahassee, in the critically-acclaimed motion picture Zombieland…

BILL FUCKIN’ MURRAY.

I love Bill Murray. Everything about him. A fellow Chicago guy, and a fellow country music guy, and a BIG John Prine Guy.

With the news of John in the hospital, battling this awful Coronavirus, people have been sharing their well-wishes, and stories of how he’s impacted their lives and their careers. Everyone from Kacey Musgraves to Sturgill Simpson. But a few years back, Bill Murray recalled how John’s music literally pulled him out of a battle with depression.

While listening to John’s Great Days record, he heard “Linda Goes To Mars,” and according to Bill, that was the “beginning of the return.”

Gotta love it.

Get well soon John, country music needs you. The fans need you, the artists need you, and even the mythical Bill Murray needs you too.

By the way, here’s the latest on John from his wife Fiona:

I need to clarify what I mean by “John is stable”. That is not the same as improving. There is no cure for Covid-19. He needs our prayers and love – as do the thousands of others who are critically ill. Stay at home. Wash your hands. We love you.

— Fiona Whelan Prine (@FionaPrine) March 30, 2020

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Phish Announce New Album, ‘Sigma Oasis’

During Phish’s second Dinner and a Move broadcast the band offered a surprise check-in via webcam and announced they would share a brand new studio album – Sigma Oasis – on Wednesday, April 1 (April Fools Day).

According to the band – they went into the studio last November and had been “working on it steadily ever since.”

The title comes from a newer Phish composition, which they debuted on Dec. 8, 2019 in North Charleston, SC and later reprised on Feb. 21, 2020 in Mexico.

The Sigma Oasis listening party will take place on LivePhish.com, SiriusXM and Phish’s social media channels at 9 p.m. ET on Wednesday, April 1.

“We hope that all of you will be joining us… We’re really proud of it,” keyboardist Page McConnell commented, adding that the album cover was shot by photographer Rene Huemer.

“We’re excited about the whole package… We miss you and we hope you are all in your own homes taking care of yourselves,” McConnell added.

“And in the meantime we have a new album to drop on you,” drummer Jon Fishman grinned.

This content was originally published here.

Watch Dave Grohl And Billie Joe Armstrong Perform In Their Living Rooms — Kerrang!

At home in Hawaii, Dave dedicated Foo Fighters’ legendary 1997 track My Hero “to all the people out there on the front lines, who are doing all they can to get us through this”, prefacing his performance by stating, “I hope you’re staying healthy. If you love someone let them know, if you’re thankful for someone, tell them.”

Read this next: 20 things you probably didn’t know about Dave Grohl

Meanwhile, Billie Joe performed Green Day’s 2004 smash single Boulevard Of Broken Dreams with a few cameos from his dogs in his living room in California.

I hope everybody’s happy and healthy – or trying to be as happy as possible,” he said, “I know it’s a really stressful time. But I just wanna say it’s an honour to be playing for everybody right now.”

Watch both beautiful stripped back performances below:

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Wallace Roney, Jazz Trumpet Virtuoso, Is Dead at 59 – The New York Times

In addition to his fiancée, a vocalist and educator whom he had known since high school, and his grandmother Rosezell, Mr. Roney is survived by his sister, Crystal Roney; a brother, the saxophonist Antoine Roney; two half sisters, April Petus and Marla Majett; a half brother, Michael Majett; a son, Wallace Vernell Roney, a trumpeter now on the rise on the New York scene; and a daughter, Barbara Roney. His marriage to Geri Allen, a noted pianist and frequent musical collaborator during Mr. Roney’s early career, ended in divorce.

In both 1979 and 1980, Mr. Roney won DownBeat magazine’s award for best young jazz musician of the year. A decade later, he pulled off a similar double victory: He was voted trumpeter to watch in back-to-back DownBeat critics’ polls in 1989 and 1990.

He attended both Howard University and Berklee College of Music before moving to New York City to pursue a career.

After years of lean times (jazz in particular was in a commercial slump for much of the 1980s), he received two separate calls within the same month inviting him to join the bands of Tony Williams and Art Blakey, both pre-eminent elder drummers. He spent years in both ensembles before his solo career took off.

Even in later years, Mr. Roney continued to balance his devotion to the greats of jazz’s past with an urge to make his own way. In 2014, he starred in the public debut of “Universe,” a large-ensemble suite that the saxophonist Wayne Shorter wrote for Davis in the late 1960s, but that had never been performed.

“I see my music as an extension of ‘Nefertiti,’ ‘A Love Supreme,’ Tony Williams’s Lifetime, Herbie’s sextet and Miles’ last band,” Mr. Roney said in a 2004 interview with JazzTimes.

This content was originally published here.

Mega64antine (PREMIERE EPISODE) | Mega64

Well hello there! Bet you didn’t think you’d be seeing another podcast right now, but we’re doing a new bonus talk show every week while we’re in quarantine! This week, we talk about what life has been like, and tons of Nintendo news from the past week. Click here for the audio version!

This content was originally published here.

CMA Fest in Nashville 2020 canceled due to coronavirus pandemic

CMA Fest 2020 canceled due to ongoing coronavirus pandemic

Matthew Leimkuehler Nashville Tennessean
Published 2:12 PM EDT Mar 31, 2020

For the first time in nearly half-a-century, CMA Fest won’t be bringing country music’s biggest stars together in Nashville.  

On Tuesday, Country Music Association officials canceled the annual event due to concerns regarding the novel coronavirus. Metro Nashville Public Health Department reported Tuesday at least 541 cases of COVID-19 in Davidson County, an increase from 443 cases reported Monday. 

CMA Fest, one of the largest country music events in the world and a summer staple in downtown Nashville, was scheduled for June 4-7.

The event returns June 10-13, 2021. 

“Whether you planned to attend CMA Fest for the first time, or you have attended many times throughout the last 48 years, we know how special this festival is for country music fans around the globe and that many will be disappointed by this decision,” a statement from CMA read.

The statement continued, “As the world is still greatly affected by the spread of COVID-19, we cannot in good conscience risk the health and well-being of our fans, artists, staff and country music community.”

More: Bonnaroo 2020 postponed to September

Sign up for our newsletter: Stay safe and informed with updates on the spread of the coronavirus.

Ticketholders can seek a refund at the point of purchase or hold passes for the 2021 event. Issuing refunds may take 30 to 45 business days, per the CMA website. 

Drawing around 80,000 festivalgoers annually, most CMA Fest acts perform for free in clubs or on outdoor stages. Ticketed events to see top country music entertainers take place at Nissan Stadium and Ascend Amphitheater.

The event, known for decades as Fan Fair, earned a reputation for one-of-a-kind fan experiences, with many artists holding meet-and-greet sessions or intimate listening parties. 

Funds from CMA Fest benefit music education programs, per the Country Music Association website.

Past years welcomed festivalgoers from all 50 U.S. states and more than 30 countries.

Self-described as the longest running country music festival in the world, CMA Fest generated an estimated $65 million in economic impact last year. 

In the coming weeks, CMA Fest organizers said they hope to announce future events and alternative ways to support individuals impacted by the coronavirus. 

“… we will continue to bring Country fans and artists together to celebrate the unique spirit and sense of unity that is at the heart of what CMA Fest stands for,” the statement said. 

This content was originally published here.

Former RIOT Guitarist LOU A. KOUVARIS Dies From Coronavirus – BraveWords

Original Riot guitarist Lou A. Kouvaris – who appeared on the first Riot album Rock City (1977) and wote songs for Narita (1979) – has passed away from Coronavirus (COVID-19). Riot’s manager Giles Lavery says he developed symptoms over a week ago. He was 66 and passed away at his home in Long Island, New York. BraveWords offers condolences to Lou’s family, friends and fans.

Riot Act consisting of Kouvaris, Ventura, singer Don Chaffin, Drummer Claudio Galinski and bassist Paul Ranieri played their first official live gig at this year’s Metal Hall of Fame 2020 on January 15th. Jimmy Kay from The Metal Voice spoke with Kouvaris. “The band is planning on re-recording all the songs off the first three Riot albums, Rock City, Narita and Fire Down Under and they are also in the process of recording all new material for a new album plus a tour.”  

Riot Act singer Don Chaffin added, “We just put out a music video on a re-recording of the Riot classic ‘Swords And Tequila’ and next we will be releasing another music video on the re-recording of the song Riot song Rock City and after that put out an original Riot Act song so stay tuned.”

For more on Riot Act, visit the band’s official website and Facebook page.

Thanks Jimmy Kay for your input!

Photo courtesy of Lou A. Kouvaris’ Facebook page.

This content was originally published here.

Rammstein’s Till Lindemann admitted to hospital, tests negative for coronavirus | Louder

Rammstein have issued a statement to say that frontman Till Lindemann does not have coronavirus. 

The move comes after widely-shared reports in German newspaper Bild claimed that the singer had tested positive for the virus. Rammstein do confirm, however, that Lindemann was admitted to hospital yesterday.

In a short statement on Facebook, the band say, “Yesterday evening Till Lindemann was admitted to a hospital on the band’s doctor’s advice. He spent the night in intensive care but has been moved as he is feeling better. Till has tested negative for the coronavirus.”

Due to the COVID-19 outbreak and restrictions ushered in by the Russian and Tatar authorities, the last three dates of Lindemann‘s Russian tour in Perm, Kazan and Voronez were cancelled last week. The band and promoters have promised to ensure that the shows happen at a later date.

Rammstein’s summer dates in Europe and North America are still scheduled to go ahead. 

This content was originally published here.

Joe Diffie Tests Positive For COVID-19 – Country Now

Famed country singer Joe Diffie has tested positive for the novel coronavirus (COVID-19).

The Grammy-winning singer shared the news via his publicist on Friday  (March 27) with the following statement:

“I am under the care of medical professionals and currently receiving treatment. My family and I are asking for privacy at this time. We want to remind the public and all my fans to be vigilant, cautious and careful during this pandemic.”

Joe Diffie is a longtime member of the Grand Ole Opry and is best known for songs such as “John Deere Green,” “Pickup Man” and “Third Rock from the Sun.” His songs are often covered by rising country artists and his name is often dropped in songs by some of today’s top stars, including Chris Young in “Raised On Country” and Jason Aldean in “1994.”

Our thoughts and prayers are with Diffie and his family as he battles the virus.

This content was originally published here.

Bob Dylan: Murder Most Foul review – a dark, dense ballad for the end times | Music | The Guardian

As with pretty much anything Bob Dylan does these days, you can only speculate at his reasons for unexpectedly releasing a 17-minute song, ostensibly about the assassination of John F Kennedy, that gradually turns into a litany of cultural references taking in everything from Shakespeare to Stevie Nicks to silent-movie comedians, from the Moonlight Sonata to Jelly Roll Morton to A Nightmare on Elm Street.

And – as with pretty much anything Bob Dylan has ever done – speculate people have. They’ve suggested it’s a harbinger of his first album of original material since 2012. That it’s an outtake from his last album of original songs, Tempest, that’s noticeably better than anything on Tempest, and Dylan has form in leaving the best song off an album: this is, after all, the man who came to the conclusion that Shot of Love was better without Caribbean Wind on it, and Infidels somehow improved by removing Blind Willie McTell.

People have mooted that it’s a standalone release, appearing now because Dylan understandably thinks it’s timely, March 2020 being a pretty apropos moment to release an epic song filled with death and horror and apocalyptic dread (“The age of the antichrist has just begun … it’s 36 hours past judgment day”), or perhaps to give his diehard fans further incentive to stay indoors. You rather get the feeling some of them will still be self-isolating months after the coronavirus all-clear has sounded, delicately unpicking its manifold knotty allusions – the line about playing it for Carl Wilson down Gower Avenue requires the listener to know that the late Beach Boy sang backing vocals on Desperados Under the Eaves, the concluding track from Warren Zevon’s eponymous 1976 album, which ended with the line “look away down Gower Avenue” – and arguing on message boards as to whether the Susie mentioned midway through is just a reference to the Everly Brothers, or to Suze Rotolo, the girlfriend with whom Dylan watched the aftermath of Kennedy assassination unfolding, holed up in their New York apartment.

For a song that lasts 17 minutes, there isn’t a great deal to Murder Most Foul musically. The arrangement hovers atmospherically in the distance, a haze of tumbling piano, lightly struck drums and violin, its softness at odds with the tone of the lyrics. One comparison currently being bandied about is to Don McLean’s American Pie, itself a kind of bubblegum populist take on Dylan’s oblique referential songs of the 60s, but American Pie had a catchy tune and a singalong chorus. Here, there’s nothing that even vaguely resembles a standard structure and Dylan swiftly abandons any pretence of there being a vocal melody: it’s essentially a recitation set to music.

The point is clearly the lyrics, which are dense and intriguing enough to hold your interest, and give the listener plenty to digest. Quite aside from all the cultural references, there’s a narrator that keeps switching from Kennedy himself to Dylan, who in turn seems to keep switching from firebrand mode to the grimly resigned old grouch of Things Have Changed and It’s All Good (“I hate to tell you Mister but only dead men are free”) and a plethora of details about the assassination itself: “Don’t say Dallas don’t love you, Mr President” is a mangling of the last words spoken to Kennedy by Nellie Connally, the first lady of Texas.

The JFK assassination looms large in Dylan’s history, despite his assurance that “I didn’t feel it more than anybody else … the whole thing about my reaction to the assassination is overplayed”. Certainly, it bothered him enough to give a rambling speech at an awards ceremony shortly afterwards saying he “saw something of himself” in Lee Harvey Oswald. (He was roundly booed.) He also subsequently visited the assassination site and indeed wrote about it, albeit in a sheaf of unpublished typescripts that were auctioned in the 90s. And it’s clearly been bothering him more recently: a 2012 exhibition of his paintings featured one of Oswald and one of Oswald’s killer, Jack Ruby.

Is the litany of music, film and literature that consumes the song’s second half intended to suggest its author thinks art is a meaningless distraction at moments of tragedy, or vitally important? The condescending tone of “Hush little children, you’ll understand / the Beatles are coming, they want to hold your hand” implies the former, although the very timing of Murder Most Foul’s release suggests it’s the latter. It also suggests an artist nearing 80, but continually moving forward – musically, it’s unlike anything Dylan has done before – and as wilfully contrary as ever.

“If I was more sensitive about it than anyone else, I would have written a song about it, wouldn’t I?” he protested in 1971 when asked about the Kennedy assassination. Now he has.

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Elton John Hosting Living Room Concert to Aid Coronavirus Fighters

Sir Elton will be hosting iHeart Radio’s ‘Living Room Concert for America’ next week. It’s an hour-long FOX TV and online benefit concert to support heroic healthcare workers and first responders on the frontline of the pandemic.

Viewers will be encouraged to donate to 2 charitable groups helping both COVID-19 victims and workers as part of the musical pledge drive. Those groups are Feeding America and First Responders Children’s Foundation.

The living room concert TV special — airing March 29 — was originally scheduled to be the “iHeart Radio Music Awards” … but obviously, that’s been canceled. This is iHeart’s version of making musical lemonade out of the lemons.

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Spotify launches music relief project to help artists – Reuters

The Spotify logo is displayed on a screen on the floor of the New York Stock Exchange (NYSE) in New York, U.S., May 3, 2018. REUTERS/Brendan McDermid

(Reuters) – Spotify Technology SA said on Wednesday it had launched a COVID-19 music relief project to raise funds for musicians as the coronavirus pandemic grounds life to a halt in most countries, while taking a toll on the economy.

The music streaming platform, which had about 124 million paid subscribers, also partnered with non-profit organizations such as MusiCares and Help Musicians, a UK-based charity for musicians, it said in a statement.

Spotify said apart from donating funds to those charities, it would match donations made through the music relief page for up to $10 million.

Countries across the world have been asking people to stay at home to slow the spread of the coronavirus pandemic, which has killed nearly 19,000 people and infected about 421,000 globally.

The company said it was also working on a separate feature to help musicians raise funds directly from fans either for themselves or for other artists.

Reporting by Akanksha Rana in Bengaluru; Editing by Anil D’Silva

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BTS, Billie Eilish to join James Corden for quarantine edition of ‘Late Late Show’

Leave it to “Carpool Karaoke” mastermind James Corden to round up some of the biggest names in music for a special quarantine edition of “The Late Late Show.”

On March 30, the English comedian will host “Homefest: James Corden’s Late Late Show Special” from his garage, accompanied remotely by Billie Eilish, BTS, John Legend and more.

In addition to featuring appearances from Hollywood stars such as Will Ferrell and David Blaine, the hourlong program will also include musical performances from BTS in South Korea, Andrea Bocelli in Italy and Dua Lipa in London, as well as Eilish, Finneas and Legend in Los Angeles.

“Since [‘The Late Late Show’] came off the air, we have been thinking of different ways to try and make a show at this time,” said executive producers Ben Winston and Rob Crabbe in a statement Wednesday. “With the help of some wonderful guests, we are going to try to put on the best show we can, to entertain, raise awareness, raise money and hopefully lift spirits.

“Shooting from James’ garage may be far from perfect, but under the circumstances we hope it can help someone, somewhere, who needs some cheer right now.”

Throughout the show, Corden and his famous guests will also remind viewers to follow Centers for Disease Control and Prevention guidelines to prevent the spread of the coronavirus, as well as provide information on how to donate to the CDC Foundation and Feed the Children.

“Homefest: James Corden’s Late Late Show Special” airs March 30 on CBS at 10 p.m. Pacific.

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Bright Eyes Share “Persona Non Grata,” First New Song in 9 Years: Listen | Pitchfork

Bright Eyes have confirmed that a new album is on the way. Conor Oberst and co. have also shared “Persona Non Grata,” Bright Eyes’ first track in nine years and also their first single since signing to Dead Oceans. In addition, Bright Eyes are sharing a note that says they “will be releasing a new album this year no matter what.” Listen to “Persona Non Grata” and read Bright Eyes’ full statement below.

The new album, which does not yet have a title or release date, will be the band’s first since The People’s Key in 2011. Bright Eyes announced their first tour dates in nine years earlier this year—an announcement that followed the launch of their Instagram account with a teaser that hinted at an impending comeback.

Last year, Conor Oberst released the self-titled album from his project with Phoebe Bridgers, Better Oblivion Community Center.

Watch Conor Oberst with Phoebe Bridgers on Pitchfork’s “Over/Under”:

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Manu Dibango, Soulful Ambassador of African Music, Dies at 86 – The New York Times

Manu Dibango, a saxophonist from Cameroon whose 1972 single “Soul Makossa” made modern African music a clear presence on Western pop charts, died on Tuesday in a hospital in France. He was 86.

His Facebook page said the cause was Covid-19.

Although “Soul Makossa” was named after makossa, a Cameroonian style of music, and its lyrics were in the Douala language of Cameroon, Mr. Dibango’s worldwide hit was an internationalist piece of funk.

With his terse, dryly insistent saxophone lines answering his own chanted vocals, a tricky stop-start beat and a scrubbing rhythm guitar, “Soul Makossa” arrived at the dawn of the disco era and made its way to dance floors and R&B radio stations across the United States, Europe and Africa.

Michael Jackson would later quote its refrain in “Wanna Be Startin’ Somethin’,” a track on his 1983 album, “Thriller,” one of the best-selling records of all time; that song was in turn sampled by Rihanna for her 2007 “Don’t Stop the Music.” Mr. Dibango sued them both in 2009; Mr. Jackson’s estate settled out of court. The song has also been widely sampled in hip-hop.

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