Πέμπτη, 28 Μαρτίου, 2024

Eurovision 2024 : The “clash” Among Artists Regarding Israel’s Participation

It is known that non-European states also participate in the Eurovision Song Contest. One of the most well-known cases is that of Israel, which has been participating in the competition since 1973 and has won it four times. In January, while the attack on Gaza continued and the death toll rose to over 25,000 (estimate at the time), around 2,400 artists, initially Finnish and then Swedish, requested Israel to be excluded from the competition, which this year will be held in Malmö, with the final scheduled for May 11th.

“The fact that countries that violate humanitarian law are called to participate in international cultural events trivializes violations of international law and makes the suffering of victims invisible,” read the open letter from Swedish artists, signed among others by Robyn, First Aid Kit, and Fever Ray. “Allowing Israel to participate not only undermines the spirit of the competition but also the very idea of public service. It is also a signal to governments that they can commit war crimes without any consequences.”

Even before this stance, the Icelandic Association of Composers and Lyricists had asked its members not to participate in ESC 2024 if Israel were to be involved. A group of Members of the European Parliament, including those from the Spanish party Podemos, also participated in the campaign to prevent Israel from participating in ESC 2024 – as was done with Russia after the invasion of Ukraine when Russian television channels were expelled from the EBU. In the letter addressed to the European Broadcasting Union, which organizes the competition, they ask to exclude Israel because its participation would equate to whitewashing the conscience from “ethnic cleansing and war crimes committed in Palestine.”

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Since the early protests, the European Broadcasting Union has responded that “we understand the concerns and deep convictions about the current conflict in the Middle East, but we are committed to ensuring that the Eurovision Song Contest remains a non-political event, where artists and broadcasters compete, not governments. Our governing bodies, led by the Executive Committee, have reviewed the list of participants for the 2024 edition and have agreed that the Israeli public broadcaster KAN meets all the competition rules for this year and can participate, as it has done for the past 50 years.”

Now, about 400 artists, not just musicians, and many Americans, including Helen Mirren, Liev Schreiber, Gene Simmons, Scooter Braun, Boy George, Julianna Margulies, Sharon Osbourne, Debra Messing, and Diane Warren, have signed an open letter opposing the Swedish stance. It was disseminated by the non-profit organization Creative Community for Peace and requests that Israel be admitted to the competition as usual.

“We were shocked and disappointed to see people from the entertainment world calling for Israel to be banned from the competition for responding to the largest massacre of Jews since the Holocaust,” the letter reads. “Under the cover of thousands of rockets indiscriminately launched at the civilian population, Hamas has killed and kidnapped innocent men, women, and children.”

“We believe that unifying events like song contests are crucial to helping mend cultural divisions and unite people from all backgrounds through their common love for music.” Those calling for Israel’s exclusion, the 400 write, “are undermining the spirit of the competition, turning it from a celebration of unity into a political tool.”

Israel’s representative at the Eurovision Song Contest 2024 is twenty-year-old Eden Golan.

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Karol G’s New Release “Contigo”: A Journey Into Romantic Love

Karol G has captivated fans with her latest release, “Contigo,” a collaboration with Tiësto that dropped just in time for Valentine’s Day and her birthday. The music video, featuring Puerto Rican rapper Young Miko, exudes the romantic essence of the holiday as Karol G reflects on the joy of companionship.

With “Contigo,” Karol G infuses her signature style into an upbeat club anthem, interpolating Leona Lewis’ timeless hit “Bleeding Love.” Tiësto’s production elevates the track to new heights, creating a pop-synth fusion that delights the ears.

In addition to the music video, Karol G has launched the #KarolGContigo challenge, inviting fans to share their interpretations of the song. “I made this song to celebrate the joy of LOVE,” Karol G expressed. “I want to inspire you to take a chance on LOVE and show me what that means to you!

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The music video portrays a captivating love story between Karol G and Young Miko, with moments of joy, intimacy, and heartache. As they share special memories and moments together, their chemistry is palpable, drawing viewers into their emotional journey.

From cruising down the street to sharing tender moments in an apartment, the video beautifully captures the essence of love. However, it also navigates the complexities of relationships, as depicted in scenes of longing and separation.

Ultimately, “Contigo” not only serves as a celebration of love but also as a testament to Karol G’s artistry and ability to connect with her audience on a profound level.

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Taylor Swift Conspiracy Theory: One In Five Americans Thinks The Singer Is Part Of A Plot To Re-elect Biden

According to a survey by Monmouth University in New Jersey, about one in five Americans believes that Taylor Swift is part of a secret government operation to ensure Joe Biden’s victory in the next presidential elections.

It is one of many conspiracy theories circulating among conservatives and Trump supporters. Jesse Watters, a Fox News presenter and friend of Trump, suggests that the pop star could be a “psychological operation by the Pentagon” as well as “a cover for a secret political agenda.

Since Swift is dating Kansas City Chiefs tight end Travis Kelce, the team’s recent Super Bowl win is also believed to be part of this conspiracy, an idea that prompted Kelce to laugh during an interview: “You’re all crazy, every single one of you.

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According to the survey, about half of Americans have heard of the conspiracy, with 18% (almost one-fifth) believing it. Of this 18%, 71% identify as Republican or lean towards the Republican party, 83% plan to vote for Trump in November, and 73% are convinced that the 2020 elections were rigged.

Nevertheless, 68% of Americans support Swift giving a voting indication (which she has not yet provided). It’s not surprising that the percentage of Swift fans is higher among Democrats (33%) than among Republicans (24%). 35% of American women and 22% of American men consider themselves fans. They are particularly prevalent in the 35-55 age group (36%) and less so in the 18-34 age group (27%).

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Γιάννα Βασιλείου – Όποιος Θέλει Βρίσκει Χρόνο | Official Music Video (4K)

🔔 Κάνε ΕΓΓΡΑΦΗ εδώ: http://bit.ly/HeavenMusicYouTube
📌 Βρες το «Όποιος Θέλει Βρίσκει Χρόνο» εδώ: https://lnk.to/Opios-Theli-Vriski-Hrono

Στίχοι:
Λείπεις και φυσάει μανιασμένα,
Βυθισμένα του σπιτιού μου τα σκαλιά,
‘Οσο μ’ αγαπάς αφηρημένα,
Κλειδωμένη καρδιά,
Κλειδωμένα φιλιά.

Πες για πάντα καληνύχτα,
Πες πως δε με γνώρισες,
Κι ας το ξέρει μόνο η νύχτα,
Πως με στεναχώρησες.

Που με πνίγουν, με γκρεμίζουν,
‘Αμυνές σου υψόμετρα,
Λείπεις, όλο σε εμποδίζουν,
Μέρες και χιλιόμετρα.

‘Οποιος θέλει βρίσκει χρόνο,
Κάνει αν θέλει θαύματα,
Μα εσύ αργείς, μη μου εξηγείς.

Είσαι λάθος που πληρώνω,
Γεύση το πρωί πικρή,
Βλέπεις η ζωή δεν τον συγχωρεί,
Κάποιον που ματαίως περιμένει το μαζί.

Ρεύμα η απουσία με αρπάζει,
Με ξεβράζει στου ποτέ τις εκβολές,
Τη μορφή σου πολλαπλασιάζει,
Που με πνιγείς και λες,
Λέξεις πάλι δειλές.

Follow HEAVEN MUSIC:
▶ https://geni.us/HeavenMusic

Follow YANNA VASILEIOU:
▶ https://geni.us/YannaVasileiou

Audio Credits:
▶ Μουσική: Γιώργος Κακοσαίος
▶ Στίχοι: Ελένη Γιαννατσούλια

▪ Music Produced & Arranged by Soumka
▪ Keyboards: Soumka
▪ Guitars: Χρήστος Αβδελας
▪ Φωνητικά: Krida
▪ Μίξη & Ηχογράφηση by Soumka @ Painkiller and C&C Studios

▪ Διεύθυνση Παραγωγής – Καλλιτεχνική Επιμέλεια: Γιάννης Δουλάμης
▪ Παραγωγή: Λευτέρης Παπαδάκης

Video Credits:
▪ Director: Danny Ntarlas
▪ Concept & Art Director: Ju Stamatakis
▪ Project Manager: Filippos Aligizakis
▪ Director of Photography: Marios Tsoulxai
▪ Production Assistant: Manos Reppas

▪ Styling: Betty Petkoglou
▪ Make Up: Roza Vakondiou
▪ Hair: Vassilis Stratigos
▪ Makeup for Cast: Αλιάννα Καντερέ

|| Cast:
▪ Frantzeska Patra
▪ Xenofon Kazianis
▪ Nikolas Sietos
▪ Χριστίνα Ρουσέλη

Yanna Vasileiou – Opios Theli Vriski Hrono | Official Music Video (4K)

#YannaVasileiou #OpiosTheliVriskiHrono #HeavenMusic #GreekMusic #GreekHits #MusicMadeInHeaven #NewMusic

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Χριστίνα Σάλτη – Πες Μου – Official Music Video

Subscribe: www.youtube.com/@PanikRecordsTube
Buy/Stream here:
Spotify: https://spoti.fi/3ukhAXV
iTunes/Apple Music: https://apple.co/4992zqP
Deezer: https://bit.ly/49a2naL

Credits
Μουσική: Γιώργος Κακοσαίος
Στίχοι: Νίκος Σαρρής

Ενορχήστρωση & Παραγωγή:
Παναγιώτης Μπρακούλιας

‘Επαιξαν οι μουσικοί:
Κώστας Καρασαββίδης: τύμπανα
Ηλίας Τσαπατσάρης: μπάσο
Χρήστος Μπουσδούκος: βιολί
Τάσος Λυμπέρης: κρουστά
Παναγιώτης Μπρακούλιας: programming, πλήκτρα, κιθάρες, μπουζούκι, μπαγλαμά, τζουρά
Β φωνή: Γιώργος Κακοσαίος

Recording, mixing, mastering:
Παναγιώτης Μπρακούλιας @ Track Factory Music Productions

Σκηνοθεσία: Danny Ntarlas

Styling: Βιργινία Ζαφειράτη
Hair styling: Θοδωρής Γαβαλάς
Make up: Παναγιώτης Καρακάσης

ENTER THE PANIK WORLD
http://bit.ly/PanikRecords_Website
http://bit.ly/PanikRecords_Facebook
http://bit.ly/PanikRecords_YouTube
http://bit.ly/PanikRecords_Twitter
http://bit.ly/PanikRecords_Instagram

Save & Like Our Playlists On Spotify
Best Greek Hits 2023 | https://sptfy.com/OvEh
Greep Rap | https://sptfy.com/OvEl

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The Script Feat. Will.i.am – Hall Of Fame | Tune Of The Day

“Hall of Fame” is one of the most iconic songs of the 2010s, bringing together the voices of Irish rock artists The Script with the famous rapper and producer will.i.am. Released in 2012, it quickly became one of the biggest successful anthems that inspired millions of people worldwide.

“Hall of Fame” is distinguished by its dynamic melody, encouraging lyrics, and uplifting atmosphere. From the explosive rhythms of the music to the lyrics that offer emotional support and understanding, the song speaks to anyone seeking success and recognition for their efforts.

The lyrics of the song highlight the importance of effort, dedication, and belief in oneself. With lines written in a spirit of empowerment, such as “You can be the greatest, you can be the best / You can be the King Kong banging on your chest” and “Do it for your people, do it for your pride / How you ever gonna know if you never even try”, the song urges listeners to pursue their dreams and reach the ultimate heights.

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The collaboration with will.i.am adds another dynamic element to the song. The combined energy of the two artists adds an extra factor of strength and encouragement that further highlights the message of the song.

Through “Hall of Fame,” The Script and will.i.am have created an anthem for success, self-confidence, and recognition. Through its dynamic lyrics and encouraging melody, the song continues to inspire and mobilize people worldwide, making it one of the most beloved and timeless songs of our generation.

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Interview: Steve Hackett (solo, Genesis)

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HIT CHANNEL EXCLUSIVE INTERVIEW: February 2024. We had the great honour to talk with a legendary guitarist: Steve Hackett. He is a best known as a member of Genesis in the ‘70s, releasing with them classic albums such as “Foxtrot” (1972), “Selling England by the Pound” (1973) and “The Lamb Lies Down on Broadway” (1974). Since 1975 he has an acclaimed solo career. On 16th February he is releasing his new studio album “The Circus and the Nightwhale” via InsideOut Music. Read below the very interesting things he told us:

 

Would you like to give us some general information about the writing and recording process of “The Circus and the Nightwhale”?

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Yes, I can tell you that it’s a kind of companion piece to a book (ed: “A Genesis In My Bed” -2020) that I brought out, which I finished in lockdown, but this one is like an autobiography but in song, a kind of Odyssey. I guess, there is the influence of Homer who you would be familiar with, of course and all of the trials and tribulations; it’s very much in the style of one of those Odysseys. It’s 45 minutes long, it’s really a vinyl length album and indeed I started to get vinyl copies of it which it has the big whale’s mouth on the front swallowing the circus. It was made while I was traveling; to be honest, we were recording drums at soundchecks of concerts that I was doing in Europe and it was very interesting working that way, on the run. People were also sending in performances from all over the world, so although I’m here in the outskirts of London, people were sending performances from United States: Nick D’ Virgilio (ed: Spock’s Beard, Genesis) played drums on the opening track (ed: “People of the Smoke”). The bass parts were sent from Austria by our Swedish bass player, Jonas Reingold. Nad Sylvan, living in Sweden -I got another Swedish guy- sent vocals for the third track, “Taking You Down”.

We had Craig Blundell (ed: Steven Wilson, Frost*) on most of the drums on most of the tracks, recorded live in the halls that we were playing in. And there is one more drummer that I haven’t mentioned, Hugo Degenhardt, who I worked with many years ago, but I started working with him again because he is keen to work with me. He joined The Bootleg Beatles; that took him around the world several times, playing Beatle material, being Ringo. But he got tired of being Ringo in the end. He is a fantastic drummer as it happens. Amanda Lehmann (vocals) who sent stuff from Norfolk, which is in East Anglia, it is maybe 120 miles away from here in London. A guy called Malik Mansurov from Azerbaijan who plays the tar, which is a short scale string instrument playing Phrygian mode Eastern scales at the beginning of “Circus Inferno”. He’s playing that at the beginning. Then, our sax player Rob Townsend sent stuff from Denmark -he’s English but he lives in Denmark-, so he sent two solos from Denmark. My brother (ed: John Hackett -flute) who lives in Sheffield sent stuff from there.

So, there is all filesharing in one place and I have probably left off other people that are on the album: Roger King and Benedict Fenner who both played keyboards and both engineered, they mixed our sound live. Roger is the on board keyboard player live, but he is a very gifted engineer and arranger. The album was put together whilst I was on the run. I think everything that appears on the album moves very quickly from one thing to another to another to another… I wanted to keep the pace up with the album and we have two videos because “People of the Smoke” was released as a single and “Wherever You Are” was released as a single. “People of the Smoke”, there is a video from it which has gone viral, there are loads of people watching this on Youtube. So, it has put a lot of emphasis on the new album. The album sleeve looks a little bit like that (ed: he shows the CD version on the Zoom), but on the vinyl it’s much bigger. The whale’s mouth, you see, swallowing a circus.

 

“People of the Smoke”, the first single of the album is very cinematic. How is it thematically related to your childhood?

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I grew up in London, which was referred to as The Smoke, so the smoke is a nickname for London, a sort of nom de plume for London. When I grew up it was just after the war and London was very much in ruins: We were playing on the rubble on the bombed sites of London when I first grew up and very quickly we moved to flats, apartments which were facing the Battersea Power Station, which is a famous building in rock ‘n’ roll because many years later…

 

It is on Pink Floyd’s “Animals” (1977) album cover.

That’s right with the pink pig, but before there was a flying pink pig, I used to stare out of my bedroom window looking at this, which was the biggest building in Europe. So, I’ve tried to describe this musically with the era of steam trains and what radio sounded like at that time. There are some orchestral moments, some industrial moments, rock moments… Yes, I’m glad you said it’s cinematic; I’ve tried to make the album a cinematic roller-coaster of a ride throughout, because I wish I had the images in mind that are related to the various songs. That continues throughout the album, so it depends on what track you are referring to. You know, there is the more progressive sounding stuff, such us “Enter the Ring”, that’s really about my time with Genesis and it sounds more proggy: 12-string guitar, bass pedals, I sing harmonies with Amanda Lehmann on that. I think it’s a lovely sounding track because it starts with a thunderstorm that was going on when I was recording the track at home. There was a thunderstorm going, so we stuck a mic outside the window in this very room and we recorded the thunderstorm with the rain at the beginning to set the scene of that song. Then, you get “Get Me Out!” If one song was the celebration of Genesis, the second one is the idea of Genesis at its most claustrophobic for me. I loved my time in Genesis, I thought it was a great band, but they started to try and prevent me from doing solo stuff. It wasn’t allowed during my time in the band. Peter Gabriel left because of the same reason: He wanted to do solo stuff, it wasn’t allowed. But the next track which is “Get Me Out!” is all about being in that rock ‘n’ roll circus and wanting to get out; the claustrophobic feel. So, it’s the album as its most bluesy and grotesque and a shreddy guitar trying to do the things the guitarists do best, but you are probably not allowed to do when you are in a rock band and I had to be my own boss to do that. So, it’s some of that rock ‘n’ roll stuff.

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The vocals -not the music- in “Enter the Ring” sound like Yes. Do you agree?

Well, funnily enough, I think it probably sounds more like Genesis, but then, it’s male and female voices together, three-part harmony, actually, a four-part because we stuck up the octaves. But I hadn’t really thought of that. I worked with Chris Squire (ed: Yes -bass) on a number of projects and we did an album called “Squackett” (2012) and I think vocally at times it sounded a bit like Yes. A bit like Yes, a bit like The Beatles, a bit like any of the harmony bands. When I work with Amanda doing harmonies, it sounds like those harmony bands men and women, that I like so much. Then, she also has this celestial voice she uses at the beginning of “Ghost Moon and Living Love”. Sometimes went these harmonies. There are times when Yes sound a little like The Beatles. There are times when each band gets to sound like another. But I don’t mind sounding like Yes, that’s fine. He asked me to join Yes, Chris Squire, at one point. So, I might have been a member of Yes. I was a member of Genesis and I could have been a member of Yes, as well, if I had said “yes” (laughs). But I was keen to revisit Genesis material with orchestra and with guests and do a kind of restitution of the Genesis material to do it live, as well. After all those years, to bring back music that was celebrated by John Lennon. He said that he liked early Genesis, he thought that Genesis were true sons of The Beatles. So, a bit like we were children of The Beatles and that’s fine. Hey, you know, I’m happy with that.

 

I love your playing in “Get Me Out”. Please tell us everything we should know about this amazing song.

It’s a song that was done in a bluesy style. I tracked up the guitars quite a lot in the beginning to make it sound like one big guitar. So, it’s got a kind of spooky sound to it. The song is all energy; lots of guitar. It was an excuse to play guitar, what can I tell you? I had to rant vocally, so I don’t know how I was trying to sound like, but I think I was trying to sound like Nina Simone or something.

 

“Circus Inferno” is very addictive and has Mediterranean flavour in it. What inspired you to write “Circus Inferno”?

I was thinking of Middle Eastern music and Malik Mansurov, who I mentioned, he starts the track out. In the 1960’s British rock started to use influences of Indian and Egyptian stuff, as a scale called Phrygian. It’s a scale that is common to Egypt, India, also with Greek music, at times, you use the scale. So, this is something that I like very-very much. It’s a wonderful scale, I’ve used it a little bit with rock things in the past or sometimes with acoustic things. “Circus Inferno” is supposed to be frenzied. Again, it is the idea of musical claustrophobia where you are desperate for somebody, in my case, my wife, to come and save me from the perils of what I was going through in life at the time. So, it is a kind of frenzied love song.

 

Your acoustic playing in “White Dove” is unbelievable. Had you realised when you wrote it that it is one of the greatest songs of your career?

Well, I don’t know about that because I think that tremolo technique is so elusive. It’s the most difficult thing, I found, I ‘ve ever attempted to play on nylon guitar. A guy who was writing my stuff down, it’s like your name, his name is Theo Chen, Theodore Chen and his parents were from Hong Kong; so, he was looking a little bit like a Chinese Segovia, but rock, with long hair and he used to write my stuff down. One of the last sessions that I had with him, because unfortunately he passed away a few years ago, he wrote down that track and he was able to play it very fluently, much better than me. He was able to, because he had a really great tremolo technique and of course, I realised that it was very much like “Recuerdos de la Alhambra”, a famous piece which goes from minor to major, but he said: “It’s nice to have that as an alternative to that”. I wanted to explore the harmonies that are possible with the guitar. So, it’s very romantic and I think it gives the album a sort of peaceful resolution, right at the end, after you ‘ve been through all the angst and carnage with the rock instruments.

 

I watched the excellent “Foxtrot at 50 + Hackett Highlights: Live in Brighton” DVD. What makes “Foxtrot” album still relevant more than 50 years after its release date?

I think it was music that was designed to be played live and it was also very well-written by a young team where we were all trying our best to express ourselves. I think “Foxtrot” (1972) and “Selling England by the Pound” (1973), for me, were the golden period of Genesis; the golden period of working with Peter Gabriel and also having the interest from John Lennon, at that time. So, for me, it’s important. Maybe the reason it survived is because it is well-written and it is also based on story; “Supper’s Ready” is very conceptual, so half of the album is conceptual. Also, the writing is based on many different influences: “Watcher of the Skies” is science fiction with the use of the mellotron and the idea of the alien and all of that, a typically progressive track in many ways, with crescendo, very dramatic. We used to start out live shows with that and audiences used to like it very much. The bigger the place, the more ringy, if it was palais des sports, it sounded great, to make the world shake with that. A magnificent introduction that Tony Banks came up with. It’s a great use of mellotron. You could say that Tony was probably the best mellotron player ever, I would say. I was the one that got into the instrument; I was the one that said: “We need to get a mellotron”. So, you have science fiction, you have social commentary, you have romantic stuff, humourous stuff and it’s always the journey, the pan-genre, lots of styles, approach. The influence of classical music, of big band music, of jazz, many things that drive that album. Also, the use of the 12-string. 12-string guitar were very important to Genesis. So, at times you have three 12-string guitars, sometimes all playing the same part, but other times playing in harmony with each other and playing something similarly or complimentary to each other. So, it’s part of that very English pastoral sound.

 

Are you proud that your first solo album “Voyage of the Acolyte” (1975) is considered a classic album?

I’m very happy that it was very well-received at the time and seems to go through a re-appraisal now. I think it was analog, it was very done very quickly, so I would say the ideas were quite far-reaching. At times, I might listen to it and criticise my own timing or tuning, but time moves on and me make albums that are able to sound rather more perfect now because you can correct things in computer. It’s no longer a jump into the unknown, it’s different.

 

I’m addicted to “Tower Struck Down” from “Voyage of the Acolyte”. How did this incredible piece come about?

Well, there were two things: There is also a live version on “Foxtrot at 50”, the live album you mentioned with a re-arrangement to make it more classical really with marcato strings at the beginning before the band come in. But it really grew out of two separate riffs: I had one riff or an idea of chords and my brother John (flute), had the very angular “dum/ dum-dum dum-dum/ barabam/ babapam”. He had that and I think he was after something that sounded a little bit like Led Zeppelin, but I think it’s probably a little more like Led Zeppelin meets King Crimson perhaps, because you ‘ve got those tritones being utilized, certain harmonies, dissonant stuff.

 

How did it happen to have Steve Walsh (vocals) and Phil Ehart (drums) from Kansas and Richie Havens on “Please Don’t Touch!” (1978) album?

I was a huge fan of Richie Havens. We sometimes played on the same bill and then when Genesis became very famous and we were playing three nights at Earl’s Court to 20.000 people every night, we thought we should have a support act and we asked him and he said he would do it. I had met him backstage and congratulated him and he shook my hands for a very long time which was rather wonderful and I asked if he would like to come to my house and have dinner and he said: “Yes” and at the end of the evening he said: “We should do something together. We should work together” and I was thrilled that he said that. I started working on the track “Icarus Ascending”. I was meditating one day, I was doing Transcendental Meditation and the words of the song came into my head and I could hear him doing it and I phoned up him immediately. I told him that I had this experience and he said: “I can hear it already, it sounds great. Let’s do it. It seems very-very positive”. We recorded that one track, all in one evening, he did the vocals and he said: “Do you want to do other tunes?” and I said: “I ‘ve got a cassette here with a mellow one I was thinking that maybe might be right for you and it’s got a kind of Beatles flavour to it”, because I knew he was a Beatles fan and he recorded Beatle tracks very well.

 

“Eleanor Rigby”.

He said: “Why don’t we do this one, as well?” He did “She’s Leaving Home” as well, a very lovely version of “She’s Leaving Home”. So, I did a track called “How Can I?” with him and he really directed operations in the studio. He said: “You put down the guitar, first of all, and I play percussion” to which I replied: “Yes, sir!” (ed: he performs a military salute on Zoom) and then we  put down maybe one or two guitars and he recorded the vocal to that. That’s all it needed and I added some stuff later on, some guitar synth. It sounded like a squeezebox but it was electronic, the guitar Roland GR-500 and it sounded like a little bit of homage to The Beatles that track and I was thrilled with that. And Steve Walsh: I met Kansas, they had “Carry On Wayward Son”, a big hit and “Dust In the Wind”. They were having hits, they were very mainstream in America but they loved British prog stuff. So, I met with them and they wanted to work with me and I wanted to work with them, so that’s how that association happened.

 

What was your reaction when Steven Wilson told you that “Please Don’t Touch!” is better than The Beatles’ “Sgt. Pepper” album?

I was thrilled that he liked it so much. For him, he said that as an 11-year old that was his “Sgt. Pepper”. So, Steven Wilson is obviously brilliant and I’ve worked with him on a couple of things. We are friends and I’m very happy for him that he has success on his own and also with Porcupine Tree. It’s very interesting to me that he is 17 years younger than me, see I’m in my 70s but he is 17 years younger. I think he likes music with detail, music that tells stories, so we are similar in that way.

 

I love your playing in “Firth of Fifth” (from “Selling England by the Pound” -1973). Would you like to tell us a few words about this amazing song?

Yeah. I think originally it was designed to be played on piano, that guitar melody and then it was piano and flute together playing in unison, but I just had to quote several things. I had a Hiwatt amp, a Les Paul guitar, a Colorsound fuzz box and I just got an Echo unit. It meant that I could sound like a studio musician but in the rehearsal room. So, the sound of all of this, I had a volume pedal and sustain, meant that I could play that melody with the whole band playing it. I like to think it revolutionised the song, as well as being a very big keyboard workout for Tony on piano and synth. The song comes alive in another sense with the instrumental melody that is so perfect for guitar. I think it’s one of Genesis’ best moments, I still play it live. I look forward to playing it live just about every concert that I do.

 

Is it flattering that your tapping technique influenced so many great musicians such as Eddie Van Halen and Alex Lifeson?

Yes, I think many fabulous guitarists have mentioned that I’ve been an influence on them with these techniques and also Brian May said this. So, it’s amazing to me. I never got to speak to Eddie Van Halen, but I think he was a marvelous guitarist, of course and Alex Lifeson,  too, very much a driving force behind that band (ed: Rush). Yeah, but it’s wonderful to influence people such as Brian May. So, I’ ve influenced them, they ‘ve influenced me. That’s how it works.

 

A huge “THANK YOU” to Mr. Steve Hackett for his time. I should also thank Oliver Bergmann for his valuable help.

Main photo: Tina Korhonen

Official Steve Hackett website: https://www.hackettsongs.com/

Official Steve Hackett Facebook page: https://www.facebook.com/stevehackettofficial/

Official Steve Hackett Twitter page: https://twitter.com/HackettOfficial



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IDLES Teams Up With Chris Martin To Revamp Visuals For ‘Grace’ Music Video

The British band Idles has enlisted Chris Martin – both the one of today and the one from 24 years ago – to lend a hand in putting together the video for their new song, Grace.

The clip is essentially the same as the one Coldplay released back in 2000 for Yellow, with Martin walking along a sad and deserted beach in the rain. Except, in the Grace clip, Martin is singing Idles’ song: a feat achieved with a bit of deepfake technology.

The idea for the video came to Idles’ frontman Joe Talbot in a dream, and the band not only got Martin’s approval but also his help in turning the project into reality. Martin took the time to train the artificial intelligence and ensure that his lip-syncing performance in the video was as real as possible.

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(Idles is not the first act to pay tribute to the Yellow video: a couple of years ago, Tegan and Sara recreated that famous beach walk for their song titled Yellow.)

The new album by the English band will be released on Friday, February 16th.

Idles will release their new album, Tangk, on Friday.

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Drake, SZA, And Sexyy Red Celebrate Life’s Greatest Gift In “Rich Baby Daddy” Music Video

Drake, SZA, and Sexyy Red celebrate the miracle of life in their latest music video for the chart-topping collaboration, “Rich Baby Daddy.”

Directed by Drake himself, the visual masterpiece seamlessly blends modern-day camera work with nostalgic camcorder footage, giving viewers an intimate glimpse into the journey of impending parenthood. Amidst lingering Christmas decorations, the trio joyously gathers for what appears to be an impromptu baby shower in honor of Sexyy Red.

However, the festivities take an unexpected turn when Sexyy Red’s water breaks, prompting a swift transition from celebration to the rush of emergency. Drake’s dedication to capturing every moment leads to some comedic tension as Sexyy Red and SZA hilariously urge him to put the camera down amidst the chaos of impending labor.

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Undeterred, the trio documents the whirlwind trip to the hospital, where Sexyy Red bravely brings her newborn into the world. The video culminates in a heartwarming celebration of love and new life, with the trio sharing in the joy of welcoming the newest member of their family.

Experience the touching journey of Drake, SZA, and Sexyy Red in the emotional rollercoaster that is “Rich Baby Daddy.” Watch the music video above and join in the celebration of life’s most precious moments.

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Αφιέρωσε το! #shorts #NatasaTheodoridou #ValentinesDay #GreekHits #GreekMusic #trending

Κάνε ΕΓΓΡΑΦΗ εδώ: http://bit.ly/HeavenMusicYouTube

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Αφιέρωσε το! #shorts #NikosVertis #ValentinesDay #GreekHits #GreekMusic #trending

Κάνε ΕΓΓΡΑΦΗ εδώ: http://bit.ly/HeavenMusicYouTube

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Γιώργος Λιβάνης X Ανδρομάχη – Η Αγάπη Αυτή – Official Music Video

Subscribe: www.youtube.com/@PanikRecordsTube
Buy/Stream here:
Spotify: https://spoti.fi/48iFi4L
iTunes/Apple Music: https://apple.co/3uxVjG1
Deezer: https://bit.ly/49A1oAI

Credits
Μουσική: Βασίλης Δήμας
Στίχοι: Βασίλης Δήμας

Παραγωγή – Ενορχήστρωση – Programming
Μπάμπης Μαραγκός – Riverside Studio©️
Πιάνο – Πλήκτρα: Μπάμπης Μαραγκός
Κρουστά : Αρσένης Νάσης
Ακ. Κιθάρες – Ούτι : Βασίλης Δήμας
Μπάσσο – Νάϋλον Κιθ. : Χρήστος Ράντης (Μπάκης)
Μπουζούκι -Τζουρά : Σίμος Κύναλης
Κλαρίνο : Άλεξ Μιχαλάκης

Μίξη – Μάστερ : Μπάμπης Μαραγκός Riverside Studio©️

|| Directed by Alex Konstantinidis
|| Creative Director: Anastasia Panopoulou
|| Camera Operator : Antonis Papathanasiou
|| Focus Puller: Anastasis Tsallas
|| Production Manager : Alexandra Theofili

|| Production Assist.: Stavros Vougioukas
|| Dop & Editing by Alex Konstantinidis
|| Styling: Nantia Pouri
|| Make up & Hair: Smaro Manolopoulou

|| Project Manager: Mania Kaparakou
Στίχοι/Lyrics:

ENTER THE PANIK WORLD
http://bit.ly/PanikRecords_Website
http://bit.ly/PanikRecords_Facebook
http://bit.ly/PanikRecords_YouTube
http://bit.ly/PanikRecords_Twitter
http://bit.ly/PanikRecords_Instagram

Save & Like Our Playlists On Spotify
Best Greek Hits 2023 | https://sptfy.com/OvEh
Greep Rap | https://sptfy.com/OvEl

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Stans Unveiled: Eminem’s Dive Into Superfandom

In a groundbreaking collaboration, Eminem is stepping into the director’s chair for an upcoming documentary titled Stans, delving deep into the realm of superfandom. Inspired by his iconic 2000 hit single “Stan,” which eerily forecasted the darker facets of modern fan culture, this film promises to be a revealing exploration.

Partnering with Shady Films, DIGA Studios, and Hill District Media, Eminem is set to shine a spotlight on the intricate relationship between artist and fanbase. Directed by Steven Leckart, known for his insightful work on projects like Challenger: The Final Flight and What’s My Name: Muhammad Ali, this documentary is poised to be both edgy and deeply personal.

Stans isn’t just about Eminem; it’s about the phenomenon of superfandom itself. Through intimate interviews and raw footage, viewers will journey into the hearts and minds of those who live and breathe their devotion to artists. From the exhilarating highs to the unsettling lows, the documentary promises to capture the essence of what it means to be a superfan in today’s world.

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Paul Rosenberg and Stuart Parr of Shady Films expressed their anticipation for the project, stating, “Stans will be the opportunity for us to turn the camera around and ask the audience about being fans — and in some cases, fanatics. This is a study of the relationship between fanbase and artist through the lens of one of Eminem’s most fascinating songs and one of the world’s most important entertainers.”

With Eminem himself at the helm, Stans is poised to be an unfiltered look at the impact of fame, the power of music, and the sometimes blurred lines between admiration and obsession. Stay tuned for a journey into the heart of modern fandom like never before.

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Ariana Grande And Mariah Carey Unite: The ‘Yes, And?’ Remix Revelation

Prepare for an explosion of vocal prowess and diva power as Ariana Grande and Mariah Carey join forces once again for a remix of Grande’s latest hit single, “Yes, And?” The much-anticipated remix, set to drop on February 16th, promises to be a celestial fusion of their unmatched talents.

Grande made the announcement on Instagram today, expressing her disbelief and gratitude at collaborating with her lifelong inspiration, Mariah Carey. In her heartfelt post, Grande gushed, “There truly are no words that suffice. Thank you from the bottom of my heart for this dream come true.

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This collaboration isn’t their first rodeo together. In 2020, the duo, along with Jennifer Hudson, enchanted audiences with their rendition of “Oh Santa!” Now, with the remix of “Yes, And?” on the horizon, fans are eagerly anticipating another magical musical moment.

“Yes, And?” serves as the lead single from Grande’s upcoming album, “Eternal Sunshine,” slated for release on March 8th. The track debuted at No. 1 on the Billboard Hot 100, solidifying Grande’s historic achievement as the first artist to debut in the top 10 with lead singles from all seven of her albums.

As fans await the arrival of this divine collaboration, one thing is certain: when Ariana Grande and Mariah Carey join forces, the music world is in for an unforgettable treat. Get ready to bask in the brilliance of their harmonies and the magic of their collaboration.

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Brent Faiyaz Unveils Action-Packed Video For “WY@” Featuring Lupita Nyong’o

The highly-anticipated music video for Brent Faiyaz’s hit song “WY@” has finally arrived, featuring none other than acclaimed actress Lupita Nyong’o. Directed by the visionary Markpeaced, the visual narrative takes viewers on a thrilling journey through the lens of a fictional action film.

In the video, Faiyaz and Nyong’o immerse themselves in the roles of action heroes, embarking on a heart-pounding high-speed chase across the desert. Their on-screen chemistry ignites as they engage in intense scenes, including heated arguments and a captivating kiss that leaves viewers spellbound.

While the video offers a glimpse behind the scenes of the imagined movie set, it also blurs the lines between reality and fantasy. Despite the typical studio rules, Faiyaz is depicted smoking on set, adding a rebellious edge to the cinematic experience.

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As the video draws to a close, Faiyaz finds himself waking up beside another woman, juxtaposed with Nyong’o’s appearance on a talk show discussing the film. The juxtaposition leaves viewers questioning the blurred boundaries between reel life and real life.

With its cinematic flair and electrifying performances, Brent Faiyaz’s “WY@” video featuring Lupita Nyong’o is a visual spectacle not to be missed. Get ready to be captivated by the magic of music and film colliding in this action-packed adventure.

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Γιώργος Θεοδώρου – Ξέρω Μετάνιωσες | Official Lyric Video (HD)

🔔 Κάνε ΕΓΓΡΑΦΗ εδώ: http://bit.ly/HeavenMusicYouTube
📌 Βρες το «Ξέρω Μετάνιωσες» εδώ: https://lnk.to/Ksero-Metanioses

Στίχοι:
Μου ‘λεγες εμένα θ’ αγαπάς,
Και με άλλους τώρα ξενυχτάς,
‘Εκανα το λάθος που σε ερωτεύτηκα,
‘Ολη τη ζωή μου σου εμπιστεύτηκα.

Ξέρω μετάνιωσες, θες να γυρίσεις,
Μα της καρδιάς μου η πόρτα έχει κλείσει,
‘Οσο κι αν θέλεις δεν θα σε σώσω,
Εσύ με πλήγωσες και εγώ θα σε πληγώσω.

Με τους φίλους σου πίνεις και γλεντάς,
Και για εμένα συνέχεια τους μιλάς,
Ο εγωισμός μου δεν μου το επιτρέπει,
‘Αλλη προδοσία δεν αντέχει.

Follow HEAVEN MUSIC:
▶ https://geni.us/HeavenMusic

Follow GIORGOS THEODOROU:
▶ Spotify: https://open.spotify.com/artist/2q5bhwPgpGy1aUgrf1a6i0
▶ Instagram: https://www.instagram.com/giotheodorou/

Audio Credits:
▶ Μουσική: Αργύρης Δαντίλης
▶ Στίχοι: Εibass

▪ Ενορχήστρωση: Αργύρης Δαντίλης

▪ Πνευστά: Χρήστος Αθανασίου
▪ Ακορντεόν: Μάκης Καραλής
▪ Κιθάρες: Αργύρης Δαντίλης
▪ Μπάσο: Παύλος Διαμαντόπουλος
▪ Τύμπανα: Γιάννης Θάνος
▪ Πλήκτρα: Αντώνης Παλαιός
▪ Κρουστά: Χρύσα
▪ Φωνητικά: Γιώργος Θεοδώρου
▪ Ηχογράφηση – Μίξη – Mastering: Γιάννης Θάνος @Studio Ηχόμετρο

Giorgos Theodorou – Ksero Metanioses | Official Lyric Video (HD)

#GiorgosTheodorou #KseroMetanioses #HeavenMusic #GreekMusic #GreekHits #MusicMadeInHeaven #NewMusic

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