Πέμπτη, 28 Μαρτίου, 2024

What Do Musicians Under The Age Of 40 Die From? A Small Study

In recent years, we’ve seen artists like Pop Smoke, Juice WRLD, Mac Miller, and going back to 2011, Amy Winehouse. In earlier times, there were Jimi Hendrix, Janis Joplin, Jim Morrison, or Nick Drake. There have always been musicians who died young or prematurely: is this phenomenon more prevalent in the past or equally present? And what are the causes?

These are some of the questions posed by Chris Dalla Riva, a musician from New Jersey who works on analytics for the Audiomack platform and runs a newsletter focused on music and data. To answer these questions, he gathered information from Wikipedia about musicians who died from the 1950s onwards, including their cause of death and age at the time of death.

Looking at the graph of significant musicians (meaning they are well-known enough to be included on Wikipedia) who died before the age of 40, we see that the peak of deaths occurred not in the 1970s as one might expect, but in the 1990s (note that the 2020s haven’t ended yet: data collection stops at 2023).

– Advertisement –

However, this data may be influenced by the size of the population under consideration and life expectancy, which has changed over time. To account for this, we need to consult the graph showing the percentage of deaths before the age of 40 as a proportion of the total population of musicians per decade.

This is the graph below, indicating that musicians died young more frequently in the 1960s and 1970s than later. There is a downward trend interrupted by the 2020s, where in just a few years there have been more deaths under 40 than in the entire previous decade.

But what causes the deaths of musicians? If in the 1960s they mainly died from car or plane accidents (and not only) while traveling, from health problems, and only rarely from drug use, in the 1970s and 1980s drug-related deaths increased to become, along with more general health problems, the main cause of death. Deaths under 40 from suicide, on the other hand, have a sinusoidal trend with no significant peaks or troughs.

Excluding the category of “Unknown” causes, which will become clearer over time, in the 2020s, the main cause of death for musicians under 40 is homicide. Where drugs no longer reach, firearms do.

– Advertisement –

ΠΗΓΗ

21 Savage Lights Up SNL Stage With American Dream Performance

21 Savage Takes Saturday Night Live by Storm with American Dream Performance

Atlanta’s own 21 Savage electrified the stage on Saturday Night Live, delivering a show-stopping performance that left fans in awe. Making his debut appearance on the iconic show, 21 Savage treated viewers to a taste of his latest album, American Dream.

Kicking off with an intense rendition of “Redrum,” 21 Savage set the tone for the night with his raw energy and commanding presence. But the surprises didn’t end there. The rapper brought out special guests Brent Faiyaz and Summer Walker for a mesmerizing medley featuring their collaborative tracks “Should’ve Worn A Bonnet” and “Prove It.” The chemistry between the artists was undeniable, igniting the stage with their undeniable talent.

– Advertisement –

This performance marks a milestone moment for 21 Savage, whose American Dream rollout has been nothing short of spectacular. From the album’s initial trailer featuring stars like Donald Glover and Caleb McLaughlin to its chart-topping debut on the Billboard 200, 21 Savage continues to captivate audiences with his unparalleled artistry.

With American Dream, his third solo studio album, 21 Savage reaffirms his status as a force to be reckoned with in the hip-hop world. As fans eagerly await his next move, one thing is clear: 21 Savage’s impact on the music industry is undeniable, and his star only continues to rise.

The next Saturday Night Live musical guests are Kacey Musgraves and Ariana Grande.

– Advertisement –

ΠΗΓΗ

Interview: Bill Evans (solo, Miles Davis)

– Advertisement –

HIT CHANNEL EXCLUSIVE INTERVIEW: February 2024. We had the great honour to talk with a legendary saxophonist: Bill Evans. He is best known as a member of Miles Davis’ band from 1981 to 1983, releasing with him albums such as “The Man With the Horn” (1981) and “We Want Miles” (1982). He has also played with Elements, Mahavishnu Orchestra, Gregg Allman, Warren Haynes , Phil Lesh, Willie Nelson, Herbie Hancock, Mick Jagger and others. This spring, he is going to release his new solo album “Who I Am”. Bill Evans and the Vansband Allstars will play two shows at Athina Live in Athens on 11 May. Read below the very interesting things he told us:

 

What’s the basic idea behind “Who I Am” album?

– Advertisement –

The basic idea behind “Who I Am” is to play harmonies that match my emotions, with musicians who are able to perform at the highest level the thoughts and musical notes that I write and record. So, what I did was: I sat down for two months and I tried to write the kind of melodies, harmonies and emotions that were truly what I am feeling. I wanted to make sure I felt something from the music, not just notes; it’s not just an exercise, I want these to be melodies and harmonies that you could remember, that you could feel and that was strong. This record is one of my favourites because I was able to accomplish that on these songs. I am really excited about it.

 

Could you give us some general information about the writing and recording process of “Who I Am” album?

Yes, I started recording at home and I used a piano first, and then I started putting down different drum tracks and samples, so, as I was writing the song I could hear the rhythm section. I worked on probably 20 or 30 songs all at the same time and the songs that end up being the strongest are the ones that I continue to finish. I keep an idea in mind: I want this album to be a very cohesive melodic record, so I really tried to keep it in that mode, so that everything felt that it belonged on the same record. I just wanted to get into the melodies that are natural to me, after doing so many records. So, the process is: I start with the piano, then I work with the computer, drums and bass tracks and stuff like that; I play everything. Then, once I have a demo of the song, I can play it for the other musicians and let them do their thing on my music. I never tell the musicians exactly what to play, because when you get musicians at such a high level like this, like Keith Carlock (ed: Steely Dan, James Taylor -drums), Wolfgang Haffner (drums), Victor Wooten (ed: Béla Fleck and the Flecktones, Mike Stern -bass) and Simon Oslender (piano, organ), they know what to play. They are such individuals, that I want them to be able to play themselves on my music. That’s the process.

 

– Advertisement –

Ron Carter (Miles Davis Quintet –bass) told me: “The first take is always the best in the studio because the first time you play the music, the second time you play yourself”. Do you agree with this?

It depends on the kind of music. If it’s straight ahead jazz, many times it’s the first take, but many times it’s the second or the third take, the more familiar you become with the music. The first take only happens once and many times that can be a magical moment, but I don’t necessarily believe that is the first take of every song that you ever record, because many times after the musicians have worn the song, they can play it better in the third or the fourth take, because they are more familiar with it. So, for me, sometimes it’s the first take, but not all the time.

 

Do you have trouble coming up with titles for instrumental pieces?

– Advertisement –

Yes (laughs) ! Yeah, instrumental pieces are different. You wanna be able to come up with a title that somehow it sounds like it could be related to the music, but most of the times when I write songs and I am gonna record them their titles are: “1”, “2”, “3”, “4”, “5”, “6” (laughs) and after the tune is done, then I would come up with a title. But, yeah, for instrumental tunes is never easy to come up with a title. It’s a good question.

 

The Vansband Allstars will join you on your upcoming tour. Please tell us a few words about playing with Keith Carlock (drums) John Medeski (keyboards) and Felix Pastorius (bass)?

Ok. These are musicians that play their instrument at the highest level. They can play all kinds of music and they are extremely expressive. So, when I give them a song to play, the song is a launch pad for wherever the song is going to go. I mean, Keith Carlock, Felix Pastorius and John Medeski have been the most in demand players in the world for quite some time. John Medeski has never played with Keith Carlock and he has wanted to play with Keith Carlock for a long time and I believe their styles are gonna be amazing together. I play with John on and off for many years and just recently, in the last two years, I’ve been playing a lot with Felix Pastorius, who is a phenomenal bass player and I feel that he is taking the bass on step further than his father did. I mean, he is able to play things on the bass that I don’t think anyone can. So, this kind of music that I’m playing now is a great stimulus for them to play the music great and also do what they do great. This music, after we play melody, after we play song, it’s gonna go anywhere. I wanna give the musicians the freedom to create a really high energy every night, so that every night is a special concert for the people that are listening. John Medeski is one of the most creative keyboard players I have ever played with, he is always open to whatever. He is also gonna be playing a small melodica and sometimes I will sit on the keyboard and back him up. There are a lot of different possibilities with this group. I think it’s gonna be very exciting.

 

How much different will be the dynamics in the band considering the fact that there is no guitar player in this touring line up?

The dynamics are gonna be strong because John Medeski has so many different sounds. I ‘ve played with guitar players for many-many years and it’s a great change for me to do tours without a guitar player, because when I play with a keyboard player, I play a little differently, which is normal. I play a certain way with guitar and I play a certain way with keyboard and with this particular group it is gonna be actually easier to hear the saxophone. Sometimes, guitar players tend to play very loud and they can cover up the saxophone at different times. For me, I am excited dynamically to play with this group. I mean, we can go anywhere with this group as the songs that we are gonna be playing have built-in dynamics, because that’s just the nature of the songs. It’s gonna be very exciting because everybody in this band is a creator, everyone in this band is an improviser, so it’s a very special band. We are getting a lot of excitement from people that are contacting all of us through our website, saying they are very excited to see this particular band. It seems that tickets are selling a lot even this early. That’s nice.

 

You will play two shows in Athens on 11 May. What should fans expect from these shows?

A lot of energy, a lot of new music and they are gonna be able to hear these players playing things in a very fresh way. They are gonna be able to hear: Keith Carlock, he is one of the best drummers in the world. So, they are gonna hear one of the best drummers. Felix Pastorius is one of the best bass players. So, they are gonna hear one of the best bass players. John Medeski is completely original, he is one of the best organ and keyboard players. So, all of us together, they are gonna get a very high level show with melody that they can also remember. It’s not just jazz. This is jazz with melodic content and music that the audience can relate to. So, after we play melody, after we play song, the improvisation is at the highest level. We are always aware of an audience. I think the audience they are gonna be very excited with the show.

 

Did you have fun playing at the Warren Haynes Christmas Jam last December (2023)?

Yeah, I had a great time! I hadn’t played with Warren Haynes probably in 7 years, this is the first time that we played. We used to play together all the time and we went to different directions in the last 7 years and then there was the pandemic and stuff. Yeah, it’s always fun and interesting because that music is different from the music that I do with my groups. The music with Warren Haynes is more jam band rock, so that’s how I perform with him. Slash was playing guitar. There were great musicians. John Medeski was over there. The singer named Datrian (ed: Johnson), he’s from Asheville, North Carolina, a young phenomenal singer that I think the world should actually get to know him, at some point. So, there are all these different musicians and people to play with. That was a Warren Haynes concert and there are always like 15.000 people to come to the show, so it’s very energetic and very rock ‘n’ roll.

 

How did you come up with the idea to make the “Soulgrass” album in 2005?

Well, I was very much influenced by Americana music. I love the instruments of banjo, mandolin, dobro, the Americana instruments because I think they sound really good with the saxophone and no one has really done that. It was something that was exciting to me. So, I started writing music like that and also if you listen to bluegrass music, it sounds very much like bebop jazz, so it ‘s got a lot of similarities and I love playing with a violin player who can really play. That idea was very natural to me and I was excited to do it and I had that band together for almost 12 years and it was a lot of fun. I live in Nashville now and I am going to be putting together a better band that has those instruments, probably next year.

 

Could you describe to us your feelings touring all over Russia in 2015 while making the “Groove” (2017) documentary?

What I found is people are the same all of the world. For me, it’s a shame that you have politicians that are different than the normal, regular people. The normal, regular people in Russia are very nice, they are just trying to provide for their families and then you have this regime that is a dictatorial, authoritarian government that just keeps the people down. So, I was there from Siberia all the way to Moscow and I met some great people because the people of Russia are warm, hardworking and they are nice people. There is a big difference between the politicians in Russia and the people. That’s what I noticed. So, playing music was great because people all over the world love music. It really is the international language. It’s a real shame what is going on now because I don’t think as US musicians will be going to Russia again any time soon.

 

One of my favourite Youtube videos is you playing “In Memory of Elizabeth Reed” with The Allman Brothers Band at the Beacon Theatre in 2010. Did you enjoy that performance?

Yeah. I played with The Allman Brothers a lot. They were all friends of mine, and I would sit in with them a lot when they would be in New York. It was always a high energy, a lot of fun and a great feeling with that band. I will be doing a concert in Sarasota, Florida in about one month with some of the members that used to play with The Allman Brothers, I will be a guest for their band for one night. I do enjoy playing that music. It’s fun, it’s different and I always play a little bit differently when I am with those groups.

 

How did it happen to record “Love is Working Overtime” with Gregg Allman on your “Rise Above” (2016) album?

It was really special because I ‘ve always loved the way Gregg had sung the blues. We became really good friends and I told him that I wanted to have him on my record; I would love to write a song for him that he could sing. So, he said: “Well, send it over to me”. So, I wrote a song and I sent it to him and he wrote back to me saying that this song was so inspiring that he can’t wait to record it and he really believed that it would gonna come out great. I went down to Savannah, Georgia where he lived and we recorded it and it was really special because Gregg was a special singer and an original American rock ‘n’ roll star, I would say more of a soul/country star. It was so much fun because it was so natural, he was such present, he loved singing it and he loved the way the tune came out and I was so excited about that. So, for me, it was a really special moment.

 

How important is improvisation to you?

Well, it’s everything because improvisation is personal, it’s the way somebody performs their own style, it’s the differences between each different player. I mean, you spend a whole lifetime learning how to play jazz. It takes a long time to get really good at and you have to keep practicing and doing it in order to keep it at the highest level, but that’s what we love to do. Because if it were easy, everybody would do it, but for me that what improvisation in jazz is. I am a jazz musician first; if you can improvise and you can play jazz, you can pretty much play any kind of music because jazz is a language. It’s something that you learn, just like any foreign language that you speak. It’s like we are speaking to our instrument and the more we play it and the more with perform it, the better we get at it. It’s basically what separates each musician as an individual.

 

One of your signature tracks with Miles Davis is “Jean-Pierre”. What’s the story behind this great song?

The story behind that song is that I heard him playing one morning at his place of residence in New York on West 77th Street, back in 1980. It was a cool little song and he said: “What do you think?” and I said: “It’s a great little song”. At our first concert, which was in Boston we needed more music and I told him: “Let’s play that little song” in the first set and he said: “No, that’s a tune I don’t want to play it”. So, we didn’t and then in the second set, if I am correct, we didn’t have any more music and I went to him and said: “Well, I don’t know what you have in mind, but I think you ‘d better play that little melody now, so that we have something to play” and he said: “Alright, let’s give it a try”. So, we got Marcus (ed: Miller –bass) playing the bass line, he played that melody and the rest is history. I sort of feel a little bit responsible for that song, because he wasn’t interested in playing that little melody and I kept telling him that we should. So, if I had told him in the beginning that we shouldn’t do it, he probably would never have done it. So, that’s the story.

 

When you were in Miles’ band you played some keyboards on stage. How did it come about?

I used to play piano at his house, I used to play for him and he said: “I want you to play on stage as well”. He just wanted me to play electric piano sometimes, which was a Fender Rhodes and that’s pretty much how it happened. I used to play at his house and then he said: “I want you to do it in some of the concerts”. I said: “Ok” and that was it.

 

Was Miles an easy-going person to work with?

That’s a big question. He really was pretty easy to work with because I knew him very well. So, he would just let you play. He figured that you already know how to play by the time you get into his band. We were very close friends, so for me, you just keep your eye on him, you watch him all the time because he can start things to happen. That’s pretty much how that was.

 

Why did you decide to leave Miles Davis in 1983?

Because John McLaughlin asked me to join his group (ed: Mahavishnu Orchestra) and I wanted to play some different music, so I was happy to move on. It’s the same as in any band, whether it’s Miles or John McLaughlin or whoever. After you play music for a while, you want to have some other experiences. I mean, over the years I’ve done my Push band, my acoustic group band, I had Soulgrass, Vansband, because it’s just natural that you want to play different kinds of music with different players. After a few years, sometimes a little bit longer, it’s just natural to do different things. So, after I was with Miles for a while and I got the opportunity to play different music, it felt natural.

 

How much artistic freedom do you have on other people’s records?

Well, that depends. When people ask me to play on other people’s records they pretty much want me to play my style. They are getting me because they want me to do what I do. So, I almost always have artistic freedom. I try to play the music that they send, to the best of my ability but when it comes to improvising, I do what I want to do, because that’s why they are calling me. They want me to do what I do best, which is myself. I feel that’s why they are contacting me, so that’s why I do that.

 

You wrote “Clarendon Hills” on Mahavishnu Orchestra’s “Mahavishnu” (1984). Is this a kind of tribute to your childhood years (he was born in Clarendon Hills village in Illinois)?

Yes. I thought of it and I wrote a song and then we recorded it with John McLaughlin. Yeah, you are right. Absolutely.

 

Do you remember your Athens show in 2016?

Yeah, I do remember playing in Athens. I ‘ll play in different place this time, right? I think so (ed: in 2016 he played at Gazarte –now he’ll play at Athina Live). It was fun. That was a really cool venue to play and it was the first time I went to Greece. So, we had a couple of days out and we were able to walk about and see different things. So, it was a lot of fun and I do remember that venue. It was a very cool venue to play and people were very nice. We had a great time.

 

Please tell us about the influence of Dave Liebman (Elvin Jones, Miles Davis -saxophone) on you.

Well, when I coming up I was listening to John Coltrane, Sonny Rollins and Joe Henderson. I started listening to the post-Coltrane saxophone players, the people that I could go and see live. And I could go to Steve Grossman, I could go to Dave Liebman, I could go to Michael Brecker and I could see this young saxophonist’s (ed: Dave Liebman’s) cool playing with Elvin Jones (drums) and I could go and see live. So, Dave influenced me because I used to go and see his band. Sometimes, he would play drums and I would play saxophone, so I got to know Dave. Dave was an influence on me, he recommended me to Miles Davis’ group, so that was the big, really great thing for me. I will always be thankful to Dave for that.

 

Miroslav Vitous (Weather Report, solo) told me that jazz is dead, jazz is finished because there aren’t great musical personalities like Wayne Shorter and Herbie Hancock anymore. Do you agree with this?

No, I don’t agree with that because now there are so many great players, they just don’t have places to play. There are now so many possibilities to learn, you have so many great young players coming out of schools every single year, but they don’t have the opportunity. There is so much recording that are coming out, I mean, it’s everybody at a home studio, everybody is working and everybody is recording. Before, when Weather Report put out a record, there was no Spotify, there was no downloading, there was no streaming; if you wanted to hear Weather Report, you had to buy the record. So, everybody was aware. There wasn’t so much music coming out, so everybody was listening to the bands that were doing a record. Now, there are no things like that. On the other hand, there are lots of great musicians that there are out there now, they just don’t have a place to play because they don’t have names and in order to go out and play, promoters want to sell tickets. They would hire a band that has a name that people would know and recognise, so they can sell tickets. So, I think it’s very difficult for young musicians now, because they can to listen to everybody, they can learn how to play, but they don’t have a place to play. It’s a difficult time for young musicians in United States, I feel.

 

Why are you so against smooth jazz?

I am not against any kind of music. The one critical thing that I want to say about smooth jazz is there is no individuality, there is nothing unique. Most of the songs sound the same. What smooth jazz is, is sort of instrumental R ‘n’ B music and they want it to keep it simple, not challenging and most of the saxophone players in smooth jazz all sound the same, they play the same line. There are no individuals. If you hear an alto player playing smooth jazz, you don’t know who he is, he could be anybody. But in jazz, you could hear Wayne Shorter playing one note, you know it’s Wayne Shorter or sometimes people tell me they hear me playing one line on soprano and they know it’s me. If you hear somebody in smooth jazz playing a solo, their solos all sound the same, because it’s very much a set format. That’s not what I am in music for. I ‘m in music to be an individual, to play my music, to connect with an audience who will recognise it’s my own. Smooth jazz doesn’t do that. Smooth jazz is just a certain kind of music that isn’t so difficult to play and it doesn’t contain any individuality. That’s my critical explanation to that.

 

Is it flattering that you ‘ve been recognized by the whole jam scene?

That’s an interesting question because in jam scene they don’t really understand jazz. The problem with the jam scene is: There are some really cool bands that play some very-very cool songs, but none of them can really improvise. So, they would play 5 minutes of a cool song and then they try to become jazz musicians for the next 15 minutes and they don’t sound like very good jazz musicians, if that makes sense. The jamming in the jam bands is not at a very high level and the kids and the people that are coming to hear the music are not coming there to hear musicians playing at a high level. They are coming there just to have a good time. So, whether you get me to play saxophone on a jam band song or you get somebody that can barely play the saxophone, the audience has no idea. So, that was sort of depressing to me after playing in the jam band scene for a while and I was sitting in and playing with many of the most popular jam bands, to realise that what I was playing really didn’t matter to the audience. That’s what I said: “You know what? I’m not sure this is gonna be a kind of crowd I am going to be going for”, you know what I mean. That’s why I started to change a little bit, for not spending as much time out there with jam band scene.

 

Had Miles Davis ever told you any story about his jams with Jimi Hendrix?

No! Not, really. With me, I had never heard him talking about Jimi Hendrix. So, I don’t have Miles-Jimi Hendrix stories, unfortunately.

 

Do you regret discovering rock music quite late in your career?

No, because in order to play jazz at the highest level you have to put in 100% of your time. I mean, I had to spend all my time when I was 12, 13, 14, 15, 16, 17, 18, 19, 20 to learn how to play jazz music at the highest level. If I didn’t, you might not even know me now. Once I got the jazz to a certain level, then I started opening up and listening to other things. But I didn’t have any room in my head to listen to anything but jazz when I was coming up playing. So, it was a very natural thing for me to realise it later on.

 

You have played live with Willie Nelson. How challenging was it for you to play country?

In jazz you can play any kind of music. It’s the same saxophone, the same artist, the same person you just play, whatever band or music you are playing with. But I can’t play avant-garde improvisation with Willie Nelson, it would sound terrible. So, what I tried to do was: Play improvisation that still connects with the song, so it’s always a challenge. It’s much simpler music, so you have to play simpler but you have to still do it in a hip way, if that makes sense.

 

Tony Williams joined Miles when he was 17 years old. Are there those kinds of opportunities nowadays?

You know, I am not sure. I’ve spent the last 30 years just doing my own band or some co-led bands. If you are just doing that, you spend all your time in your own world. So, before, when there were groups like Miles Davis, Elvin Jones, Joe Zawinul, Wayne Shorter and Chick Corea , these are bands that you can think yourself: “I wanna practice really hard, so I can get into one of these bands maybe in the future”. You had something to shoot for. Now, there aren’t so many bands that you can say: “I wanna play in that band. I wanna see if I can play in that band” for a young musician. So, what I tell young musicians today is: Some of the best bands of the future are the bands that the young musicians are gonna put together themselves. I said: “The band doesn’t necessarily have to exist now in order for it to be great in the future. Just play your instrument as well as you can, have a vision of where you want your band, your music and your career to be. Concentrate on that and let the universe put you in the right place”. That’s what I think. If you play your instrument really-really great when you are coming up and you are practicing enough and you are a good person, many of these future bands will find you.

 

Do you have any musical ambitions left?

Sure, I always do. The dealings is what keeps me going (laughs). I wanna play with different players, I wanna be able to continue to write and play music with people that I haven’t played with before and people that I haven’t played with for a while. That’s why this tour coming up is with John Medeski, Felix Pastorius and Keith Carlock, because Keith and John haven’t played together and they are gonna be playing new music. It will be something fresh and different. That’s what I am interested in doing for the next 10-15 years. I mean, many of my friends have already passed away. As you get older, people die. You know now that this isn’t forever so I want to make sure that the tours you do, the people you play with are really people you wanna play with, because you don’t have a lot of time to waste.

 

Do you think because of the streaming services, listening to an album from start to finish is now becoming a kind of lost art?

Yes. It’s absolutely a lost art because people will go online and they will put your record on and they will listen to maybe 10 seconds of each song and maybe they ‘ll pick two or three songs to download, they won’t take the whole record. People today have a very short attention span, so they don’t listen to full song all the way through, they only download a few songs that they think they like. In the past when people bought CD’s and records, they put the record on and they listened to the whole record. But I still find people who buy CD’s on the road. I will be offering my record on the road. I will have the new CD to sell and I am always curious because I ask people: “Do you have a CD player?” and many of them say: “No” and I say: “But you are buying a CD” and they say: “I want the music to remember from tonight”. It’s interesting, if you sign it, they will buy it. It’s an interesting concept because we still sell 3.000 CD’s per tour and I’ve noticed many of them they don’t have a CD player (laughs).

 

A huge “THANK YOU” to Mr. Bill Evans for his time.

Official Bill Evans website: https://www.billevanssax.com/

Official Bill Evans Facebook page: https://www.facebook.com/billevanssax

ΠΗΓΗ

The Bangles – Manic Monday | Tune Of The Day

Embracing the rhythm of Manic Monday with The Bangles as my soundtrack today!

Released in 1986, this timeless track captures the essence of the start of the week with its upbeat melody and relatable lyrics. As I sip on my morning coffee, I’m reminded that we’re all in this together, navigating through the chaos with determination and a touch of optimism.

Let’s tackle the challenges head-on and make this Monday a day of productivity and accomplishment!

– Advertisement –

#MondayMotivation #ManicMonday #TheBangles #MusicMondays

– Advertisement –

ΠΗΓΗ

Rolling #ComingSoon ! #Kalomira #shorts #HeavenMusic #music #trends

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

Follow HEAVEN MUSIC:
▶ Spotify: http://bit.ly/HeavenMusic_Spotify
▶ Facebook: http://bit.ly/HeavenMusicFacebook
▶ Instagram: http://bit.ly/HeavenMusicInstagram
▶ TikTok: https://bit.ly/HeavenMusic_TikTok
▶ Website: http://bit.ly/HeavenMusicWebsite

source

Reimagining Celia: A Contemporary Tribute To The Queen Of Salsa

he eternal voice of Celia Cruz sounds more contemporary than ever in a new “collaboration” with Gente de Zona, and no, it wasn’t done with artificial intelligence. “Celia,” which the Cuban duo premiered live at the 2024 Premio Lo Nuestro ceremony on Thursday, February 22nd, uses original recordings from the Queen of Salsa to create an infectious medley with two of her songs: “Ella Tiene Fuego” and “La Negra Tiene Tumbao.”

This was something we had in mind for a long time,” Delgado told Billboard Español before the premiere. “When we arrived in this country, it was a dream we had, but unfortunately, it no longer existed,” added Randy Malcom, the other half of the duo that has won six Latin Grammys, explaining that after a decade in the United States, their priority was to make this dream a reality for their upcoming album, “DEMASIADO,” which they plan to release between March and April.

Released under Magnus Music, “Celia” was produced by Angel “Pututi” Arce, Dale Pututi, and Malcom and recorded in the latter’s studio about seven months ago. The project, which includes a new additional verse in “Ella Tiene Fuego,” had the full support and approval of Cruz’s estate executor, Omer Pardillo Cid, who helped them obtain the masters from Sony Music.

– Advertisement –

ΠΗΓΗ

HRVY Released His New Single, Titled “25”

Harvey Leigh Cantwell, known by his stage name HRVY, just turned 25 on January 28th. To mark his birthday, HRVY released a song reflecting on his own introspection.

25” narrates the journey of his life, where he had to move to Los Angeles, shave his head to find his identity, and his fear of entering this new era. This song, written with Albin Clern, Maia Wright & Petter Tarland, captures the feelings of longing and nostalgia that HRVY conveys with great sensibility.

The single “25” is his first release of 2024 and also marks the release of his songs as an independent artist. Previously, HRVY was signed with BMG and released “Stolen Heart“.

– Advertisement –

Throughout his career, HRVY has released 2 EPs, “Holiday” and “Talk To Ya” through Virgin EMI, as well as the third EP “Views from the 23rd Floor” through BMG.

– Advertisement –

ΠΗΓΗ

Chris Brown Has Released The Music Video For “Angel Numbers / Ten Toes”

Chris Brown has released the highly anticipated music video for his song “Angel Numbers / Ten Toes” from his 11th album titled “11:11“. Directed by Jamar Harding, the video takes viewers on a visually stunning journey that combines themes of self-discovery and resilience.

The video begins with Brown driving through rugged terrain before becoming trapped and transported to another dimension. Throughout the journey, he confronts his inner demons, represented by the luggage he carries. Ultimately, the musician finds solace as he reunites with his greatest treasures: his three beloved children.

“11:11”, released on November 10, 2023, under Chris Brown Entertainment/RCA Records, features collaborations with heavyweights in the industry such as Future, Maeta, and Fridayy.

– Advertisement –

In addition to the music video, Brown recently took to social media to announce plans for his upcoming tour, set to kick off in early summer. While details regarding tour dates are still being discussed, he assured fans that he will reveal the dates later on.

– Advertisement –

ΠΗΓΗ

Olivia Rodrigo Lights Up Palm Springs With Guts World Tour Debut

Pop sensation Olivia Rodrigo kicked off her highly anticipated Guts‘ world tour in Greater Palm Springs at Acrisure Arena, and it was nothing short of spectacular. The sold-out crowd of 11,000 fans was treated to an electrifying performance that showcased Rodrigo’s talent and stage presence.

The concert was divided into four acts, each offering a unique experience for fans. From the atmospheric opening featuring a black-and-white video of Rodrigo to the energetic renditions of hits like ‘Bad Idea, Right?’ and ‘All-American Bitch,’ the night was filled with unforgettable moments.

Rodrigo surprised fans with live debuts of two tracks, ‘Logical’ and ‘Obsessed,’ adding an extra layer of excitement to the evening. She also brought her trademark charisma to the stage, engaging with the audience and even sharing some personal anecdotes, like her birthday celebration involving a gas station visit.

– Advertisement –

But the highlight of the night was undoubtedly the performance of ‘Teenage Dream,’ where Rodrigo showcased her musical prowess on the piano while heartwarming home videos played in the background, captivating the audience with a nostalgic trip down memory lane.

Beyond the music, Rodrigo also used the tour as a platform to launch the Fund 4 Good initiative, aiming to support reproductive health freedom for women, girls, and all individuals. This commitment to social causes further solidifies Rodrigo’s status as not just a pop star, but also a force for positive change in the world.

With stunning visuals, energetic performances, and a message of empowerment, Olivia Rodrigo’s Guts world tour is off to an incredible start, leaving fans eagerly awaiting what’s next in store.

Act 1
bad idea right? (extended outro)
ballad of a homeschooled girl
vampire
traitor (extended outro)
drivers license
teenage dream (spoken intro; extended outro)

Act II
pretty isn’t pretty
love is embarrassing (contains elements of “Mickey” by Toni Basil)
making the bed (extended intro)

Act III
logical (live debut; extended intro; on moon)
enough for you (on moon)
lacy (extended intro)
jealousy, jealousy
happier
favorite crime
deja vu (extended outro)
the grudge

Act IV
brutal (extended intro)
obsessed (live debut; extended outro)
all-american bitch (extended intro)

– Advertisement –

Encore:
good 4 u (extended outro)
get him back! (extended outro)

@chris

A FAVE SONG @Olivia Rodrigo #oliviarodrigo #gutstour #gutsworldtour

♬ original sound – Chris Olsen

@bristsh

she’s just so silly #GUTStour #oliviarodrigo #gutsworldtour #concert #guts @Olivia Rodrigo @livies hq ❤️

♬ original sound – bridget

@broliviarodrigo

GET HIM BACK! #GUTSWORLDTOUR #FYP #FY #VIRAL #OLIVIARODRIGO #GUTS #TOUR #LIVE #CONCERT #SOUR

♬ som original – Olivia Rodrigo Brasil

– Advertisement –



ΠΗΓΗ

Pharrell X Miley: A Musical Reunion On The Horizon

Exciting Collaboration Alert: Pharrell and Miley Cyrus Hint at Upcoming Release!

Get ready for some musical magic as Pharrell and Miley Cyrus join forces for a highly anticipated collaboration set to drop “soon.” The multi-talented Pharrell gave fans a sneak peek of the track on Instagram, sparking speculation about its title, possibly “Doctor (Work It Out).”

Interestingly, this track made its debut not only on social media but also graced the runway of Louis Vuitton’s Men’s FW24 show during Paris Fashion Week earlier this year. While some rumors suggest that “Doctor” was initially slated for Cyrus’ 2013 album Bangerz, it’s been hiding in the musical vault for over a decade. Despite an earlier leak in 2017, the full version has yet to see the light of day.

– Advertisement –

Pharrell and Cyrus are no strangers to collaboration, having previously teamed up on Bangerz, where Pharrell served as a producer on several tracks. Remember the infectious energy of “Come Get It Bae”? That’s just a taste of what these two can create together.

Keep your ears peeled and eyes glued to your screens for further updates on this exciting release. It’s bound to be a musical journey you won’t want to miss! 🎶

– Advertisement –



ΠΗΓΗ

Kiesza’s Return: Bridging Dance And Pop In New Song “Dancing And Crying”

Kiesza, the Canadian force behind the billion-stream success “Hideaway,” returns with the titular song from her upcoming album “Dancing and Crying, Vol 1.” Co-written with Grammy-nominated songwriter K Sotomayor and producer Sugar Jesus, the song seamlessly blends Kiesza’s dance music roots with the captivating pop vibes of Dua Lipa and Kylie Minogue.

Dancing and Crying” is more than just a simple melody. It’s a journey, an opus with Kiesza’s words bridging the gap between her folk singing roots and the pulsating rhythms that made her a global star. The song reflects her artistic evolution from “Hideaway,” showcasing a genre fusion that promises to captivate longtime fans and newcomers alike. This is just the beginning of “Dancing and Crying, Vol 1,” and the electrifying titular song sets the stage for an unforgettable musical adventure. Get ready to move because Kiesza is back and wilder than ever.

“My new song, ‘Dancing and Crying,’ was the initial spark that ignited this upcoming volume of music. It was the first song we started with Sugar Jesus and the last one completed for this volume. ‘Dancing and Crying’ is an Opus.

 

A series of contrasting musical ideas, woven together by a foundation of house beats and basslines, bridges the gap between my folk heritage and the dance music that marked my place on the world stage. When my close friend, Grammy-nominated songwriter K. Sotomayor, joined our writing team, we revisited this song with fresh ears. Together, the three of us brought it to completion, with a new perspective on the journey we had embarked on, both together and individually. So, in a way, ‘Dancing and Crying’ is both the beginning and the end of Vol. 1. You can think of this titular piece as the MC of the series, preparing you for what lies ahead. This song is the catalyst for everything that has come and will unfold in this chapter. From its core stemmed the vision as a whole, from which all else has and will unfold.” – Kiesza

– Advertisement –

ΠΗΓΗ

Το Single που αγαπήθηκε από όλους ξεπέρασε τις 17M προβολές! #shorts #Triantafyllos #music #trends

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

Follow HEAVEN MUSIC:
▶ Spotify: http://bit.ly/HeavenMusic_Spotify
▶ Facebook: http://bit.ly/HeavenMusicFacebook
▶ Instagram: http://bit.ly/HeavenMusicInstagram
▶ TikTok: https://bit.ly/HeavenMusic_TikTok
▶ Website: http://bit.ly/HeavenMusicWebsite

source

Ανδρέας Λάμπρου – Καρναβάλι | Official Lyric Video (HD)

🔔 Κάνε ΕΓΓΡΑΦΗ εδώ: http://bit.ly/HeavenMusicYouTube
📌 Βρες το «Καρναβάλι» εδώ: https://lnk.to/Karnavali

Στίχοι:
Φώτα, χορός, μουσική,
Όλη η ζωή μας γιορτή,
Να μ’ αρρωσταίνεις,
Nα με τρελαίνεις,
Να με πεθαίνεις,
Και…

Φώτα, χορός, μουσική,
Μέρα και νύχτα εκεί,
Να σε κοιτάω,
Να σε φιλάω,
Να σ’ αγαπάω,
Και…

Μ’ αυτό το βλέμμα σου τελειώνω,
Βάζω στα πόδια μου φτερά,
Για τίποτα δεν μετανιώνω,
Μαζί σου φτάνω πιο ψηλά,
Πιο ψηλά, πιο ψηλά, πιο ψηλά.

Καρναβάλι όλη μου η ζωή,
Να ήταν απ’ το βράδυ ως το πρωί,
Τρελός χορός και τέρμα μουσική,
Μαζί σου κάθε μου στιγμή.

Καρναβάλι όλη μου η ζωή,
Να ήταν απ’ το βράδυ ως το πρωί,
Τρελός χορός και τέρμα μουσική,
Μαζί σου μια ζωή.

Γέλια, τραγούδι, ρυθμός,
Στα σώματά μας σεισμός,
Να μ’ αρρωσταίνεις,
Να με τρελαίνεις,
Να με πεθαίνεις,
Και…

Γέλια, τραγούδι, ρυθμός,
Σαράντα ο πυρετός,
Να σε κοιτάω,
Να σε φιλάω,
Να σ’ αγαπάω,
Και…

Μ’ αυτό το βλέμμα σου τελειώνω,
Βάζω στα πόδια μου φτερά,
Για τίποτα δεν μετανιώνω,
Μαζί σου φτάνω πιο ψηλά,
Πιο ψηλά, πιο ψηλά, πιο ψηλά.

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

Follow ANDREAS LAMBROU:
▶ https://geni.us/AndreasLambrou

Audio Credits:
▶ Μουσική: Ανδρέας Λάμπρου
▶ Στίχοι: Ανδρέας Λάμπρου

▪ Ενορχήστρωση: Αβέτ Κιζιριάν
▪ Τρομπέτες: Διονύσης Κοκόλης
▪ Κιθάρες: Τάσος Σοκορέλης
▪ Πιάνο: Αβέτ Κιζιριάν
▪ Πλήκτρα: Ανδρέας Λάμπρου
▪ Μπάσο: Αβέτ Κιζιριάν
▪ Κρουστά: Νικόλας Παπαδόπουλος
▪ Φωνητικά: Ανδρέας Λάμπρου
▪ Ηχογράφηση – Μίξη – Mastering: Αβέτ Κιζιριάν

Andreas Lambrou – Karnavali | Official Lyric Video (HD)

#AndreasLambrou #Karnavali #HeavenMusic #GreekMusic #GreekHits #MusicMadeInHeaven

source

«Προσοχή» Powered By Arte Di Ottico #shorts #EiriniPapadopoulou #Prosohi #trend #music #ArteDiOttico

📍 Γεωρ. Γεννηματά 75, Γλυφάδα, 165 62Τηλέφωνο: 21 0964 6883

source

Kim Wilde – You Came | Tune Of The Day

Dive into the electrifying beats and infectious melodies of Kim Wilde’s timeless hit, “You Came.” With its pulsating rhythm and Wilde’s captivating vocals, this song takes you on a journey of love and longing.

Released in the late 1980s, “You Came” continues to resonate with audiences worldwide, its catchy chorus impossible to resist. Whether you’re reminiscing about the past or discovering it for the first time, this track is sure to get you dancing and singing along.

So turn up the volume, let the music envelop you, and experience the magic of “You Came” by Kim Wilde. It’s a musical gem that transcends time and continues to captivate hearts.

– Advertisement –

ΠΗΓΗ

Introducing ‘Britpop’: A. G. Cook’s Latest Single

A. G. Cook release new single ‘Britpop’ – the title track from his highly anticipated forthcoming new album.

The new single will feature on A. G. Cook’s forthcoming third studio album Britpop. ​​A three-part, 24-song odyssey through Cook’s weird, wonderful, and wildly eclectic sonic universe, the record spans the full breadth of his agenda-setting, genre-bending vision of pop.

It’s an approach that begins with the record’s separation into three distinct chapters: Past, Present, and Future. Disc one, Past, consists mainly of Cook’s signature electronic style while disc two, Present, showcases the aspects of Cook’s songwriting instincts that veer most closely to that of Britpop in the traditional sense. Finally, on disc three, Cook jets off into the future—or at least, his own distinctive understanding of what the future of music really means.

– Advertisement –

A. G. Cook’s new album Britpop is released on Friday 10th May via New Alias.

You can listen to ‘Britpop’ :

Inspiration for Britpop struck when Cook found himself as the sole British person living in a small-town in Montana, weathering lockdown while working round the clock on previous albums ‘Apple’ and ‘7G’. After years of distance from the UK and self-reflection, Cook began to draw parallels between his own idiosyncratic history and the idea of “Britishness” itself, in its history-rich, eccentric, and pseudo-fantastic nature.

His finest work to date – and further instilling Cook’s mastery at blurring the lines between mainstream and experimental music – Britpop will act as a nod to both British and broader pop culture as opportunities for exploration and subversion, whilst maintaining an unshakable sense of identity.

A. G. Cook is a cultural trailblazer. A ground-breaking artist, producer and label founder Cook has reshaped the landscape of pop music over the past decade. Known for his wild experimentation and innovative production, his vast influence is unquestionable having shattered the traditional standards of genre and left a lasting mark on the fabric of the music industry.

– Advertisement –

ΠΗΓΗ

POPULAR