"In a grove of sassafras trees behind our farmhouse, with friends and family gathered around, we said goodbye to the greatest person I have ever known," he wrote on This Life I Live. "The service started in our barn/concert hall. The last time we were on that stage, was in early October and Joey and I were singing together. But now, a photograph of Joey was in the spotlight' and I was one of many who were there to honor her."
Friends attended the service and even participated. The Isaacs sang "It is Well With my Soul," Bill Gaither remembered visiting Joey before her death and the pastor who baptized Joey shared memories of the songstress.
"When it came my time to speak, I walked up on the stage and stood looking at my wife's sweet picture' and words were not enough to let her know how much she meant to me--how much she still means to me," Rory wrote.
"And when my time was through and I thought I couldn't cry anymore tears' they played a video celebrating Joey's life that our friends Daniel and Gabe made," Rory wrote, referring to the below clip. "And my tears were replaced by smiles and laughter and joy and more tears. It was so beautiful, set to the song 'After You're Gone' by Iris Dement' a song that Joey loved and requested be played at her service."
The precession, which sang "Down to the River to Pray," followed a team of mules as they carried a simple wooden box carrying the late singer to the family plot.
"And we spent the afternoon a few steps from Joey's garden, hugging and loving and celebrating the beautiful life she lived," Rory added. "And when most of the guests had gone and the sun was starting to fade, Indy and I took the short walk together into the back field to see her mama one more time."
A video celebrating Joey's life was created by family friends. Watch it here.
A rep for Cash Cash sent an exclusive statement to Billboard explaining their side of the story, "Early Saturday morning members of Tyga's touring crew physically assaulted Cash Cash during an altercation backstage at Inception at Sea cruise festival.
Members affected include Samuel Frisch, and Jean Paul Makhlouf. Jean Paul Makhlouf suffered a concussion, injured kidney, alongside bruises to his head and body following the scuffle. One member of Tyga's touring crew hit Jean Paul Makhlouf of Cash Cash in the face following a verbal altercation when Tyga's crew refused to leave the stage after the promoter called Cash Cash to start their already delayed set. [Tyga had postponed his 12:30-1am set to 1:45-2:35am overlapping with the set time of Cash Cash on the same stage.] A Tyga crew member was then filmed kicking Jean Paul in the ribs, while another Tyga crew member slammed him to the ground, punching and kicking his head and body while on top of him. Samuel Frisch was also shoved during the scene.
Cash Cash was unable to perform their set and Makhlouf was also forced to miss their following show to recover from the incident." Tyga's camp hasn't responded to the allegations. See Cash Cash's graphic tweets here.
McBride recorded the album with producers Nathan Chapman and Dann Huff at Nashville's iconic Blackbird Studios. She had this to say, "This album feels so good! That's the best way I can describe it.
"I spent a lot of time finding songs that felt personal to me. I figure if I can relate to them someone else will too. There are songs about love, life, hope, loss, leaving, and coming home. And that's what making this album felt like to me....coming home.
"We took our time and just let the songs and production develop and even though working with Dann and Nathan together was a new experience, somehow we captured a sound that feels like the music I've done my whole career and yet fresh at the same time."
The "Reckless" video was directed by Jeff Venable and filmed in Watertown. Watch it here.
Apparently titled "Insecurities," it's a sweet song about a budding friendship in which Bieber tries to calm a girl's insecurities by proclaiming how much he loves them. A few brief clips have surfaced online, revealing more of the lyrics, which seem to be about Bieber's rumored girlfriend Hailey Baldwin.
Bieber played an acoustic rendition while sitting on a plush Chesterfield sofa (via SPIN). "What are you worrying for?" he sings during one verse, before repeating a line about loving the girl's insecurities. Another verse reveals more details: "Trying to open that door/ Because you know that friendship has already begun/ I'm aware of your secrets." See it here.
Free's video shows Lamar sitting before a mic in a silent video that pans back and forth between the rapper and a Boxer dog. The caption reads "Kendrick recording new s-" with an emoji of a monkey with its hands over its mouth. XXL Magazine captured the Snapchats.
In a second video, Free captures Lamar listening to playback of a song with the line "Shine on the track like a platinum chain." He appears to dig how it all sounds.
Check out the videos here.
He writes, "In the years since my brother and I began singing together, the definitions of both life and artistry have changed dramatically. There used to be a line separating the two - a division between the pursuit of music and what we recognized as our daily lives. Intrinsically, one would have to pause in order for the other to continue. When this line was visible, in order for us to write, perform, and chase a musically driven livelihood, we would depart from our lives as we knew them, often abruptly and with some difficulty. Alternately, when we were present for the events of which life is conventionally comprised (birthdays and weddings of family members, weekly grocery store trips, daytime jobs, etc.), music would have to wait. It would stop so we could maintain a familiar momentum - one wherein bills were paid, goals were met, hometown relationships were maintained, and the stability through being in one place was felt and appreciated.
"Our lives were fine. Our music was okay. In retrospect, I understand the two were bound together - the nourishment of each eventually benefitting both, though at the time, it seemed as if neither could progress in the wake of the other.
"That was over three thousand shows ago. Eight albums ago. Hundreds of thousands of miles ago. A million albums have been sold and twice as many shared or given away. There have been high and low profile performances, television appearances, international tours, alliances made and strengthened, songs written and rehearsed - called complete and revised again anyway. Over time, we watched the celebratory frenzy once experienced only in the bars and restaurants of our early years erupt through the grand audiences of arenas, festivals, and amphitheaters across the world. Our name, once an afterthought on a xeroxed restaurant calendar in Hoboken, now in lights on the marquee at Madison Square Garden.
"Something else happened in the 16 years that passed. Though we left home a thousand times, life continued. We finished college. We kept and made new and dear friendships. Lessons were learned, forgotten, repeated. The concepts of marriage, as well as divorce, became realities. Babies were born. Homes were built. We saw loved ones fight cancer in seemingly every form imaginable. We saw this battle won and lost - souls victorious in either outcome. We allowed these concepts to take root in our lives, and when they would allow it, we wrote songs with and for them. The stage and the instrumentation grew, matching our relatively unhurried and sometimes clumsy growth as people. We set upon a purposeful path of revision, attempting to embrace the changes we saw in ourselves as well as our artistic endeavors. Somewhere along the way, the line between music and life faded. The change was imperceptible at first. Then, when we weren't paying attention, it evaporated altogether.
"With the disappearance of this division, the songs have become increasingly reflective in their nature. It could be argued that this has always been the case with us; the songs are open, honest, and to some extent, autobiographically accurate. I know this to be true. Though it does occur to me now, that in some regard, before any professional success, we were perhaps paradoxically more self-aware. The songs would show mere versions of ourselves - the heartbroken introvert, the frantic worker, the forlorn traveler, the philosopher, the romantic, the loner - all somehow imbued with the meaningful sheepishness of a James Dean character. We used to hope and vie for that attention, that perceived personality, that coolness. It was a safer way of showing ourselves, honesty filtered through the colorful lens of young men hoping not only to entertain, but to present themselves in the most favorable light possible. I believe we have, in the course of our artistic wanderings, methodically taken this lens away, to the betterment of our songs, and to the conviction of our course. It is with this current focus and harmony between art and living that we pen our songs. And it is in this state of resolution we share our ninth full length studio album.
"Scott and I lead different lives, but we are, as we have always been, fully invested in each other's story. Consequently, the variety in our authorship maintains a unity which otherwise would be unattainable. We write together and separately, but we are forever in fellowship through the music. Our ventures into narrative and poetry are always served best with the full support of each other - two sources, one voice. Every record we make is a testament to this, regardless of how it is executed or to what musical landscape it is released.
"True Sadness is a patchwork quilt, both thematically and stylistically. Wherein a myriad of contrasting fabrics make perfect sense on the same plane, this album draws upon countless resources from its writers and performers. To further propel the expansive color and textural fields of the record, we are blessed to play and perform music with a group of musicians who possess not only great talent, but great interpretive ability. They are an extension of our family and their care for the work at hand (and the project at large) informs a dynamic musical contribution to any piece we proudly give our last name. Sonically, the album is as multidimensional as its makers. The same could be said of its long list of influences. So the quilt is sewn, in part, with the brightly colored threads of Queen, Sister Rosetta Tharpe, Jimmie Rodgers, Tom Petty, Nine Inch Nails, Gillian Welch, Aretha Franklin, Walt Disney, Pink Floyd, Kings of Convenience, calypso of the 1950s and country of the 1930s. Rock and roll is here, as always. There are moments of undeniable celebration and camaraderie, others of quiet and lonely exhalation. Throughout the album, we stitched together the boldest red and the calmest green, polka dots and stripes, the roughest denim and the smoothest velveteen. They came together because they are the best patterns we have and because each of us brought our own fabric to the quilting frame.
"We made this record as people who have made records together before - with experienced hands, appreciative hearts, renewed focus, and the knowledge of our good fortune to make music once again.
"On June 24th, we will share with the world this work, these songs, and a contemporary chapter of our lives."
The new release, entitled Complete Trio Collection, will feature newly remastered versions of the original Trio albums as well as rare and unreleased music. We were sent the following details:
The bonus disc is loaded with 20 songs, including alternate takes of album tracks like "I've Had Enough," "Making Plans" and "My Dear Companion." Also featured are 11 completely unreleased recordings from the trio spanning both album sessions including "Waltz Across Texas Tonight," "Pleasant As May," "Are You Tired of Me," and the gospel standard "Softly And Tenderly." Among the unreleased material is also an alternate version of "Do I Ever Cross Your Mind?" featuring Parton on lead vocals and a stunning acapella version of "Calling All My Children Home."
On the same date, a single-disc set will also be available entitled My Dear Companion: Selections From The Trio Collection, featuring a mix of songs taken from the three-disc set, as will Farther Along, a double-LP set of all the bonus material from The Complete Trio Collection. Trio II will also be released on vinyl for the first time. See the tracklistings here.
Edward Sharpe and the Magnetic Zeros will headline the main stage, which will also feature performances from a diverse lineup including Albert Hammond Jr. (The Strokes), X Ambassadors, John Moreland, Chase Kerby + The Villains and more.
"We're really proud of the awesome lineup of artists and brewers joining the festival, all of whom will help to make it the best Hop Jam yet", said co-founder Taylor Hanson. "Headlining the first two years was exhilarating, but playing a different role this year is equally exciting for us."
More than 60 breweries will be on site, representing 20 states and more than 10 countries.
The song's central sentiment, "I can't unlove you/ So come love me for now" finds a gripping visual story in director Trey Fanjoy's capable hands. In the video's opening moments, Nettles, dressed in a red dress, sits alone at a bar sipping on a whiskey neat, before her beau shows up and the two reminisce over a drink. What seems to start with a straightforward narrative-Nettles at the bar-turns into a much more evocative video thanks to powerful imagery used to convey the song's emotion.
The video takes an abstract turn when their connection and its looming end sends her falling backward into water. Nettles and her man in the video film a beautiful underwater sequence to capture the song's pain at having letting go. Watch the video here.
Brown sings: 'She'd say the straight and narrow is the toughest row to hoe / Just remember what you reap is what you sow." 'Everybody has a great story, about their parents, their grandparents, brother, sister," Cobb tells Rolling Stone Country of the concept album.
"Everybody has an intimate story and it was something that everybody could relate to. I wanted to have really talented artists custom write and do songs that mean a lot to them, and also just make the song that maybe they wouldn't put on their record: the deep song, or the song that doesn't fit in the queue or wouldn't be a single. I wanted them to do the most honest song they could possibly do." Read more here.
One of the unique aspects of Lambert's new line pertains to the toys, which are all modeled off real-life rescue animals in an effort to share their stories. Lambert's own pup Delilah even has one.
Lambert said about the line, 'The creation of MuttNation is a dream come true. It's an extension of me and my mom's love for all dogs and our goal of helping every dog find a happy, loving home. We are beyond thrilled to have Petmate as a committed and trustworthy partner that shares that same vision. There are millions of beautiful dogs looking for homes and it is our hope that in addition to raising money, we will raise awareness to the joy of adopting a shelter pet."
On Instagram, Lambert announced the partnership with a post featuring a set of three pictures. Read more and see the photos here.
It was one decade ago, in the year 2006, when Taylor Swift completed and shipped her first single--"Tim McGraw"--to radio stations. Her label Big Machine tweeted a throwback photo of the exact moment that song was sent to the airwaves.
A fresh-faced Swift slides a compact disc (how quaint!) into an envelope, presumably to stick it in a mailbox and throw a bit of salt over her shoulder. Big Machine seems to imply, "Imagine the chain of events this small, manual gesture set into motion." The pop world as we knew it would never be the same.
From her meeting with Big Machine brass, imagine a 16-year-old Taylor Swift walking down the block in perfect, serene anonymity to a Nashville Starbucks--she orders a skinny caramel latte, of course. "Can I have your name?" asks the barista. He writes "Tayler" on the cup but Taylor lets it slide. Very soon he would know her name. See the post here.
Filmed in October 2015, this is Gardot's first ever DVD release, and includes favorites like "Same To You," "Baby I'm A Fool," "Who Will Comfort Me," "Preacherman," "Les Etoiles," "She Don't Know," and more.
Philadelphia native Melody Gardot's music is unable to be defined by genre, ranging from soulful, sultry, sassy, rich, and emotive. A Grammy-nominated jazz-pop singer-songwriter, Gardot's performance on Live At The Olympia Paris is both intimate and emotional, as captured at the legendary venue in the French capital (originally created in the Belle �poque era), and her band is at the top of their form. Playing both guitar and piano, Gardot focuses primarily on songs from her most recent album Currency Of Man and 2009's My One And Only Thrill, with a couple of surprise tracks thrown in for good measure.
Beyond her captivating expertise as a songwriter, vocalist, and performer, Melody Gardot is a beacon for perseverance against adversity. At the age of 19, Gardot sustained multiple head injuries in an accident, and her love of music served as the best form of therapy while hospitalized for months, resulting in her 2005 EP debut Some Lessons: The Bedroom Sessions. See the tracklisting here.
Blackstreet's 1996's Another Level album was a breakthrough success due to the top single "No Diggity" (with Dr. Dre), which was a #1 hit on the Billboard Hot 100 in November 1996, and won the 1998 Grammy Award for Best R&B Performance by a Duo or Group with Vocals, along with the Top 40 hit "Don't Leave Me". Another Level eventually went four times platinum in the United States and peaked at #3 on the Billboard chart. "No Diggity" is ranked at #91 on Rolling Stone and MTV: 100 Greatest Pop Songs, while Blackstreet comes in at #214 of the Top 500 Pop Artists of the Past 25 Years.
Johnny Gill is an American R&B musician, songwriter and singer best known as a successful solo recording artist and as lead singer of platinum-selling boy band New Edition. Johnny Gill also contained four singles that powered onto the R&B and Pop Singles charts: "My, My, My," a signature Gill ballad that reached No. 1 on the R&B chart and the Top 10 on the Pop chart; "Wrap My Body Tight"; "Fairweather Friend" and "Rub You the Right Way."
After 7 emerged in the '90s as a solid contemporary ensemble able to perform creditably in either vintage soul or modern new jack and urban styles. The Indianapolis trio includes brothers Melvin and Kevin Edmonds (the brothers of producer/performer Babyface) and Keith Mitchell (cousin of Babyface's longtime partner L.A. Reid). They signed with Virgin in 1989 and had immediate success with their LP After 7. Such songs as "Can't Stop" and "Heat of the Moment" were major winners on the urban and quiet storm circuit.
Total is an American R&B girl group and one of the signature acts of Sean Combs' Bad Boy Records imprint during the 1990s. Total is best known for their hits "What You Want" (Featuring Mase), "Kissing You", "Can't You See" (featuring The Notorious B.I.G.), and "What About Us?" & "Trippin'", both featuring Missy Elliott. Long also featured on The Notorious B.I.G.'s hit song "Hypnotize", singing the chorus.
Al B. Sure! is a three-time Grammy-nominated American R&B recording artist and record producer. During the late 1980s, Al B. Sure!, was one of new jack swing's most popular romantic singers and producers, due to his smash hit "Nite and Day, which reached the Top Ten on the pop charts and topped the R&B charts for three weeks. The follow-up, "Off on Your Own (Girl)," was also a number one R&B hit, and he became a bona fide star among urban audiences, though he didn't remain a presence on the pop charts. here.
The song starts with a sample of a version of "Insect Express" I recorded at age 15. The lo-fi locomotion of the train explodes 10 years later, throttling into higher fidelity.
The video combines hand-drawn animation and digital forms that show abstract shapes, astrological imagery, and bees. Emily Pelstring, the video director, notes the 'interplay of species, the dances of bees, and flight patterns merging as collective rituals in a fever dream. It was made using an analog video effects rig that involves several devices linked together. The process involves a feedback loop that creates distortion, or self-destruction of the image.'
Hearing is believing. Now that you know the story behind the song, listen for yourself right here!
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