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Showing posts with label music and lyrics. Show all posts
Showing posts with label music and lyrics. Show all posts

Top 10 Concerts: Must-See Shows in the Twin Cities and Beyond This Week

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Celebrating Music Across Genres and Venues

When she arrived at the Dakota last August, the veteran Texas singer-songwriter’s “Mileage” album was days ahead of the release, her first album for Sun Records. Now she returns having collected her first Grammy for best contemporary blues album for “Mileage,” which features the acoustic Delta blues “Done” with Larkin Poe and a remake of “That’s All Right,” the Arthur Crudup tune that Elvis Presley turned into one of his first hits in 1954, done to a swampy blues groove with gospel harmonies. Foster is back at the Dakota for two nights of her special mix of soul, gospel, blues, jazz, folk — oh, let’s just call it Americana.

What started in 2021 as a set of summer house concerts in Duluth is now an intimate gathering of outstanding musicians from around the country. For the festival’s closing concert, string players from the San Francisco Symphony, Dallas Symphony Orchestra, the Calidore String Quartet, the New England Conservatory of Music and elsewhere will join forces to breathe life into the small-scale creations of Domenico Scarlatti, Pablo de Sarasate, Jennifer Higdon, Franz Schubert and Johannes Brahms.

Also: mgk, formerly known as Machine Gun Kelly, is doing a surprise pop-up concert to promote his new rootsy album “Lost Americana.” The event is free with sign-up and takes place at the Electric Fetus.

We’ve seen a lot of both these veteran alt-rock bands in the Twin Cities in recent years, but take their frequent tours as a sign they’re in fine form and having fun. Wayne Coyne and his Oklahoman acid-punk-pioneering Lips always seem to be having a good time with their many inflatables and stage gimmicks and singalongs from classic albums like “The Soft Bulletin” and “Yoshimi Battles the Pink Robots.” Isaac Brock’s nervy Washington State unit of “Float On” fame didn’t seem to be having fun for many years but put on a spirited and playful set at Surly last summer with the Pixies. Buzzing Chicago duo Friko is scheduled to open.

Even though fans have been tantalized by the reissue of “Buckingham Nicks,” they’ve been bummed about Stevie Nicks’ concert postponement next week at Xcel Energy Center because of a shoulder injury. She promises to return on Nov. 12. Meanwhile, get a Fleetwood Mac fix with one of the Twin Cities’ best tribute bands doing a free outdoor show in one of the metro’s loveliest parks. Pamela McNeill, Mary Jane Alm and Jeff Engholm are the featured vocalists in this nine-piece band covering everything from “Rhiannon” to “Go Your Own Way.”

OK, we’ll admit it. We weren’t too excited to see these somewhat slapstick ‘90s punk rockers on the lineup for last year’s Minnesota Yacht Club festival, but like a discernibly large part of the crowd, we had fun singing/shouting along to their many radio and MTV hits, including “Come Out and Play” and “Self Esteem.” The Orange County vets are getting radio play again with “Make It All Right,” from their new album, “Supercharged.” Whether their fan base is charged enough to fill an arena is questionable, but openers Jimmy Eat World and New Found Glory should help fill seats.

Also: Dustin Lynch, who has scored nine No. 1 country hits including “Chevrolet” featuring Jelly Roll, becomes the latest star to sing after a Twins game. After several years of charming local audiences with their jazzy and western-swinging guitar/sax/bass retro grooves, Jake Hanson, Nelson Devereaux and Ted Olsen are finally celebrating the release of the Riffin’ Trio’s first EP with Aby Wolf, Beemer and other surprise guests.

Those Medley Kids, an all-star group of Twin Cities players featuring vocalist Bill Pyle III, will visit the prog-rock sounds of Rush, King Crimson, Yes and Genesis’ “The Lamb Lies Down on Broadway.” The countdown to closing time at Palmer’s Bar continues with a rocking patio lineup featuring the Scarlett Goodbye, Faith Boblett and the Heavy Sixers.

It looks as if this is the last concert of the season — or maybe for a long time — at this utilitarian amphitheater serving the greater Twin Cities area. Who knows what shows Somerset will attract after the state-of-the-art Shakopee Amphitheater opens in 2026 since both are operated by Live Nation? To close things out in Somerset, it’s the duality dude known simply as Hardy, who has scored a string of country hits mentioning trucks and beer, as well as making noise in hard-rock circles. After appearing at country fests this summer in Iowa, Wisconsin and Minnesota, Hardy headlines his own gig. With three openers including Koe Wetzel of “High Road” success, it’s like a mini-fest.

Also: Jane Monheit, the technically superb New York jazz vocalist, is back at the Dakota. “How to Save a Life” hitmakers the Fray return. Seven local mainstay acts that usually play original tunes are cutting loose with tribute-band sets for a great local cause at the third annual We Got You Covered concert, featuring the de’Lindas, Doug Collins and the Receptionists, the Mighty Mofos, the New Brunettes, RuDeGirl, the Wandering Sons and the Belfast Cowboys, benefitting Foothold Twin Cities. Robert Wilkinson and his influential Twin Cities combo Flamin’ Ohs are heading up another benefit for the Parkinson’s Foundation with Annie & the Bang Bang.

As if there hasn’t been much for him to march and rage against in the interim, Trent Reznor finally saw fit to return to the road this year with his angst-fueled, piggies-lambasting techno-metal band for their first Minnesota gig in 12 years. No surprise the pent-up demand put a hurt on the box office, with only very limited seats remaining at face value. Shows so far on the Peel It Back Tour have focused on classic NIN cuts rather than new music from the upcoming “Tron: Ares” soundtrack. But it features some new twists to the old stuff, including help from German producer/opener Boys Noize and some clever staging.

Bluesmen from different generations but the same northern part of Louisiana, Shephard and Rush came together in a big and beautiful way on a new collaborative album, “Young Fashioned Ways.” The 91-year-old Rush told the Star Tribune that he and his fellow Louisiana native “were only going to record two songs together, but we just kept recording we were having so much fun.” The fun continues on a joint tour that gives the elder singer/guitarist a chance to lean on the younger guitar slinger and his sturdy band. They have two Minnesota stops on their trek.

Also: After her would-be tourmates the 29:11 South Africa Ensemble were denied U.S. visas for their series of Midwest performances, the Twin Cities’ hopeful hip-hop hero Dessa is going ahead with her hometown show and hoping to capture the spirit of the transatlantic collaboration. WDGY, the now-oldies radio station that was one of two Twin Cities Top 40 outlets in the 1960s, will commemorate the 60th anniversary of the Beatles’ Aug. 21 performance at the old Met Stadium on the same site, which is now Mall of America. A Hard Day’s Night, a tribute band, will recreate the set list from that historic concert. Last call is nearing for piano legend Cornbread Harris’ Church of Cornbread evening shows at Palmer’s Bar.

Long before there were TV talent competitions for a cappella ensembles, this New York septet was building a reputation for sounding like a full band with just voices. Now in their 26th year, Naturally 7 still boasts four original members, including founding brothers Roger and Warren Thomas. Last year, the septet dropped “Naturally 7 @theMovies, Volume One,” featuring their inventive interpretations of such tunes as “Stayin’ Alive,” “Sound of Silence” and “Lose Yourself.”

Also: John Rzeznik and Goo Goo Dolls are back for what seems like their annual Minnesota visit to reprise “Iris” and “Slide,” with Dashboard Confessional opening. Canada’s contribution to the Blink-182-led pop-punk movement for millennials, Simple Plan, is out celebrating its 25th anniversary with a mini-fest like opening entourage featuring Bowling for Soup, 3OH!3 and Lolo. Colorado’s dramatic, cult-loved folk-rocker Gregory Alan Isakov is taking on Surly Brewing Festival Field with Canadian roots duo Ocie Elliott opening.

His hotly hyped new record landed with a thud, and he has a bad rep with Twin Cities fans after thrice canceling on them in the 2010s. So tickets to Weezy’s first local arena show since before COVID haven’t exactly flown off the shelf. The New Orleans rap king has a lot of incentive to come and reprove himself, though, and to maybe finally convince fans to check out “Tha Carter VI.” Set lists have included a handful of tunes off the new record along with more than 30 better-known hits going back 20 years. Tyga and Belly Gang Kushington will open.

Also: Lettuce, the jazz-funk band that got its start at the Berklee College of Music in the 1990s, adds some hip-hop seasoning on their latest, “Cook.” Minnesota jazz mainstays Steve Kenny Quintet celebrate the new album “Blue Chunks.” Power belter Claudio Sanchez and his enduring metal band Coheed and Cambria are back with Taking Back Sunday. Cleveland’s pop-rocker/comedian Dave Hill was last seen in town opening for actor Michael Shannon’s R.E.M. tribute tour. Outlaw countryman Cole Diamond hosts the last installment of his Whiskey Wednesdays shows at Palmer’s.

Jazz legend passes while immersed in her passion

Jazz legend passes while immersed in her passion

A Legacy of Jazz and Innovation

Sheila Jordan, a legendary jazz singer known for her pioneering work in bebop and scat singing, has passed away at the age of 96. Her death was shared by her daughter, Tracey, through an Instagram post on Monday, August 11. In the message, she described how her mother peacefully passed away at 3:50 p.m., surrounded by music that defined her life. Joan Belgrave, a close friend, played a bebop tune called “Bill for Bennie” by Jordan’s late husband, Marcus Belgrave, as Sheila drifted off to sleep.

Tracey expressed gratitude for the support received from the jazz community and mentioned that funds raised on her mother's GoFundMe page would be used to pay off medical debt and secure a plot for her at Woodlawn Cemetery in the Jazz Corner. A memorial service is planned for the future at Saint Peter’s Church in New York City.

Early Life and Career

Born in Detroit on November 18, 1928, Jordan was raised by her grandparents in Pennsylvania. She moved to New York in the 1950s, where she married Duke Jordan in 1952. During this time, she studied under Lennie Tristano and began performing in jazz clubs, laying the foundation for her influential career. According to AllMusic, despite having a relatively small voice, Jordan made the most of her instrument, earning recognition as one of the most consistently creative jazz singers.

Scott Yanow, a respected jazz historian, praised Jordan for her ability to improvise logical lyrics that often rhymed, her superb scat singing, and her emotional interpretation of ballads. He noted that her contributions helped pave the way for later artists such as Norah Jones and Diana Krall.

Musical Contributions and Achievements

Jordan's career saw her featured on George Russell’s 1962 rendition of “You Are My Sunshine” for his album “The Outer View (Riverside).” The following year, she released her debut album, “Portrait of Sheila,” becoming one of the few singers to lead her own project through Blue Note Records. However, it took a decade before she returned to the music scene, collaborating with Carla Bley, Roswell Rudd, and co-leading a group with Steve Kuhnin in the late 1970s.

By the 1980s, Jordan was recording as a leader for numerous projects, including her final album, “Portrait Now,” released in February. Among her many accolades, she was honored as a 2012 recipient of the National Endowment for the Arts, the nation’s highest honor in jazz.

Recognition and Impact

In a press release announcing her passing, the NEA highlighted Jordan’s exceptional talent as a scat singer and her ability to reach emotional depths in ballads. Whether performing well-known standards or original material, she brought a unique voice to every song. Beyond her musical achievements, Jordan also dedicated herself to education, teaching at the City College of New York and serving as a faculty member for Jazz in July at the University of Massachusetts at Amherst and the Vermont Jazz Center in Brattleboro, Vermont. She conducted workshops internationally, further cementing her legacy as a mentor and educator.

A Lasting Influence

Sheila Jordan’s impact on the world of jazz is undeniable. Her innovative style and dedication to the art form left an indelible mark on the genre. From her early days in New York to her later years as a revered figure in the jazz community, she inspired generations of musicians and fans alike. As her family prepares for a future memorial service, the jazz world mourns the loss of a true pioneer who helped shape the sound of modern jazz.

Rascal Flatts Returns to Iowa State Fair for 25th Anniversary Tour

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Rascal Flatts' Return to the Iowa State Fair: A Nostalgic Performance with Mixed Results

Country trio Rascal Flatts made their third appearance at the Iowa State Fair, bringing with them a mix of nostalgia and high expectations. The band, consisting of Gary LeVox on lead vocals, Jay DeMarcus on bass guitar, and Joe Don Rooney on lead guitar, is currently on a 2025 tour titled "Life is a Highway Tour," celebrating their 25 years of performing together at the Grandstand.

In 2020, the group announced they would be taking a break after two decades of music-making, followed by a planned tour. However, the pandemic forced the cancellation of that tour. They officially disbanded in 2021, but it seems the band couldn't resist marking their silver anniversary with a new album and a series of shows.

As the lights dimmed, the band opened with Thin Lizzy's "The Boys Are Back in Town," setting the tone for an evening filled with hits from their extensive catalog. LeVox took the stage, reflecting on the past 25 years of Rascal Flatts. He humorously noted how technology has evolved since their early days, when cassette players were the norm, and now everything can be streamed directly to a phone.

Despite the nostalgic sentiment, the performance had its challenges. The band played a series of hits back-to-back, which left the audience struggling to keep up. The energy was high, but the lack of structure made it difficult to build momentum throughout the set.

LeVox's vocal performance remained strong, showcasing his signature voice that has defined country music over the years. His delivery of slower songs like "My Wish" and "Bless the Broken Road" was particularly moving, with the crowd singing along in unison.

However, the live mix posed some issues. The powerful instrumentation, including heavy bass and loud guitars, often drowned out LeVox’s voice, making it challenging for the audience to hear him clearly. This issue was especially noticeable during moments where he invited the crowd to sing along.

The band also introduced a new track, "I Dare You," a collaboration with The Jonas Brothers. The song, part of their latest album "Life Is a Highway: Refueled Duets," showcased their creative evolution while still maintaining their signature sound.

The evening also featured opening act Neal McCoy, who delivered a high-energy set that resonated with the audience. Known for his 90s hits, McCoy brought a mix of classic country and rock n roll, engaging the crowd with his charisma and storytelling.

McCoy’s performance included songs like "The Shake" and "No Doubt About It," as well as a medley of rock n roll classics. His ability to connect with the audience and his smooth baritone voice made for a memorable opening act.

The show concluded with Rascal Flatts’ encore, featuring their hit "Life Is a Highway." The performance served as a fitting end to the evening, highlighting the band's enduring appeal and their ability to bring people together through music.

As the Iowa State Fair continues, the Grandstand remains a hub for entertainment, with upcoming acts like American rock-and-roll tribute band Hairball set to take the stage next. The fair offers a variety of experiences, from food to music, making it a must-visit event for locals and visitors alike.

Alabama's Link to the Rock Legend Behind a Classic Hit

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A Legacy of Music and Friendship

Bobby Whitlock, a key figure in the creation of one of rock’s most iconic albums, "Layla and Other Assorted Love Songs," left an indelible mark on music history. Known for his work with Derek and the Dominos, Whitlock played the Hammond organ, provided backing vocals, and contributed to writing several tracks on the 1970 album. His role was particularly significant in the closing track, “Thorn Tree in the Garden,” which he wrote about the loss of his dog while living in Los Angeles. This deeply personal song became a highlight of the album, showcasing Whitlock's emotional depth and musical talent.

The Journey of a Musician

Whitlock's journey took him from Memphis to Alabama’s Muscle Shoals area in the early 2000s. He spent time in what had once been the reception area of the legendary Muscle Shoals Sound studio before moving to a home in Florence. There, he lived with his partner, musician Kim “Coco” Carmel. Their relationship led to several collaborative albums, featuring guest musicians such as country legend Willie Nelson. The two eventually married, forming a partnership that would last throughout their lives.

A Connection with Jason Isbell

Jason Isbell, a Grammy-winning singer and songwriter, grew up in the Shoals and Green Hill areas. He first encountered "Layla" at the age of ten, when he taped it off a local radio broadcast. The song left a profound impact on him, leading him to purchase the album on cassette and vinyl. Isbell often spoke of how the album shaped his musical journey and inspired his own career.

After Whitlock moved to Alabama, Isbell reached out to him, and they formed a friendship. They spent time together, playing songs and sharing their passion for music. Whitlock recognized Isbell's guitar skills and invited him to join him for a couple of shows, a gesture that meant a lot to Isbell. Their collaboration included appearances at the Muscle Shoals Songwriter Showcase, where Whitlock praised Isbell's talent on stage.

A Lasting Influence

Whitlock's influence extended beyond his work with Clapton and the Allman Brothers Band. He contributed to various other projects, including George Harrison’s "All Things Must Pass" and the Rolling Stones’ "Exile On Main St." His songs were also recorded by artists like Ray Charles, Cher, and Sheryl Crow, highlighting his versatility and talent.

Remembering a Friend

When news of Whitlock's passing spread, many in the music community expressed their grief. Eric Clapton, who had worked with Whitlock in Derek and the Dominos, shared his condolences on social media, honoring his friend and collaborator. Pattie Boyd, the muse behind "Layla," also paid tribute, recalling the fun times they shared at Friar Park.

Whitlock's legacy lives on through his music and the friendships he built. Kelvin Holly, a longtime guitarist with Little Richard, remembered him as a unique individual, describing how he would often spend mornings creating art from driftwood. His creativity and passion for life left a lasting impression on those who knew him.

A Timeless Classic

Fifty-five years after its release, "Layla" remains a timeless classic, celebrated for its powerful storytelling, innovative sound, and emotional depth. Whitlock's contributions to the album continue to resonate with fans and musicians alike, ensuring that his voice and talent will be remembered for generations to come.

Barenaked Ladies Show Proves Connection Outshines Crowd Size in Syracuse

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A Nostalgic Night Under the Stars in Syracuse

Syracuse, New York, witnessed a unique musical evening as the “Last Summer on Earth” tour brought together three iconic bands—Barenaked Ladies, Sugar Ray, and Fastball—at the Empower Federal Credit Union Amphitheater at Lakeview. While the crowd was smaller than expected, with under 3,000 attendees, the energy and nostalgia of the night made it a memorable experience for fans of all ages.

The event kicked off with Fastball, who took the stage just after 7 p.m., as the summer sun still cast a bright glow over the venue. The band delivered a set that included hits like “Sooner or Later,” “You’re an Ocean,” and their classic track “The Way.” In a touching moment, they paid tribute to Syracuse University graduate Lou Reed with a rendition of The Velvet Underground’s “I’m Waiting for the Man.” This gesture added a personal touch to the performance, highlighting the band's connection to the local community.

Fastball also showcased some of their lesser-known tracks, such as “Love Comes in Waves/The Joker” and “Out of My Head.” The band’s set was completed by a special appearance from Barenaked Ladies’ Ed Robertson, who joined them for “The Way.” This collaboration was a highlight of the night, showing the camaraderie among the musicians.

As the evening progressed, Sugar Ray took the stage, bringing back the vibes of the late ’90s with their signature spiked hair and energetic performances. Frontman Mark McGrath greeted the audience with a mix of humor and gratitude, acknowledging the long-standing support of fans. The band played a seven-song set that included fan favorites like “Someday,” “Every Morning,” and “Fly.” The song “Fly” proved to be a crowd favorite, with everyone singing along and dancing.

Sugar Ray’s performance was a nostalgic journey, reminding attendees of the music that defined a generation. The band’s ability to connect with the audience through their timeless hits was evident throughout the set. Fans were even encouraged to revisit the Apple+ show “Shrinking,” where a version of “Every Morning” was featured, adding another layer of entertainment to the evening.

Barenaked Ladies Bring Nostalgia and Depth

The final act of the night was Barenaked Ladies, whose setlist blended well-known hits with deeper cuts, showcasing the band’s versatility. Frontman Ed Robertson opened with a humorous comment about playing mellow songs from their new record, which led into a heartfelt performance of “Clearly Lost.” The band also covered Black Sabbath’s “War Pigs,” a choice that resonated with the recent passing of Ozzy Osbourne.

Throughout the performance, Barenaked Ladies mixed familiar tracks like “The Old Apartment,” “Pinch Me,” and “If I Had a Million Dollars” with less popular songs such as “Big Back Yard” and “Light Up My Room.” The acoustic version of “One Night” added a different dimension to the set, allowing the audience to appreciate the band’s softer side.

Robertson also acknowledged former lead singer Steven Page, expressing his appreciation for the band’s history and wishing him a happy 14th wedding anniversary. This moment highlighted the band’s respect for their past while looking forward to the future.

Despite the small crowd, the atmosphere remained positive and enthusiastic. Each band demonstrated their enduring appeal and dedication to their craft. Their ability to engage with the audience, regardless of the size of the crowd, was a testament to their longevity in the music industry.

A Celebration of Music and Memories

The “Last Summer on Earth” tour served as a reminder of the power of live music to bring people together. Whether it was the nostalgic tunes of Sugar Ray, the heartfelt performances of Barenaked Ladies, or the energetic sets of Fastball, each act contributed to a night filled with memories and emotion.

For many, the evening was more than just a concert—it was a celebration of the music that shaped their lives. As the last notes of “Summer of ‘69” echoed through the amphitheater, it was clear that the spirit of the “Last Summer on Earth” tour would live on in the hearts of those who attended.

Euphoria's Oscar-Winning Composer Joins Season 3 — What to Expect

Euphoria's Oscar-Winning Composer Joins Season 3 — What to Expect

A New Era of Sound for Euphoria

Euphoria has always been more than just a television show. It’s an emotional journey, a visual spectacle, and most importantly, a sonic experience that resonates deeply with its audience. From the very first episode, the show's music has played a crucial role in shaping its narrative, creating an atmosphere that is both haunting and beautiful. The soundtrack has become a character in its own right, weaving through the story like a thread of glitter and grief.

The show's musical identity was initially crafted by Labrinth, whose soulful compositions have become synonymous with the series. His work on tracks like "All for Us" and "I’m Tired" helped define the emotional core of Euphoria, making it impossible to separate the music from the characters and their struggles. Now, as the show moves into its third season, it's set to take a bold new direction with the addition of an Oscar-winning composer.

Hans Zimmer Joins the Euphoria Family

Hans Zimmer, the legendary composer behind iconic film scores such as Interstellar and Inception, has officially joined the team for Euphoria Season 3. This collaboration marks a significant shift in the show's musical approach, bringing a level of cinematic grandeur that has never been seen before. Zimmer’s involvement is not just a nod to his talent but also a reflection of the show's ambition to push boundaries and explore new creative territories.

In a statement shared by HBO Max, Zimmer expressed his excitement about joining the project, calling it “an honor to join this incredible team of storytellers led by the visionary Sam Levinson.” He also praised the show for being “bold and moving,” acknowledging the impact that Labrinth’s work has had on shaping Euphoria’s unique sound.

Labrinth, who has been instrumental in crafting the show’s musical identity since its inception, will also be returning for Season 3. In his own statement, he expressed his enthusiasm about working alongside Zimmer, calling him “one of my heroes in film score” and looking forward to bringing “some new magic to this new season.”

A Fusion of Genres and Emotions

With Zimmer’s arrival, the Euphoria soundtrack is expected to evolve into something even more powerful and immersive. The combination of Zimmer’s cinematic flair and Labrinth’s emotional depth promises to create a soundscape that is both ethereal and intense. Fans can expect a mix of soaring orchestral pieces, pulsating electronic beats, and soul-stirring melodies that will perfectly complement the show’s dramatic storytelling.

Sam Levinson, the show’s creator, has already hinted at the influence of Zimmer’s work on the upcoming season. He revealed that he wrote parts of Season 3 while listening to Zimmer’s scores for Interstellar and True Romance, indicating that the composer’s style is already deeply embedded in the show’s creative DNA.

What to Expect from the Soundtrack

As the story of Euphoria continues to unfold, the soundtrack will play an even more critical role in enhancing the emotional impact of key moments. With Cassie’s storyline taking a darker turn, the music is expected to reflect that shift, using crescendos, synths, and violins to heighten the tension and evoke strong emotional responses.

If Zimmer and Labrinth were to collaborate on a track produced by Zendaya, the result could be nothing short of extraordinary. Their combined talents could create something truly celestial—music that not only sounds amazing but also feels like a powerful force of nature.

Fans are already buzzing with anticipation, eager to see how this new musical direction will shape the next chapter of Euphoria. Whether it’s through a haunting melody or a thunderous orchestral piece, one thing is certain: the soundtrack of Season 3 will be an emotional ambush wrapped in vinyl, ready to leave a lasting impression.

The Summer I Turned Pretty Season 3 Soundtrack Revealed

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The Final Season of The Summer I Turned Pretty Unfolds

The third and final season of The Summer I Turned Pretty is currently airing, offering fans a dramatic conclusion to the story of Belly Conklin. As the protagonist, Belly (played by Lola Tung) navigates the challenges of college life, she remains entangled in a complex love triangle that has defined much of the series.

Based on the popular young adult novels by showrunner Jenny Han, the latest season continues to explore Belly's personal growth and emotional struggles. She is now in a long-term relationship with Jeremiah Fisher (Gavin Casalegno), but her past with his older brother, Conrad (Christopher Briney), complicates matters. When Conrad reenters her life, Belly must confront her lingering feelings for him, adding another layer of tension to her already complicated relationships.

A Musical Journey Through the Series

One of the standout elements of The Summer I Turned Pretty is its carefully curated soundtrack, which has become a beloved aspect of the show. Viewers have come to appreciate the way music enhances the emotional depth of each scene, often serving as a subtle nod to the characters' inner turmoil.

The series has also made a tradition of incorporating Easter Eggs through its music choices, particularly with songs by Taylor Swift. These musical references often hint at the direction of the storyline or provide insight into the characters’ emotions.

Episode-by-Episode Breakdown of the Soundtrack

Episode 1: Last Season

This episode features a mix of nostalgic and contemporary tracks that set the tone for the season’s emotional journey. Highlights include:

  • Dreams by The Cranberries
  • Open Arms by SZA
  • Can’t Stop by Red Hot Chili Peppers
  • FRI(END)S by V
  • Get Loud by Coi Leray
  • HOT TO GO! by Chappell Roan
  • Summer Love by Justin Timberlake
  • reason to live by mehro
  • NANi by Saweetie
  • Lovin on Me by Jack Harlow
  • Dilemma by Kelly Rowland and Nelly
  • Good Luck, Babe! by Chappell Roan
  • i like the way you kiss me by Artemas
  • You’re Losing Me (From the Vault) by Taylor Swift

The season premiere ends on a bitter note as Belly discovers that Jeremiah has been unfaithful during Spring Break in Cabo San Lucas, Mexico. As she flees from him, You’re Losing Me by Taylor Swift plays, capturing the emotional weight of the moment.

The song’s lyrics reflect a relationship on the brink of collapse, with verses that suggest the possibility of an eventual breakup. The bridge of the song, which includes lines like “And I wouldn't marry me either. A pathological people pleaser,” could hint at the future of Belly and Jeremiah’s relationship. This single Taylor Swift track in the season so far may signal a difficult path for those who support Team Jeremiah.

Episode 2: Last Christmas

This episode brings a holiday-themed playlist that blends classic and modern hits, including:

  • lacy by Olivia Rodrigo
  • i wish i hated you by Ariana Grande
  • Rockin Around the Christmas Tree by Brenda Lee
  • Never Going Back Again by Fleetwood Mac
  • Mystery of Love by Sufjan Stevens
  • Forever and a Day by Benson Boone

Episode 3: Last Supper

The third episode continues the musical storytelling with a mix of indie and pop tracks:

  • Birds of a Feather by Billie Eilish
  • Littlest Things by Lily Allen
  • Everything Happens to Me by Bill Evans
  • Please Please Please by Sabrina Carpenter
  • 10,000 Emerald Pools by BØRNS
  • No Surprises by Radiohead

Conclusion

As the final season of The Summer I Turned Pretty progresses, viewers are treated to not only a compelling narrative but also a rich musical experience. The soundtrack serves as more than just background music—it adds layers of meaning and emotion to each scene. With each episode, the show continues to deliver powerful moments that resonate with fans, making it a memorable conclusion to the series.

Is a Linkin Park Movie With Tom Holland and Justin Long Real? Viral Claim Debunked

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Linkin Park's New Film Rumors and Band Updates

Rumors about a potential film centered around the iconic rock band Linkin Park have been circulating online recently. The buzz started on July 14, 2025, when an Instagram user named @total_btch_chanel posted a claim that HBO had greenlit a movie about the band. The post included a screenshot of what appeared to be an article from Deadline, written by Toby Bigghe, stating that Tom Holland and Justin Long had signed on to star in the biopic titled In The End*, one of the band’s most famous songs.

The caption of the post suggested that the film would explore the rise, legacy, and emotional journey of Linkin Park. However, further investigation revealed that no such article was published by Deadline. Additionally, the Instagram account in question is known for sharing satirical content, as indicated by its profile description, which states it is a "parody commentary page."

As of now, there is no official confirmation of a Linkin Park film in production. Despite the initial excitement, fans should remain cautious about unverified sources and continue to look for official announcements from the band or their representatives.

Emily Armstrong and the Band's Evolution

Last year, Linkin Park made a significant change by introducing Emily Armstrong, the lead vocalist from Dead Sara, as their new frontwoman. This decision came after the passing of the band’s original lead singer, Chester Bennington, who died by suicide in 2017. The move sparked mixed reactions among fans, with some expressing dissatisfaction.

In a July 2025 interview with the Guardian, Mike Shinoda, the band’s co-founder and chief songwriter, discussed the backlash. He suggested that part of the issue might stem from the fact that Armstrong is not a man. Shinoda noted that fans were used to Linkin Park being composed of six male members, with a male voice leading the music. He added that the discomfort led fans to focus on various aspects they disliked, often pointing in multiple directions to justify their disappointment.

Armstrong herself admitted she was unprepared for the strong reaction. She told the outlet that she was “a little bit naive” and had avoided social media for mental health reasons even before joining the band.

Recent Releases and Touring Plans

Linkin Park released their eighth studio album, From Zero, last November. It marked their first album since Bennington’s passing and was both a critical and commercial success. The album debuted at the top of several charts, except for the Billboard 200, where it peaked at No. 2. Some of the standout tracks include The Emptiness Machine, Heavy Is the Crown, and Two Faced.

The band has since embarked on the From Zero world tour, which began in September 2024 and will run through June 2026, concluding in Zurich, Switzerland. During a recent interview with the Guardian, Shinoda shared details about the tour, including the removal of certain tracks from the setlist. One of the most notable omissions was One More Light, which was featured on the band’s final album of the same name in 2017.

Shinoda explained that performing the song without Bennington felt uncomfortable. He mentioned that the track was originally written for a woman at the label who passed away, but after Bennington’s death, the song became associated with him. Shinoda said it was too sad to perform, adding, “It was originally written for a woman at the label that we worked with who passed away. Then, after Chester passed, the world decided that it was about him. And so that’s just too sad to play.”

Linkin Park is set to continue their From Zero world tour in Brooklyn, New York, on July 29, marking the next stop in the American leg of their global tour. Fans are eagerly awaiting the performance, which promises to highlight the band’s evolving sound and continued legacy.

HoYoverse Unveils Alice, Durin, Flins, and More from Song of the Welkin Moon

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Major Characters Revealed for Genshin Impact’s New Story Arc

HoYoverse has once again raised the excitement level for Genshin Impact: Song of the Welkin Moon, this time by unveiling the main characters involved in the upcoming story arc. The “Moonlit Ballad of the Night” trailer gives fans a detailed look at the designs of all the characters, including long-awaited figures like Alice, Varka, Durin, and Columbina.

Some familiar faces are also making appearances. Albedo is set to join Nod-Krai with Alice, and none other than Wanderer — previously known as the Fatui Harbinger Scaramouche — is accompanying them. With several current Harbingers gathering in Nod-Krai, it seems that Wanderer is taking this opportunity to seek revenge on them. The developers have hinted that Nod-Krai will serve as the stage where some loose ends are tied up, and Wanderer’s arc appears to be one of those key elements.

Here is a full list of characters featured in the trailer, along with their known elements:

  • Nicole Reeyn alias N
  • Aino
  • Varka – Anemo
  • Jahoda
  • Ineffa – Electro
  • Durin – Pyro
  • Sandrone alias Marionette
  • Lauma
  • Nefer – Dendro
  • Kyryll Chudomirovich Flins – Electro
  • Columbina alias Moon Maiden
  • Alice alias A – Pyro
  • Albedo – Geo
  • Wanderer – Anemo

There is a lot to unpack with this reveal. One notable point is that the trailer’s description refers to Sandrone as a Fatui Harbinger but only calls Columbina the Moon Maiden. This might indicate that she has turned her back on the Fatui, as they are searching for her.

Nicole and Alice are well-known members of the Hexenzirkel. Fans have already translated the letter Alice receives in the trailer, which mentions the names of the Three Moon Sisters. Varka, the Grand Master of the Knights of Favonius, states outright that he is there for the moon, while Columbina hints that a veil of lies is about to fall. It seems that multiple factions are working to expose the false sky and moon of Teyvat.

Character Breakdown

Nicole Reeyn
Nicole is a powerful witch who is shown with wings in the trailer.

Aino
Aino is a member of the Clink-Clank Krumkake Craftshop in Nod-Krai and the designer of Ineffa.

Varka
As the Grand Master of the Favonius Order, Varka has been on this mission since Version 1.0.

Jahoda
Jahoda is an unknown variable at this point, though her design suggests a possible connection to the Clink-Clank Krumkake Craftshop.

Durin
Durin is a cursed dragon created by Rhinedottir, one of the Five Sinners, and a member of the Hexenzirkel. He is connected to Mondstadt’s history and shares a bond with Albedo due to their shared origin.

Sandrone
Sandrone, also known as Marionette, is No. 7 of the Fatui Harbingers and is obsessed with machines and automatons. She appears to be tasked with fighting the Frostmoon Scions.

Lauma
Lauma is a priestess associated with the Frostmoon Scions and deeply connected to the lands of Nod-Krai and the old moon powers.

Nefer
Nefer is another mysterious character, with her Dendro Vision and name hinting at a possible Sumeru connection. She appears to be a storyteller, suggesting there may be more to her role.

Flins
Kyryll Chudomirovich Flins is among the unknowns, with his name pointing to Snezhnaya. His lantern resembles those used by Fatui Electro Operatives, but his exact role remains unclear.

Columbina
Columbina, also known as Damselette, is No. 3 of the Fatui Harbingers but is referred to as the Moon Maiden in the trailer. Her connection to the Fatui and the Moon Sisters is a central mystery.

Alice
Alice, or A, is a leading member of the Hexenzirkel and the mother of Klee. Her involvement in the Nod-Krai affair signals major events to come.

Upcoming Release Details

Genshin Impact: Song of the Welkin Moon will launch with Version 6.0 later this year. The story arc's prologue is set to debut in Genshin Impact 5.8, just a week from now.

20 Cover Songs That Outshine the Original

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The Power of a Cover: 20 Unforgettable Reimaginations

Cover songs have had their share of ups and downs over the years. From the rise of reality TV shows that brought back forgotten classics to the impact of iconic commercials that transformed pop tunes into emotional ballads, there's no denying that covers can be polarizing. However, when done right, a cover can elevate a song to new heights, revealing hidden depths and emotions that even the original artist might not have realized were there.

Here are 20 of the best cover songs that have left a lasting impression on music lovers around the world.

Please Please, Please Let Me Get What I Want – Gavin Clark

Originally by The Smiths, this track was reimagined by singer-songwriter Gavin Clark for the 2006 film This Is England. Clark’s version took the melancholic tone of the original and deepened it, adding a layer of despair and isolation that resonated with listeners. Although Clark passed away at the age of 46, his interpretation of the song remains a powerful tribute to the original.

Make You Feel My Love – Adele

Bob Dylan wrote "Make You Feel My Love" in 1997, but it was Adele who transformed it into a soul-stirring ballad. Her heartfelt vocals turned the song into a masterpiece, capturing the essence of heartache and longing. Adele herself praised the lyrics, saying they perfectly expressed what she wanted to convey in her music.

Hurt – Johnny Cash

Johnny Cash's rendition of "Hurt," originally by Nine Inch Nails, is one of the most haunting covers ever recorded. Cash's version, produced by Rick Rubin, turned the aggressive rock track into a somber reflection on life and regret. Trent Reznor, the original writer, was deeply moved by Cash's interpretation, calling it an emotional experience.

Valerie – Amy Winehouse

Amy Winehouse's take on "Valerie," originally by The Zutons, showcased her unique voice and talent. Unlike the original, which had a more upbeat vibe, Winehouse's version brought a sense of joy and celebration, highlighting her ability to make any song her own.

I Will Always Love You – Whitney Houston

Whitney Houston's version of Dolly Parton's "I Will Always Love You" became a defining moment in her career. Her powerful vocals transformed the country ballad into a soaring love song that resonated with audiences worldwide. Parton was impressed by Houston's interpretation, recognizing the emotional depth she brought to the track.

Go West – The Pet Shop Boys

The Pet Shop Boys' cover of "Go West," originally by The Village People, added a new dimension to the song. Their version, which incorporated elements of baroque music, celebrated the spirit of freedom and community. It became a beloved anthem, especially among football fans.

Torn – Natalie Imbruglia

Natalie Imbruglia's cover of "Torn," originally by Anne Preven, was a breakthrough for her. Her emotive performance turned the indie track into a powerful anthem, showcasing her talent for melodrama. The song became a massive hit and remains a fan favorite.

Nothing Compares 2 U – Sinéad O’Connor

Sinéad O’Connor's version of "Nothing Compares 2 U," originally by Prince, was a poignant and emotional performance. Her raw vocals and the accompanying video, which featured her crying over her late mother, made the song a timeless classic.

Red Red Wine – UB40

UB40's reggae version of "Red Red Wine," originally by Neil Diamond, became a definitive cover. Their chilled-out take on the song was so popular that even Diamond himself admired it. The track was later recognized as one of his favorite covers.

Emotion – Destiny’s Child

Destiny’s Child's slowed-down version of "Emotion," originally by Samantha Sang, brought a new level of sophistication to the song. Beyoncé's powerful vocals and the track's emotional depth made it a standout in their discography.

Fell In Love With A Boy – Joss Stone

Joss Stone's cover of "Fell In Love With A Boy," originally by The White Stripes, was a bold reinterpretation. Her soulful vocals and the production by Questlove gave the track a fresh and groovy feel, making it a standout in her early career.

At Last – Etta James

Etta James's version of "At Last," originally by Glenn Miller, was a defining moment in her career. Her jazzy interpretation brought a new level of sophistication to the song, making it synonymous with her legacy.

Fields of Gold – Eva Cassidy

Eva Cassidy's haunting vocal performance of "Fields of Gold," originally by Sting, was a posthumous masterpiece. Her pure and beautiful voice captivated listeners, and even Sting was moved by her interpretation.

Lilac Wine – Miley Cyrus

Miley Cyrus's cover of "Lilac Wine," originally by Hope Foye, showcased her growth as an artist. Her mature and emotionally charged performance surprised fans and demonstrated her versatility.

All Along The Watchtower – Jimi Hendrix

Jimi Hendrix's electric guitar-driven version of "All Along The Watchtower," originally by Bob Dylan, is considered one of the greatest covers of all time. Dylan himself preferred Hendrix's version, acknowledging its impact on his own performances.

Tainted Love – Soft Cell

Soft Cell's synth-pop version of "Tainted Love," originally by Gloria Jones, was a groundbreaking track. Marc Almond's tortured vocals and the ominous disco sound made it a classic that continues to resonate with listeners.

Song to the Siren – This Mortal Coil

This Mortal Coil's haunting cover of "Song to the Siren," originally by Tim Buckley, was a standout on their debut album. Liz Fraser's ethereal vocals added a dreamlike quality to the track, which was later featured in David Lynch's Lost Highway.

Smells Like Teen Spirit – Tori Amos

Tori Amos's piano-driven version of "Smells Like Teen Spirit," originally by Nirvana, brought a different perspective to the grunge anthem. Her intense and claustrophobic interpretation highlighted the emotional depth of the song.

Running Up That Hill – Chromatics

Chromatics' retro-disco take on "Running Up That Hill," originally by Kate Bush, brought a phantasmagorical chill to the track. Their neon-lit soundscapes and Ruth Radelet's dramatic vocals made it a standout reinterpretation.

Hallelujah – Jeff Buckley

Jeff Buckley's version of "Hallelujah," originally by Leonard Cohen, is widely regarded as the definitive cover. His soulful and emotionally charged performance elevated the song to new heights, making it a timeless classic.

8 Soulful William Bell Tracks to Rediscover

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The Timeless Legacy of William Bell

When discussing the golden age of soul music, names like Otis Redding, Sam Cooke, and Wilson Pickett often come to mind. However, among these legends is William Bell—a deep soul craftsman whose work with Stax Records has stood the test of time. With a voice that carries the weight of heartbreak and the wisdom of lived experience, Bell’s catalog remains one of the most underrated in Southern soul history. His songs feel timeless—intimate yet grand, melancholy yet empowering.

Here are eight William Bell songs that not only defined his career but continue to resonate with soul lovers across generations.

1. “You Don’t Miss Your Water”

“You Don’t Miss Your Water” is more than just a soul standard—it’s the soul prototype. William Bell was only in his early 20s when he wrote and recorded this track, yet the emotional maturity on display suggests an old soul reflecting on deep regret. Released on Stax Records, the song would become one of the label’s first breakout singles, establishing Bell not only as a foundational figure in Southern soul but also as a songwriter capable of shaping the emotional blueprint of the genre.

The beauty of the song lies in its simplicity. The lyrics tap into a universal theme of underappreciation and hindsight. That old idiom—“you don’t miss your water till your well runs dry”—might sound cliché today, but Bell turned it into a gospel of emotional accountability. His vocal performance is rooted in the church, delivered with a restrained conviction that never veers into melodrama. You hear heartbreak in every breath, but also a strange calm, as though the narrator has accepted the painful truth.

Instrumentally, the track is understated. The organ swells gently in the background like a choir of ghosts, while the rhythm section moves at a solemn, almost funereal pace. This sparse arrangement gives Bell’s voice the room it needs to resonate fully. The song doesn’t need bells or whistles—its impact comes from how deeply it makes you feel with so little. In many ways, it was a spiritual ballad for the secular world.

In 2025, this song still feels incredibly fresh. It speaks to the moments we take people for granted—lovers, friends, even family—until they’re gone. And in an era where silence often replaces closure, “You Don’t Miss Your Water” offers something rare: a full emotional reckoning, wrapped in melody and meaning. No wonder artists from Peter Tosh to Brian Eno have paid homage to it. It’s soul music at its most elemental.

2. “I Forgot to Be Your Lover”

By 1968, William Bell was a seasoned voice at Stax, and “I Forgot to Be Your Lover” stands as one of his most nuanced and emotionally intelligent tracks. The song begins with soft guitar plucks and swelling strings that set the stage for an intimate confession. But this isn’t just a song about saying sorry—it’s about awakening. Bell sings like a man who’s realizing, too late, that love isn’t just about presence—it’s about participation.

His vocal tone is tender, almost conversational, which makes the words land even harder. When Bell croons, “Oh, I forgot to be your lover / And I’m sorry, I’m so sorry” it doesn’t feel like a generic apology—it feels like a soul-deep recognition of failure. That kind of emotional vulnerability was uncommon in male singers at the time. Instead of leaning on bravado or begging for forgiveness, Bell takes accountability, turning remorse into something artful and deeply moving.

The orchestration is lush but never overwhelming, layering strings and horns delicately around Bell’s vocals. This careful production lets the emotional weight of the lyrics remain front and center. The rhythm is unhurried, echoing the reflective nature of the song—it feels like someone writing a letter they’ve rewritten in their head a hundred times. Even the backing vocals sound like echoes of memory, gently haunting the song’s edges.

“I Forgot to Be Your Lover” has been rediscovered by each new generation, including a standout cover by Billy Idol and a thoughtful sample in Ludacris’s “Growing Pains.” In today’s culture of fleeting texts and disappearing messages, the song is a reminder of emotional depth—a plea to slow down and show love while you still can. In every sense, it’s a blueprint for how to be vulnerable with dignity.

3. “Private Number” (with Judy Clay)

Duets in soul music often flirt with either explosive chemistry or saccharine sentimentality. “Private Number” avoids both extremes by hitting a rare middle note—emotional realism. The track pairs William Bell with the remarkable Judy Clay, and together, they deliver a tale of reconnection that feels as authentic as it is engaging. Structured as a phone call between two estranged lovers, the song plays out like a slice of audio cinema.

The lyrics create an immediate setting: Clay’s character reaches out, wondering if it’s too late. Bell’s response is gentle and receptive, but filled with cautious optimism. There’s a narrative being told here, and it unfolds naturally in their voices. Unlike many male-female duets of the era, there’s no grandstanding—just two people navigating vulnerability. Judy Clay’s voice, full of clarity and strength, contrasts beautifully with Bell’s soft warmth, creating a call-and-response that feels more like a diary entry than a performance.

The arrangement is another unsung hero. The bassline rolls gently like the dial tone of an old rotary phone, while strings rise and fall in the background like emotions swelling behind each line. There’s a cinematic quality to the production that predates what would become common in 1970s soul. “Private Number” could easily be staged as a short film—it’s that visual and emotionally engaging.

Decades later, the song still resonates, not just as a nostalgic throwback, but as a timely reflection on communication. In a world dominated by ghosting and digital blocklists, “Private Number” serves as a beautiful reminder of what it means to reach out—to try, to hope, and to heal. It’s the sound of two souls reconnecting, and in its sincerity, it remains one of the most emotionally resonant duets in the soul canon.

4. “A Tribute to a King”

The death of Otis Redding in a 1967 plane crash sent shockwaves through the music world, especially at Stax Records where Redding was not only a flagship artist but a brother to many. William Bell, ever the soul poet, responded with “A Tribute to a King,” one of the most heartfelt memorials in music history. This wasn’t just a tribute—it was a spiritual dirge, a public mourning rendered in 3 minutes and 8 seconds of sheer vulnerability.

From the first line, “Listen, people, listen / I’m gonna sing you a song / About a man who lived good / But didn’t live too long” Bell sets a tone of personal grief. He doesn’t mythologize Otis; he remembers him. He speaks not only as a colleague but as a friend, a witness to the artist and the man. There’s a quiet nobility in the song’s tone, which never veers into melodrama. Bell understood that the most powerful tributes are the ones that humanize rather than idolize.

The musical arrangement mirrors that sentiment. The horns are subdued, almost like they’re sobbing. The rhythm is slow and processional, like a New Orleans funeral march. And Bell’s voice? It cracks in places—not in pitch, but in spirit. That slight quiver in his delivery carries more emotional truth than a thousand soaring high notes ever could. It’s not just about how Otis died—it’s about how deeply he was loved and how much he is missed.

In 2025, “A Tribute to a King” still hits hard. It speaks to the grief that follows sudden loss, and it offers solace through song. As the music world continues to lose icons each year, Bell’s tribute reminds us that legacy is measured not just in awards or hits, but in the emotional footprints artists leave behind. This song remains one of the most powerful love letters one artist has ever written to another—and it still brings a lump to the throat.

5. “Born Under a Bad Sign”

Though most commonly associated with Albert King’s explosive 1967 rendition and later Cream’s blues-rock adaptation, “Born Under a Bad Sign” is William Bell’s lyrical brainchild. Co-written with the legendary Booker T. Jones, the song’s title alone is steeped in myth and fatalism. It evokes not just astrological gloom, but the universal feeling of being dealt a bad hand in life—a narrative that continues to speak to countless listeners facing hardship.

Bell’s own interpretation of the song arrived in 1969 and presents a markedly different perspective than King’s guitar-driven swagger. Instead of leaning into power chords and bravado, Bell taps into the existential sadness beneath the lyrics. His vocals are raw but measured, exploring the internal weight of misfortune rather than externalizing it as rage. He doesn’t yell—he reflects, drawing the listener into the quiet desperation behind the words.

The instrumentation in Bell’s version is more subdued, with a gentle rhythm section and organ lines that evoke a slow burn rather than a blaze. The lack of flash works to his advantage, spotlighting his delivery and the poetic heft of lines like “If it wasn’t for bad luck, I wouldn’t have no luck at all.” The song becomes less about blues as genre and more about blues as lived reality—a daily reckoning with fate, injustice, and personal shortcomings.

In today’s world, where economic instability, societal inequality, and mental health struggles are ever-present, “Born Under a Bad Sign” feels just as urgent. Bell’s take strips the song down to its core truth: life isn’t always fair, but the burden is easier to carry when you’ve got music that articulates the weight of it. For anyone who’s ever felt like the universe had it out for them, this track is a soul-deep comfort.

6. “Easy Comin’ Out (Hard Goin’ In)”

By 1977, William Bell had weathered the seismic shifts of the music industry—from the heyday of Memphis soul to the glitzy rise of disco. While many artists were chasing chart trends, Bell stayed rooted in narrative-driven songwriting, and “Easy Comin’ Out (Hard Goin’ In)” is a prime example of that resolve. On the surface, it’s a love song about the bittersweet end of a relationship. But dig deeper, and you’ll find a philosophical commentary on the emotional costs of intimacy.

The track begins with a mellow yet tight rhythm, instantly signaling a shift from Bell’s earlier gospel-tinged ballads to a funkier, groove-based sound. Still, the production—full of layered horns, shimmering strings, and syncopated percussion—never overshadows Bell’s voice. His delivery has evolved by this point; it’s more controlled, more textured, shaped by years of both personal and professional highs and lows.

Lyrically, the song is masterful in its use of contrast. The title itself captures the whole idea: it’s easy to fall in love, easy to say the right things at the beginning—but the end? That’s where the real work lies. Bell doesn’t romanticize heartbreak. Instead, he paints it as the inevitable fallout of choices and complacency. Lines like “You came like a whisper, left like a storm” offer poetry without pretense.

“Easy Comin’ Out (Hard Goin’ In)” resonates in 2025 for its realism. At a time when love is often trivialized through swipe culture and transactional dating, Bell’s song serves as a poignant reminder: emotional exits are rarely clean, and the deeper the love, the messier the unraveling. It’s grown-folk soul at its finest—honest, wise, and painfully beautiful.

Oscar-Winning Lyricist Alan Bergman Dies at 99

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A Legacy of Love and Lyricism

Alan Bergman, the Oscar-winning lyricist whose partnership with his wife, Marilyn, created some of the most beloved songs of the 20th century, has passed away at the age of 99. Known for their timeless compositions such as “How Do You Keep the Music Playing?,” “It Might Be You,” and the iconic “The Way We Were,” the couple left an indelible mark on music history.

Bergman died late Thursday at his home in Los Angeles, according to a statement from family spokesperson Ken Sunshine. The statement noted that Bergman had been battling respiratory issues in recent months but continued to write songs until the end of his life. His wife, Marilyn, passed away in 2022, and the two remained together for over six decades, forming a deeply collaborative and loving relationship.

Throughout their careers, the Bergmans worked with some of the greatest names in music, including Marvin Hamlisch, Quincy Jones, Michel Legrand, and Cy Coleman. Together, they crafted lyrics for hundreds of songs, many of which became synonymous with the films and artists they accompanied. Their work was performed by icons like Frank Sinatra, Michael Jackson, Tony Bennett, and Barbra Streisand, who became a close collaborator and friend.

A centennial celebration of Alan Bergman is still planned for Santa Monica’s Broad Stage, featuring guests such as Michael Feinstein, Jackson Browne, and Patti Austin. Feinstein, who paid tribute to the couple, described them as “kind, talented, and principled artists” who lived “from a place called Love.”

Timeless Hits and Lasting Influence

The Bergmans’ ability to blend Tin Pan Alley sentiment with contemporary pop made their work accessible to millions. Many people knew their songs without ever knowing the names of the writers. Among their most famous works are the Streisand-Neil Diamond duet “You Don’t Bring Me Flowers,” Sinatra’s “Nice ’n’ Easy,” and the themes for the 1970s sitcoms “Maude” and “Good Times.” Their film compositions include Ray Charles’ “In the Heat of the Night,” Noel Harrison’s “The Windmills of Your Mind,” and Stephen Bishop’s “It Might Be You.”

Perhaps their most enduring song is “The Way We Were,” recorded by Barbra Streisand for the 1973 film of the same name. With its bittersweet melody by Marvin Hamlisch, the song captured the essence of nostalgia, beginning with the famous lines: “Memories / light the corners of my mind / misty watercolor memories / of the way we were.” It became the top-selling song of 1974 and earned the Bergmans one of their three Oscars, along with “Windmills of Your Mind” and the soundtrack to “Yentl.”

At times, the Academy Awards felt like a Bergman showcase. In 1983, three of the best song nominees featured their lyrics, and they received a total of 16 nominations throughout their careers.

Awards and Recognition

Beyond their Oscar wins, the Bergmans also earned two Grammys, four Emmys, and numerous lifetime achievement honors. Barbra Streisand honored their work with her 2011 album “What Matters Most,” which featured their songs. Bergman even took on vocal duties for the project, showcasing his versatility.

Although best known for their film work, the couple also contributed to Broadway with the musical “Ballroom” and provided lyrics for the symphony “Visions of America.” Their creative partnership extended beyond music, influencing theater and classical compositions alike.

A Life of Shared Passion

Their lives seemed to be written in verse. Born in the same Brooklyn hospital, four years apart, they grew up in the same neighborhood, attended the same Carnegie Hall concerts, and moved to California in the same year, 1950. They met while working for the same composer, though at different times of the day. Their courtship was steeped in music, with Alan writing a song for Fred Astaire that led to a proposal.

Alan had always dreamed of becoming a songwriter. He studied music and theater at the University of North Carolina and earned a master’s degree from UCLA, where he befriended Johnny Mercer and became his protégé. He and Marilyn began writing children’s songs together, achieving commercial success in the late 1950s with the calypso hit “Yellowbird.” Their friendship with Streisand began when they visited her backstage during one of her early performances, with Marilyn famously greeting her with, “Do you know how wonderful you are?”

A Lasting Partnership

The Bergmans often found themselves thinking of the same words simultaneously, a dynamic Alan compared to housework—“one washes, one dries”—which inspired a song title. Though he rarely named a favorite, Alan cited “A Love Like Ours” as one of their most personal works:

“When love like ours arrives / We guard it with our lives / Whatever goes astray / When a rainy day comes around / A love like ours will keep us safe and sound.”

Alan is survived by his daughter, Julie Bergman, and granddaughter. His legacy continues through the countless songs that have touched generations of listeners.

Reviving the 70s Sound, Styx Remains Progressive on New Album

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A Legacy of Progressive Rock

Styx is one of the most enduring classic rock bands, known for their extensive catalog of hit songs. Despite this, they have often been misunderstood by fans and critics alike. Many people associate Styx with softer rock tracks like "Babe" or "Boat On A River," which gained more popularity in Europe than in the United States. This perception has led to the misconception that Styx is primarily a soft-rock band. However, the truth is that they were among the first successful progressive-rock groups in the U.S.

Their 18th album, "Circling From Above," showcases their return to the progressive style that defined their early work. The album demonstrates a broad musical palette, reflecting the band's versatility over the years.

A Diverse Musical Approach

Lawrence Gowan, who has been the singer and keyboard player for Styx since 1999, acknowledges that the band was never particularly favored by critics. He notes that the group had a wide range of influences, allowing them to shift between pop, heavy rock, and progressive styles. This diversity made it possible for listeners to connect with different aspects of their music, even if some elements didn’t align with individual tastes.

Despite not always being a critic’s favorite, Styx has consistently filled large concert venues through regular tours. In recent years, they have also been highly productive in the studio. "Circling From Above" is their third album in eight years, which Gowan emphasizes is significant for both the band and their fans.

"This proves that we're still relevant, that we still have ideas and thoughts that are meaningful in 2025," he says. For Gowan, this ongoing creativity is essential for maintaining a connection with their audience.

Interpretation of Song Themes

The latest album explores themes such as the conflict between technology and nature, artificial intelligence, and elements of science fiction. While Styx avoids overt political statements, especially given the current global climate, they are not entirely apolitical. Instead, they leave the interpretation of their lyrics open to the listeners.

Gowan explains that the band aims to convey specific messages in an unspecific way. "It's the best approach," he adds. Musically, "Circling From Above" is a diverse collection of songs featuring polyphonic vocals, classic synthesizers, and intricate arrangements influenced by the various members of the group.

The album's opening track draws comparisons to Pink Floyd, while Gowan also cites Genesis as an influence. The goal was to create a modern classic rock album reminiscent of the 70s.

Standout Tracks and Musical Evolution

Highlights on the album include the melodic rock track "It's Clear" and the folk-rock song "Blue Eyed Raven," performed by Tommy Shaw with the accompaniment of Spanish guitars and mandolins. These tracks showcase the band's continued ability to craft compelling music.

Tommy Shaw, now 71, still retains the vocal quality that helped shape Styx's sound in the 1970s. His contributions to hits like "Blue Collar Man (Long Nights)" and "Too Much Time on My Hands" remain iconic.

However, the new album may not immediately resonate with fans accustomed to Styx's more straightforward hits. The music on "Circling From Above" unfolds gradually, almost giving the impression of a concept album. As listeners spend more time with the record, the depth of its composition becomes more apparent.

Upcoming Tour and Nostalgia

For their upcoming U.S. concert tour, Styx will focus on performing the entire 1977 classic album "The Grand Illusion." This decision reflects the band's respect for their legacy while also offering fans a chance to experience their early work in its entirety. It also allows the band to introduce their newer material to a broader audience, ensuring that their evolving sound continues to reach new generations of listeners.

Brian May's Favorite Song: Technically Incredible and Unpredictable

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A Legacy of Rock and Roll: Brian May's Musical Inspirations

Brian May, a name synonymous with rock and roll, has carved out an indelible mark as the lead guitarist and co-founder of Queen. His contributions to the band have not only shaped its iconic sound but also influenced generations of musicians worldwide. As he celebrates his 78th birthday today, it’s a fitting time to reflect on the musical influences that helped mold his legendary style.

May's role in Queen extended beyond just playing guitar; he was a vital force behind many of the band's most memorable tracks. From the electrifying riffs of "Don't Stop Me Now" to the powerful melodies of "Brighton Rock," his work has left an enduring legacy. Fans often find themselves mesmerized by his unique approach to the instrument, which blends technical mastery with emotional depth.

In a 2013 interview, journalist Liz Barnes from My Planet Rock asked May to share some of his favorite tracks that have influenced his career. One of the songs he highlighted was Rainbow's "Since You've Been Gone." He described it as "quintessential" and praised the song's blend of pop rock elements with a strong rock foundation. May also commended Ritchie Blackmore's guitar work, calling him a trailblazer and technically incredible musician.

"It's uncompromising, it's a great song, and it's brilliantly played," May said. "People don't talk about Ritchie Blackmore enough. I don't know why. But he was such a trailblazer and technically incredible, unpredictable in every possible way, which is great."

May's admiration for Blackmore was mutual, as evidenced by a video where he shared his initial impressions of Queen. He recalled hearing them perform a song about a train around 1974 or 1975, which left a lasting impression on him. He was particularly struck by Freddie Mercury's vocal talent, noting that Mercury had a voice that combined the power of Ronnie James Dio with an operatic flair.

"I've noticed that Freddie Mercury has a cross between Ronnie (James) Dio and almost like an operatic type of voice. To me, he was a true star; he knew exactly how to milk an audience. What a musician," May remarked.

He also praised Queen's other members, especially Brian May himself. "Some of the stuff they put down all those four-part harmonies... very, very clever stuff. Of course there's Brian, who is probably one of the nicest guys in the business. A brilliant guitar player to boot."

Reflecting on their collaboration, May added, "I've worked with Brian on other stuff, and he is such a nice man. He is a bit too tall, but he can't help that. They are a wonderful band, an excellent band, and I was very surprised that they did so well in America."

Beyond "Since You've Been Gone," May's list of favorite tracks includes Queen's "Made in Heaven" and "I Want It All," as well as Black Sabbath's "Paranoid," Buddy Holly's "Maybe Baby," and his work with Kerry Ellis, "Anthem." These selections highlight the diverse range of influences that have shaped his musical journey.

As fans continue to celebrate Brian May's contributions to music, it's clear that his passion for rock and roll remains as strong as ever. His legacy is not just in the songs he played but in the inspiration he continues to provide to aspiring musicians around the world.

Bruce Springsteen's $5,000+ 2025 Vinyl Gem

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The Resurgence of Bruce Springsteen and the Value of "Born to Run"

Bruce Springsteen, affectionately known as “The Boss,” is experiencing a major cultural revival. This resurgence includes an upcoming biopic where he will be portrayed by actor Jeremy Allen White, as well as a 50th-anniversary celebration of his iconic album Born to Run at The Bruce Springsteen Archives & Center for American Music in September 2025. The album has solidified its place in rock and roll history, with the title track becoming one of the most recognized songs in American music.

The Born to Run album was released in 1975 and quickly climbed to No. 3 on the Billboard Top LPs & Tape chart. It not only established Springsteen as a leading voice in rock but also became a staple of the genre. According to some sources, it is among the top 100 most valuable vinyl records, with certain pressings valued at $5,000 or more. For collectors, this makes Born to Run a highly desirable addition to any collection.

What Makes Born to Run Valuable?

Several factors contribute to the high value of Born to Run. One notable detail is a misprint on the first-state covers, where the name “John Landau” appears instead of “Jon Landau.” While this might seem like a minor error, it can significantly increase the value of the record, especially if it's in good condition. Additionally, the rare advance promotional version of the album is highly sought after. A single copy of this version sold for $5,617.97, highlighting the demand among collectors.

In the broader context of valuable vinyl records, Born to Run ranks No. 47 on the list of the priciest records. The top spot goes to a 2008 12-inch limited edition vinyl of Choose Your Weapon by Scaramanga Silk, which sold for $37,974. Following closely behind is Prince’s elusive Black Album, valued at $25,000.

The Growing Market for Vintage Vinyl

What began as a niche hobby has evolved into a significant market. Starting in 2007, vinyl records made a surprising comeback, and by 2025, they are no longer seen as a joke. Some albums, including rare releases from The Rolling Stones and The Beatles, now fetch tens of thousands of dollars on the resale market. For collectors who are willing to part with their collections, there are opportunities to make money through platforms like eBay, CDandLP.com, and local used record stores.

To succeed in this market, it’s essential to understand what makes a record valuable. Factors such as the difference between mono and stereo versions, rarity, and condition play a critical role. For example, a sealed stereo version of The Beatles: Yesterday and Today sold for $125,000 in 2016 due to its extreme scarcity.

Tips for Collectors and Sellers

If you're interested in collecting or selling vinyl records, research is key. Start by learning about different pressings, grading conditions, and market trends. Joining collector communities and following market updates can also help you stay informed. Whether you’re looking to build a collection or turn a profit, understanding the nuances of vintage vinyl can lead to rewarding experiences and potentially substantial returns.

Earth Wind & Fire's Timeless Magic Shines in Kansas City Concert

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A Legacy That Still Resonates

Despite the fact that only two original members are still part of the band, musical pioneers Earth, Wind, and Fire continue to captivate audiences after more than 50 years of creating soulful melodies. Since their formation in 1969, EWF has reached incredible heights, often regarded as one of the greatest bands of all time. Their iconic hits, such as "Boogie Wonderland," "Reasons," and "September," have become staples at family gatherings, and they kept a packed crowd at the Starlight Theater moving and grooving on a Friday evening.

The Kansas City concert felt like a family gathering, with fans from multiple generations dancing under the moonlight and singing along to the 20-song set. For many, the experience was deeply personal, rooted in memories that span decades.

Anitra Warren, for example, has been a fan since childhood and has seen the band perform nearly 10 times, including a concert at Arrowhead Stadium. She attended Friday’s show with several classmates from Southeast High, who graduated in 1979. “It’s just a good thing to listen to music and reminisce about all these different songs that came out at different times,” said Warren, now 63.

LaChelle T. attended the concert with her sister and the father of her children, Richard Mitchell. LaChelle and her sister, Portia King, grew up hearing Earth, Wind and Fire in their home. “It was my uncle,” LaChelle explained. “He would wash my grandmother’s car and sing those songs. I knew all the lyrics because of him.”

Sue Scott traveled from Cleveland to attend the concert for her 70th birthday. She and her friends, including Molly Whaley, tailgated before the event and wore custom earrings inspired by the band’s albums. “In all our family weddings, the first song played is ‘September,’” Whaley said. She and her sister, Kathy Barsness, made the trip from Iowa for the show.

When asked which songs they hoped to hear, many fans simply responded, “All of them.”

A Night of Musical Excellence

The concert began at 8:15 p.m., with the band launching into one of their most popular hits, “Shining Star.” Each member entered the stage wearing coordinating black and gold glittery ensembles, setting the tone for an unforgettable performance. The current lineup, led by original members Philip Bailey and Ralph Johnson, features a 12-member band. B. David Whitworth, who has been with the group since 1996, and Bailey’s son, Philip Bailey Jr., who joined in 2008, add to the vocal power of the ensemble. Each vocalist also plays an instrument, ensuring a well-rounded performance that highlights both their musical and vocal talents.

“There’s a party in Kansas City,” Bailey said to the crowd during the opening number. The Rock and Roll Hall of Fame band maintained the essence of their era, with synchronized dances, tambourine tosses, and constant audience interaction. Every musician on stage had a moment to shine, and throughout the show, images of the band’s history were displayed on the screen behind them.

Mitchell reflected on how EWF and other soul bands from the 1970s created music that resonated with people. “They tell stories based on their life, how they struggled to get where they are,” he said. “They are the pioneers of all this.”

A Grand Finale

Earth, Wind and Fire saved some of their most beloved songs for the end of the night. The final 15 minutes of the show featured “Fantasy,” “Boogie Wonderland,” and “September,” with almost the entire theater singing and dancing along. Before the closing number, “In the Stone,” Kansas City Mayor Quinton Lucas took the stage alongside Mayor Pro Tem Ryana Parks-Shaw and Councilmember Darrell Curls to declare the day “Earth, Wind and Fire Day.” This special recognition added a final touch to a high-quality, clean performance.

Lucas noted that Missouri Rep. Emanuel Cleaver II was among the audience members. “I am just amazed at how they truly still got it,” Parks-Shaw said after announcing the proclamation. The concert proved that Earth, Wind and Fire remain a powerful force in music, capable of bringing together generations through the timeless magic of their sound.

Lainey Wilson's Dream Realized in New Country Hall of Fame Exhibit

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A Journey of Resilience and Recognition

Lainey Wilson, a name that has become synonymous with country music’s rising stars, recently took a moment to reflect on her journey as she stood before an exhibit titled "Lainey Wilson: Tough as Nails" at the Country Music Hall of Fame and Museum. The exhibit, which opened in Nashville, offers a comprehensive look into the life and career of the 33-year-old artist, showcasing the hard work, dedication, and resilience that have defined her path.

Wilson’s journey began long before her chart-topping success. She recalls how, even though she had been working toward this moment her entire life, she still felt like she had just started. “Even though I have been working my entire life for this, I still feel like I somehow got started yesterday,” she said. This sentiment reflects the whirlwind of her career, which has seen her rise from a small-town dreamer to one of the most celebrated voices in country music.

The exhibit captures every stage of her life, from her upbringing in Baskin, Louisiana, to her early dreams of becoming a performer. It includes personal artifacts, such as a snapshot of her first stage appearance at age five, where she sang “Butterfly Kisses” at her kindergarten graduation. These items offer a glimpse into the roots of her passion for music and the determination that has driven her forward.

Wilson’s story is not just about talent; it’s about perseverance. She spent years in Nashville, enduring the challenges that come with chasing a dream in a city known for both nurturing and breaking aspirations. Her journey was marked by countless performances, late-night practices, and a relentless pursuit of her goals. Despite the struggles, she remained steadfast in her belief that she could make it.

One of the highlights of the exhibit is the collection of memorabilia that showcases her growth over the years. From her first guitar, a Fender acoustic given to her by her father, to the Grand Ole Opry tickets that marked her first visit to Nashville, each item tells a part of her story. The exhibit also features her early songwriting efforts, including the lyrics to “Lucky Me,” which she wrote at a young age.

Wilson’s style, which has become a signature of her brand, is also well-represented in the exhibit. From homemade bell-bottom pants to a handcrafted hat with a feathered band, these items reflect her unique flair and the influences that shaped her artistic identity. The display includes some of her most iconic outfits, such as the bedazzled Wrangler vest and the dramatic black jumpsuit she wore when receiving her 2023 CMA Entertainer of the Year award.

As she stood before the exhibit, Wilson expressed her gratitude for the support she has received from the country music community. “I feel so loved,” she said. “This community has wrapped its arms around me, and it’s a genuine support.” She also reflected on the significance of the exhibit, calling it “the cherry on top” of her recent achievements. “This is good for my soul tonight,” she added.

Looking ahead, Wilson is already planning for the future. She is currently on a summer tour, performing at fairs and festivals, and will soon kick off a new tour in August. She is also working on new music, continuing to write and create. Additionally, she is preparing for her upcoming wedding to fiancé Devlin (Duck) Hodges, whom she has dated since 2021. The couple, who recently celebrated their engagement, is still finalizing the details of their wedding, which is expected to be a significant event.

The exhibit, "Lainey Wilson: Tough as Nails," continues through June 2026, and visitors can experience it as part of their museum admission. It serves as a testament to Wilson’s journey, highlighting not only her personal achievements but also the power of community and support in achieving one’s dreams. For Wilson, the exhibit is more than just a celebration of her success—it is a reminder of the heart and resilience that have carried her through every step of her journey.

Why "Killing in the Name" Was Banned by Rage Against the Machine

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The Legacy of "Killing in the Name" by Rage Against the Machine

Rage Against the Machine’s 1992 track "Killing in the Name" is widely regarded as one of the most powerful protest songs in rock history. With its intense guitar riffs and bold lyrics, the song became a rallying cry against systemic racism and police brutality. However, its raw energy and explicit language have led to significant controversy over the years.

The song's climax features frontman Zack de la Rocha shouting the phrase “F--k you, I won’t do what you tell me” repeatedly. This line, along with other strong language, has caused many radio stations to avoid playing the track or opt for heavily censored versions. In the UK, BBC Radio 1 faced backlash after accidentally airing the uncensored version during a chart show in 1993, leading to over 100 complaints from listeners.

In the United States, the song was among many that were informally blacklisted by Clear Channel Communications following the 9/11 attacks in 2001. The company created a list of songs deemed “lyrically questionable” for airplay during that sensitive period. "Killing in the Name" was included due to its aggressive tone and themes of rebellion, which were seen as potentially inappropriate during a time of national tension.

Despite these restrictions, the band members have always stood by their original vision. In a previous interview with Spin Magazine, guitarist Tom Morello shared insights into the decision-making process around the song’s lyrics. He noted that there was a musical discussion about the song’s structure, particularly the moment where the track seems to stop. Morello recalled that the band disagreed with the idea that this part disrupted the flow of the song.

Morello also shared a humorous anecdote about the band's early days. At their second-ever performance, label executives were present and taken aback by the band's unfiltered energy. After playing "Killing in the Name," one executive reportedly asked, “So is that the direction you’re heading in?” The band’s response was clear: they were not backing down from their message.

The song experienced a resurgence in popularity in 2009 when a Facebook campaign aimed to prevent an X Factor winner from claiming the UK’s Christmas No. 1 single. Fans downloaded "Killing in the Name," and the campaign succeeded, with the track reaching No. 1 in December. This revival brought the song back into the public eye and led to new opportunities for the band.

BBC Radio 5 Live invited Rage Against the Machine to perform the song live in the studio. The band agreed, but only if they could play the radio-friendly version. However, during the broadcast, Zack de la Rocha deviated from the script and delivered the full uncensored outro. The presenters tried to cut the performance short, but the explicit language had already reached listeners.

The BBC issued an apology, stating that the band had promised not to swear. Despite the controversy, the song continued to gain traction. Earlier this year, "Killing in the Name" became the first song by the band to surpass one billion streams on Spotify, marking a significant milestone in its long and impactful journey.