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    Artist: Sally Barker
    Title: This Rhythm Is Mine
    Year Of Release: 1990
    Label: Hannibal
    Genre: Folk, Folk-Rock, Pop-Rock
    Quality: MP3/320 kbps
    Total Time: 46:45
    Total Size: 114 MB

    01. Money’s Talking (04:59)
    02. This Rhythm Is Mine (04:08)
    03. Angry Women (04:51)
    04. Lay Your Body Down (03:35)
    05. While You Sleep (04:47)
    06. Big World (03:43)
    07. Chinese Whispers (05:52)
    08. Or Did You Jump? (04:19)
    09. Married Man (05:32)
    10. The Simple Life (05:00)

    The post Sally Barker – This Rhythm Is Mine (1990) appeared first on MusDL.

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    z320 kbps | 113 MB | UL | OB | KF


    01. Unspoken 05:18
    02. If You Dare 04:23
    03. Give Me A Reason Not To Love You 04:13
    04. Smile In My Sleep 03:52
    05. Forgot To Forget You 03:44
    06. Her Silent Request 05:50
    07. His Silent Reply (Run Together) 05:05
    08. Do We Have To Feel The Magic Every Time? 04:35
    09. Don’t Look 05:02
    10. Betrayal 06:35
    11. My Heart, My Head 05:21

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    Artist: Shiggy Jr.
    Title: All About Pop
    Year Of Release: 2016
    Label: Universal Music France Digital Only
    Genre: J-Pop
    Quality: mp3 320 kbps
    Total Time: 00:52:49
    Total Size: 122 mb

    01. Summer Time Love
    02. Koishitara Baby
    03. Hot Chili Sauce
    04. I Like It
    05. Dynamite
    06. Ghost Party
    07. Home
    08. Tegami
    09. Start
    10. Keep On Raining
    11. Beautiful Life
    12. Groove Tonight
    13. Listen To The Music (All About Pop Version)

    The post Shiggy Jr. – All About Pop (2016) appeared first on MusDL.

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    Cien minutos de soledad. Sin solución de continuidad. Recorremos la geografía y sus músicas. Para más detalles TIME AND TRACK LIST 01.- 00:00:00 louis landon - joy to the world 02.- 00:03:29 peter kater - resonance 03.- 00:09:00 joseph l young - ethereum 04.- 00:13:12 george winston - kindred spirit 05.- 00:16:43 peter kater - echo inside 06.- 00:25:35 uwe gronau - a passion play 07.- 00:30:05 howard shore - investigative journalism 08.- 00:32:04 rachel currea - once upon a time 09.- 00:35:20 joseph l young - boundless 10.- 00:38:44 johann johannsson - fragment i 11.- 00:40:04 george winston - the cries of the wetlands 1 12.- 00:43:18 matt venutti - desert dreams 13.- 00:49:04 the gift - art patience 14.- 00:55:41 uwe gronau - diving into the deep 15.- 00:59:08 dhafer youssef - diving in the air 16.- 01:03:19 the huron carol - nathan tsosie 17.- 01:08:18 joseph l youngb - entangled 18.- 01:12:53 george winston - the cries of the wetlands 2 19.- 01:16:31 patrick ohearn - a lovely place to be 20.- 01:25:07 nicholas gunn - passion under the influence of music 21.- 01:30:39 jóhann jóhannsson - most emotional song ever 22.- 01:37:02 rachel currea - imminence :: ..

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    Artist: Shota Osabe Piano Trio
    Title: Happy Coat
    Year Of Release: 2008
    Label: Lim [LIM K2HD 031]
    Genre: Jazz
    Quality: FLAC (*image + .cue,log)
    Total Time: 01:01:58
    Total Size: 354 mb (+5%rec.)

    1. Willow Weep for Me
    2. Pretend/Somewhere Along the Way
    3. Moonglow
    4. This is All I Ask
    5. Happy Coat
    6. Can’t Leave Her Again
    7. My Foolish Heart
    8. East of the Sun
    9. Anema E Core
    10. In the Still of the Night
    11. Young and Foolish
    12. Cotton Fields
    13. Too Marvelous for Words
    14. I Saw Her Standing There
    Shota Osabe – piano;
    Ray Brown – doublebass;
    Harold Jones – drums

    The post Shota Osabe Piano Trio – Happy Coat (2008) appeared first on MusDL.

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    Artist: Shunzo Ohno
    Title: Quarter Moon
    Year Of Release: 1979/2010
    Label: King Record [KICJ-92318]
    Genre: Jazz-Funk, Fusion
    Quality: FLAC (*tracks + .cue,log)
    Total Time: 00:45:23
    Total Size: 298 mb (+5%rec.)

    01. Fatback
    02. May
    03. Jeff
    04. In the Sky
    05. Autumn Rain
    06. The Dawn
    07. Quarter Moon
    08. We Will
    Shunzo Ohno – trumpet, Mini-Moog, Solina
    Carter Jefferson – tenor saxophone, soprano saxophone
    Onaje Allan Gumbs – electric piano, acoustic piano, clavinet, Mini-Moog
    Kenny Kirkland – electric piano, acoustic piano, Solina, Mini-Moog
    Jeff Layton – electric guitar
    Marcus Miller, T.M.Stevens – electric bass
    Victor Lewis – drums
    Sue Evans – congas, percussion
    Vivian Cherry, Yvonne Lewis, Ullanda McCullough – background vocal

    The post Shunzo Ohno – Quarter Moon (1979/2010) appeared first on MusDL.

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    Artist: Smooth Jazz Park
    Title: Latin Hours
    Year Of Release: 2016
    Label: CSP
    Genre: Smooth Jazz , Latin Jazz
    Quality: mp3 320 kbps
    Total Time: 01:17:35
    Total Size: 178 mb

    01. Raios Solares
    02. Samba Fuerte
    03. Montes Claros
    04. Amazon Song
    05. Brasilian Brushes
    06. Song For Nana
    07. Maracatu Bahia
    08. Samba Lento
    09. Rio Lullaby
    10. Sun Over Bahia
    11. Playa d’en Bossa ( Nova )

    The post Smooth Jazz Park – Latin Hours (2016) appeared first on MusDL.

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    zx320 kbps | 106 MB | UL | OB | KF

    Cradle Of Humanity features Mulatu Astatke, the Father Of Ethiojazz, in collaboration with Australian musical collective Black Jesus Experience.
    Cradle Of Humanity is the funkified product of seven years of performances together around the world, brought to fruition in studios in Melbourne, Australia; Addis Ababa, Ethiopia; Koln, Germany and London, UK.
    A meditation on the origins of humanity, rhythm and culture, this album combines the mystic tonalities of Ethiopia’s ancient and unique scales with deep grooves and the freedom principle.

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    zx320 kbps | 106 MB | UL | OB | KF

    Cradle Of Humanity features Mulatu Astatke, the Father Of Ethiojazz, in collaboration with Australian musical collective Black Jesus Experience.
    Cradle Of Humanity is the funkified product of seven years of performances together around the world, brought to fruition in studios in Melbourne, Australia; Addis Ababa, Ethiopia; Koln, Germany and London, UK.
    A meditation on the origins of humanity, rhythm and culture, this album combines the mystic tonalities of Ethiopia’s ancient and unique scales with deep grooves and the freedom principle.

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    Artist: Sonne Hagal
    Title: Ockerwasser
    Year Of Release: 2014
    Label: Luftschutz Ente
    Genre: Folk, Neofolk, Electronic
    Quality: 320 / FLAC (tracks.cue.log)
    Total Time: 51:24
    Total Size: 117 / 314 Mb

    1. The shapes of Things to come 05:04 download
    2. Morpheus 05:16
    3. Of dissembling words 04:42
    4. After the rain 03:31
    5. Black Spring 05:51
    6. Thyme 05:11
    7. Silence 03:59
    8. Gold 04:48
    9. Devon 04:24
    10. Mediocrity in love rejected 03:36
    11. Assassins 04:57

    SONNE HAGAL are back. And how! We are honoured to announce Sonne Hagal’s new, long awaited album "OCKERWASSER – A Symphony of Sorrowful songs." There is every indication that OCKERWASSER will be considered Sonne Hagal’s masterwork. For six years, after releasing their widely acclaimed album Jordansfrost (2008), Sonne Hagal retreated into themselves, concentrating on realising their visions for that which was to become OCKERWASSER. While there were compilation appearances, a collaboration with FIRE + ICE, and a number of live performances, the majority of their artistic efforts were devoted to OCKERWASSER. OCKERWASSER is the quintessence of what makes music good music. OCKERWASSER is characterised by daedal music compositions, interwoven melodies, and enchanting harmonies. There is a kind of dance between folk, jazz, and experimental music, creating sonic dreamscapes that beckon spirits. Soundscapes that open a wideness inside you to let in (and out!) your dreams, your fears and all the spirits that like to cross the border between consciousness and subconsciousness. OCKERWASSER is founded upon Sonne Hagal’s unmistakable acoustic guitar, and is enhanced with violin, trumpet, percussion, bass, and intelligently placed electronics. Rhythms shape-shift between the delicate and doomful, beginning from the first track on the album, "The Shapes of Things to Come," which presents both the Etherworld and the Netherworld, ever reminding us of the ancient, unspoken axiom: "As above, so below." Music, directly from the ether in search for the essence of life. From there you may follow SONNE HAGAL into deeper realms of sleep, into subconsciousness, and "Silence" begets the dreamless fields of "Black Spring," and beyond. With each and every listening, we emerge transfigured from OCKERWASSER as from a journey. The lyrics of OCKERWASSER are simultaneously prophetic, Hermetic, all-encompassing and yet profoundly personal. With Sonne Hagal we are invited to exploring our dreams, our consciousness, our very existence, and the nature of human psyche. OCKERWASSER transforms universes into dreams, dreams into words, words into ideas. For six years Sonne Hagal has worked to create an expression of these ideas, and the results are overwhelming. With OCKERWASSER Sonne Hagal has achieved the finest expression of their artistic voice through their inimitable vocals. It is a collective voice that wrenches beauty and sadness, tragedy and hope, bitterness and strength. This is the voice that is not only a voice but an instrument, a medium, a vehicle. The voice of Sonne Hagal is both singular and collective, and the voices in our head join a choir of the inner self; a choir of the unknown; a choir of lost dreams and new fantasies. On OCKERWASSER, Sonne Hagal has engaged guest appearances from an international array of artists, including such artists as Kim Larsen (Of the Wand and the Moon), Ericah Hagle (Unto Ashes), Leithana (Ordo Equitum Solis), Bo Rande, Matthias Krause (Vurgart). Ultimately, OCKERWASSER is unmistakable Sonne Hagal, rendering their own unique vision of music which transcends any genre. For years we have been longing for a new full-length album by Sonne Hagal; suffice is to say that OCKERWASSER is Sonne Hagal’s masterwork that we never allowed ourselves to hope for.


    The post Sonne Hagal – Ockerwasser (2014) appeared first on MusDL.

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    Artist: Spearman Brewers
    Title: Rue Blue
    Year Of Release: 2016
    Label: Douglas Scott Riggs
    Genre: Blues, Singer/Songwriter, Alternative Folk
    Quality: mp3 320 kbps
    Total Time: 00:47:28
    Total Size: 109 mb

    01. The Street Where You Got Your Feet
    02. Cold Cold Ground
    03. Close Down the Liquor Store
    04. Leave Your Lamplight On
    05. Bottle of Red
    06. Lune De Magnolia
    07. She Don’t Wash Out
    08. But I Knew You When
    09. First Thing Smokin’
    10. Come What May
    11. Pinot Red
    12. When the Golden Gates of Heaven Start to Shine
    13. Rue Blue

    The post Spearman Brewers – Rue Blue (2016) appeared first on MusDL.

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  • 12/19/16--04:18: ΣΩΤΗΡΕΣ
  • Η κυπριακή Louvana Recordsαπό καιρού εις καιρόν μας φιλοδωρεί με πολύ ενδιαφέροντα άλμπουμ κι ένα τέτοιο είναι και το «Σωτήρες», για το οποίον εύχομαι να… δοξαστεί από το συγκρότημα με τον ίδιο τίτλο. Ο Φώτης Σιώτας φωνή, βιολί, κιθάρα (από Ευοί Εαύν, Λαϊκεδέλικα, Επισκέπτες, Sancho 003…), ο Λευτέρης Μουμτζής μπάσο, πλήκτρα, κιθάρες, φωνητικά, drum machine [J. Kriste (Master Of Disguise), Τρίο Τεκκέ, Stelafi…], ο Κώστας Παντέλης κιθάρες (κι αυτός από την ίδια παρέα, με συμμετοχές σε Ξύλινα Σπαθιά κ.λπ.) και ο Βασίλης Μπαχαρίδης ντραμς, κρουστά (Επισκέπτες κ.λπ.) είναι οι τέσσερις Σωτήρες, οι άνθρωποι τέλος πάντων που ευθύνονται, γενικώς, για το ρεπερτόριο του γκρουπ και περαιτέρω για τη διευθέτησή του.
    Πώς να περιγράψεις αυτό που ακούς; Δεν είναι εντελώς εύκολο. Φυσικά υπάρχουν αναφορές στο σύγχρονο rock, βεβαίως ανιχνεύονται υπαινιγμοί στην τραγουδοποιία του Θανάση Παπακωνσταντίνου, αλλά και μελετημένοι, εγώ θα πω, πειραματισμοί, που βοηθούν το άλμπουμ ν’ ακούγεται απ’ όλους αφ’ ενός, αλλά και από… λιγότερους αφ’ ετέρου. Μέσα σ’ αυτό το σύστημα, το ορθά μελετημένο, εμφιλοχωρεί περαιτέρω η παράδοση (ή μάλλον οι παραδόσεις), αλλά κυρίως η διάθεση των μουσικών να περάσουν σε μιαν όχθη εκεί όπου όλοι θα συνομιλούν με όλους, μέσα από ένα πνεύμα σαρκασμού (της καθημερινής ζωής, που προβάλλει ενίοτε σκληρή και αδυσώπητη), αλλά και μιας διαπεραστικής ιλαρότητας, που φέρνει τη «ζυγαριά» στα ίσια.
    Το αποτέλεσμα έχει πολύ ενδιαφέρον, ιδίως αν έχουμε να κάνουμε με τραγούδια όπως το «Κοστίζει» (με το afro-funk υπόστρωμα, τις σκληρές, αλλά εντέχνως «πίσω» τοποθετημένες κιθάρες, τη φωνή σωστά «μπροστά» και τη φευγάτη κατάληξη), το «Παράδοξο» (με πιο straight-ahead στοιχεία κιθαριστικής ποπ), το εισαγωγικό «Τελώνιο» (με τη βαρβάτη μπασογραμμή, την trad προσήλωση, αλλά και την πληθώρα των παράλληλων breaks), την «Κοκκινοσκουφίτσα» (που αφηγείται μια ιστορία μ’ έναν τρόπο ανατρεπτικό και όσον αφορά στη μουσική εξέλιξη), τη «Λυπημένη νύφη» (που μοιάζει κάπως με το… hitτου δίσκου, αλλά «χάνεται» μέσα σ’ ένα σύστημα από εναλλασσόμενα tempi, κάπως σαν κουπλέ-ρεφραίν, και πάντα με προτεταμένη μια σκωπτική διάθεση) και ακόμη το «Βλαχομπαρόκ» (εκεί όπου η ιδιοφυής ταπετσαρία τού Μιχάλη Σιγανίδη, θα μπορούσε να συνομιλεί με τους «ζαππισμούς» των Zoolixo Λίγο).
    Δεν είναι το πιο εύκολο άκουσμα το άλμπουμ των Σωτήρων, θα βρει όμως, εδώ, ο ακροατής που την ψάχνει μερικά πολύ ιδιότροπα (και σίγουρα ενδιαφέροντα) τραγούδια.

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    z320 kbps | 71 MB | UL |

    Shadows in the Sunset holds in its grooves ten thousand miles of asphalt, eight pairs of good shoes, and the generosity of a thousand strangers. It’s a collection of stories about the beauty of blazing sunsets and letting endings turn into new beginnings.

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    Artist: Stella Burns & The Lonesome Rabbits
    Title: Jukebox Songs
    Year Of Release: 2016
    Label: Love & Thunder
    Genre: Folk/Rock/Americana
    Quality: MP3 320 Kbps
    Total Time: 30:05
    Total Size: 102 MB

    1. Bird On A Wire (3:10)
    2. Far From Any Road (Feat. Baby Carla) (2:29)
    3. Key (2:33)
    4. Lost Property (4:29)
    5. Louie Louie (2:31)
    6. Lucky (3:11)
    7. Pamela (3:09)
    8. Wash (3:18)
    9. While The Dust Gets Up (2:41)
    10. La Ballata Di Carini (2:29)

    Stella Burns is the project and nom-de-plume of singer-songwriter and musician, Gianluca Maria Sorace.
    Sorace is the front-man with Hollowblue, who have recorded three albums, ‘What You Left Behind’ (2004), ‘Stars are Crashing in My Backyard’ (2008) and ‘Wild Nights, Quiet Dreams’ (2009), of richly-textured, strings-laden pop.
    Stella Burns maintains Sorace’s swooning, gorgeous vocals, which have drawn him comparisons by ‘Uncut’ with Billy Mackenzie, but is otherwise a very different act. Much starker and largely acoustic in tone, it finds Sorace experimenting with a dozen different instruments including banjo, mandolin, cello, harmonica and trumpets. As befits the “space cowboy” character whom he has based Stella Burns around, it is with its scorched, windswept soundscapes like a stripped-down and lo-fi Ennio Morricone or Calexico.
    The new Stella Burns’ album "Jukebox Songs" is going to be released by Love and Thunder Records on September 13th 2016.
    Stella Burns again creates his own acoustic sound playing this time many songs by others.. all with banjo, acoustic and slide guitars, piano and drums.


    The post Stella Burns & The Lonesome Rabbits – Jukebox Songs (2016) appeared first on MusDL.

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    Nova Tunes: Nova Le Grand Mix 2016
    Artist: VA
    Title Of Album: Nova Tunes: Nova Le Grand Mix 2016
    Release Date: 2016
    Label: Nova Tunes
    Genre: Downtempo, Jazz, Trip-Hop, Folk, World
    Quality: MP3 320 kbps
    Total Time: 06:35:14
    Total Size: 902 Mb

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    Artist: Stephanie
    Title: Ouragan
    Year Of Release: 2000
    Label: Laser Light Digital
    Genre: Eurodance, Disco, Hi-NRG,Pop
    Quality: mp3 / Flac (image+.cue)
    Total Time: 01:07:12
    Total Size: 157,02 / 586,97 Mb

    Tracklist :
    01. Besoin 2:44
    02. One Love To Give 5:49
    03. Rendez-Vous 4:22
    04. Young Ones Everywhere 3:58
    05. Ouragan 4:40
    06. Fleur Du Mal (A Paul) 3:58
    07. Live Your Life 4:29
    08. Le Sega Mauricien (Remix) 4:21
    09. Flash 5:48
    10. How Can It Be 5:09
    11. Irresistible 4:41
    12. I’m Waiting For You 3:58
    13. Dance With Me (Remix) 5:50
    14. One Love To Give (Remix) 7:27

    The post Stephanie – Ouragan (2000) MP3 + Lossless appeared first on MusDL.

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    zx320 kbps | 104 MB | UL | OB | KF

    “The Dacios are back, now sporting a five-piece line up. With the enigmatically brilliant Bonnie Mercer now in the fold, Linda J out front, her guitar no longer slung around her neck. The sound is different, but no less brutal. Mercer’s jagged licks slice across Bean’s chainsaw rock n roll riffs…. The rhythm section packs a punch that’d send George Foreman to the floor.” – Patrick Emery, Beat Magazine

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    Producer Morgan Greenstreet is currently in Lagos, Nigeria, working on our upcoming Nigeria Hip Deep series. He interviewed superstar Yemi Alade at illustrious director Clarence Peters’ studio, where they were filming a music video for her feature with Bez, “You Suppose Know.”


    Morgan Greenstreet: Thank you so much for taking the time to talk with us! Obviously you’re a very important artist in the Nigerian music scene, but could you start by telling us a little bit about yourself, about what you do?

    Yemi Alade: Hello, my name is Yemi Alade, my birth name and my artist name, and music is what I do. My music is best described as Afropolitan, which is a merge of both pop and r&b, highlife and Afrobeats.

    I see! I feel like your sound fits really well with what’s going right now in Lagos, the style that’s hot right now. How would you define the sound of Nigerian pop right now?

    I think Nigerian music…the Afrobeats sound is ever-evolving, even though our Oga [chief], the top Fela is the one who is the pioneer of Afrobeats, the sound itself. I think we found a way of using that as the foundation and keep interpreting it in the ways that best reflect our artistic sides. It’s an ever-evolving, ever-changing sound.

    You’re one of the top female artists in Nigeria, maybe in Africa. How do you feel that role of women is the music scene right now, especially as leaders, and how do you see yourself in that regard?

    Well, if I’m right, the population of women in Nigeria still exceeds the guys, so our position as female artists in the industry isn’t just a thing of gender, but it’s a very important position, because it encourages the many females out there to stand out and do what they know best to do. We are a very, how should I put it, mentorship-position people.


    A number of your songs deal with issues of infidelity, of men not respecting women, for example, “Johnny,” which was your first big hit, but also the recent tune, “Tumbum.”

    Why does that issue speak to you, or what are you trying to say with those songs?

    I’ll say two things: Someone has to talk about it, right? Because everybody’s talking about how “love is so beautiful,” so why don’t we talk about the other things that happen when in love? And second of all, it’s one of the things that relates to every guy, every woman out there: Everyone has been a Johnny, everyone is playing games with someone. Even if I might be a female, it’s not always a thing of the guy cheating, females do it as well, and very well I must say [Laughs].

    So, love, in general, is a theme that many artists treat, it’s one of the central themes of music. Do you find that you’re expressing yourself creatively through the theme of love, or it’s a topic that’s just simplest to resort to?

    Well, no, no, no, love is not a simple thing, if you’ve ever been in love, even a common friendship, you realize that it’s not as simple as it seems! They tell us about happily ever after but no one talks about the quarrels and misunderstandings and all that. Love is one of the most complex situations one could ever find oneself. I think that’s why it always feels good to sing about the good part, because it just makes it easier to believe that it’s easy. And yes, most of my songs are from personal experience, and “Johnny” was definitely a personal experience.


    I think it touched people who are affected by those situations. Lately, you’ve been referring to yourself as Mama Africa, which obviously has some historical connotations…

    Well, everywhere I go, I know in my heart that the ultimate Mama Africa is Miriam Makeba. Reading her history, even though I’ve never met her, her soul rest in peace, I’ve read so much about her, and she stood for so much! She was more than just the word “legend,” she basically fought a battle that no one thought a woman would agree to fight. She was someone powerful. And I just felt, as an African and as a woman, it was just my time to tell my own African story, and what better way to put it than to title it “Mama Africa.” And funny enough, I already started getting the nickname Mama Africa because I’m almost always not in my country, I’m in some African country or somewhere in Europe or wherever, spreading the good news of Africa and African goodness.

    So, I’m very interested how things work in the Nigerian music scene, and what it takes to get to where you’re at, which is the top. Could you describe your journey, your hustle, how you got here?

    Well, thank you for saying that I’m at the top, I hope I stay there long! [Laughs] But the journey here has been one of both good and bad, some challenges and triumphs, some failures. But most of all it’s a very encouraging story, because we find a way to make something out of nothing in Nigeria, in a country where the musical system in terms of royalties isn’t exactly paying off. It’s almost nonexistent, yet we still find a way to fund our projects and still go around the world and do what we know how best to do.

    I would say God has brought us this far and I’m thankful to a team that doesn’t sleep, shout-out to Effyzzie Music Group, and shout-out to my fans who have been there since day one and who support me and who run to get every one of my songs that drop, whether on iTunes or what-have-you. But it’s been a group effort, a group effort all the way.

    So, tell me about day one, what was day one like, when you were like, “I’m going to be an artist, I’m going to make it.”

    Phew! Well, I’ve been singing forever, like as a kid, and in the bathroom, at church and things like that. But when I won a talent show in 2009, after I won, I told myself, “O.K., Yemi, no more thinking about the negative parts of trying to get exposed to the world, going out there to get what’s yours, it’s time for you to ignore all that.” So I sat myself down in front of the mirror; I won’t say I denounced my name, or where I’m coming from, the background I’m from or whatever. I just told myself, “Yemi, you’re going out to get what’s yours, you’re starting on a clean slate, just go out, just go out.” I had to give myself that little pep talk. I’ve very happy I made that bold step, because I was a very indoor kind of person.

    Do you think that there are advantages or disadvantages of being a woman in this scene?

    Hmm, I think the advantage of being a woman on the scene would be two things: We easily express our emotional side. What’s the world without some emotions, you know? And, as a woman, I know that when you empower a woman, you empower an entire generation, so that’s a power-stand for me. So as far as disadvantages go, I would say, to an extent in Africa, females are viewed as the lesser gender, we’re not seen as a powerhouse, if you know what I mean, the guys are given preferential treatment in terms of respect and every other thing that comes our way. But through it all, we shine and we conquer, and we’re very much among the best.


    Definitely. You mentioned the struggles of the Nigerian music scene, economically. What are the ways you’ve found to fund your projects?

    Sincerely, I’m just gonna call a spade a spade: The only way, in Nigeria, at the moment, is via your performance fees. You use that to fund, of course, the performance itself, you use that to fund the videos and everything. That’s the only actual one. And maybe sometimes some endorsements come in, but that’s pretty much the only one.

    That’s pretty much true everywhere, unfortunately.

    Yes, unfortunately. Well, other places there are other things online that bring in trickles of cash, but…

    But they’re trickles.


    So, in terms of themes that you sing about, some artists like to sing a lot about cash, about making money, is that theme you like to sing about?

    Well, I might just touch the subject lightly but it’s not like my main focus. A lot of people are just singing that from fiction, most times. A lot of people don’t have as much as they claim to have, but nah, it’s a topic I lightly touch, if I ever do.

    What are your goals? Where would you like to be in 10 years?

    Well, it’s 2016 and I’m in a beautiful place, I’m thankful that I’ve gotten this far, but I’m very, very, very far from where I want to be. In 10 years, that’s a very far shot, but I’d love to be alive! And, definitely, I hope to have gotten my Grammy or two or three or four or five, and an Oscar maybe.

    Can you describe where we are, what you’re doing here today?

    Well, we are on set right now, shooting a video for a song I was featured on by the amazing Bez. He’s an amazing artist and happens to have an entire gallery of guitars, I don’t know if there’s a name for a group of guitars but he’s a showoff in that department, I’m sorry.


    And we’re here shooting the video with Clarence Peters. Clarence Peters has been responsible for a lot of my shoots, he has directed a lot of my shoots, from “Ferrari,” to “ETC.” He’s amongst the very good directors in Nigeria, in fact in Africa, let’s be all out there. And other than that, I’m right here talking to you, and it’s good.


    Is there anything you’d like to add about the Nigerian music scene, about what you’re trying to do with your music?

    Hmmm. I think I’m just trying to be a living example in the way that I can, and I’d like to encourage everyone not to get carried away by so many social media antics and forget the reality of life, and I’d like to also use this opportunity to holler at social media bullies: I wouldn’t say go get a life, but I think you should really focus on getting a life, literally. Yeah.

    I feel like the image is really important, your image is very crafted and very beautiful, the way you present yourself.

    Thank you.

    What is the role of social media, and online media in general, for the Nigerian music scene?

    It’s a total package. So far, Nigeria has somehow been the one setting the pace in terms of quality videos, and image and how well you package your social media, whatever. Because it’s very important! The whole world is looking in and the crazy part is that there’s a possibility that only five percent of your fans in the entire world will ever meet you, so the only way they will ever get to meet you is on social media and on TV and all that. So, I don’t think that is something to play with.


    A photo posted by Yemi Alade (@yemialade) on Dec 17, 2016 at 12:49am PST

    So you feel that, in some ways, it’s something that you give to your fans, or that you almost owe to your fans to make them feel engaged?

    Oh yes, I always do that for my fans, and shout-out to a team that doesn’t sleep, they always make sure that I come correct. But I don’t try to hide my flaws. Because in all that creativity, I think my flaws are the most beautiful things.

    [Laughs] What do you mean?

    I have flaws, just let it be. [Laughs]


    What about partnering with brands and corporate sponsorships? This has been growing phenomenon in the Nigerian music industry; is it something you’d like to pursue? Do you think that this is a way that the Nigerian music industry can grow?

    What kind of corporate sponsorship do you mean?

    I mean like the partnership you recently did with Shell, “Best Day of My Life.”

    Oh yes, that’s a good one. Especially if they have the same vision as you, why not? And if it’s something that they’re looking into to profit from financially, something that can be discussed and applied to our reality, you know. Make sure that when you put in one naira here, it comes out on the other side, if not, no deal.

    Understood. And you feel like that one, particularly, they were on board?

    Well, for Shell, I was most personally engaged because it was more humanitarian than just, you know, being in collaboration with such a very big company. For instance, we visited places where I’d never been in my life. There were places that we visited where I had to wear rain boots because we were going to literally step on human feces. People who really, really needed their lights to be lit, literally, we brought lights to them. So I feel blessed to be the one who was chosen from Africa to represent.

    Well, thank you so much!


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    NOW Thats What I Call 70s (2016)

    Artist: Various Artists
    Title: NOW Thats What I Call 70s
    Label: Sony Music, EMI, Virgin Music Group
    Style: Blue-Eyed Soul, Folk, Glam Rock, Soul, Bubblegum Pop, Disco, Reggae
    Release Date: 01-12-2016
    Format: CD, Compilation
    Quality: 320 Kbps/Joint Stereo/44100Hz
    Tracks: 59 Tracks
    Size: 590 Mb / 03:47:45 Min

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