NEW YORK, April 3 – ASCAP, the American Society of Composers, Authors and Publishers, announces that it will honor legendary musician Stevie Wonder with its inaugural “Key of Life” Award at this year’s ASCAP “I Create Music” EXPO in Los Angeles, April 13 – 15, where he will also appear in a keynote “I Create Music” session.
The “Key of Life” Award celebrates Wonder’s incomparable, peerless contributions to the world through his music. In the future, the honor will be presented to songwriters and composers who best exemplify his legacy through their commitment to the art form he elevated through his talent, dedication and unparalleled heart.
“Stevie has deservedly been given every award imaginable,” said ASCAP President Paul Williams. “Yet he continues to innovate and elevate the art of songwriting to the point where no honor can truly capture what he means to his creative kin at ASCAP, and to songwriters and music lovers worldwide. This award has been created as a way to honor his singularly inspirational songwriting career and to recognize his spirit in generations to come.”
The 25-time Grammy winner has been an ASCAP member for the better part of five decades, amassing more than 60 Billboard Hot 100 hits during his time with the performing rights organization, including immortal anthems like “Superstition,” “My Cherie Amour,” “Signed, Sealed, Delivered I’m Yours,” “You Are the Sunshine of My Life” and “I Just Called to Say I Love You.” He received ASCAP’s highest individual prize, the Founders Award, in 1984 and was honored during the organization’s 100th birthday celebrations with a once-in-a-lifetime Centennial Award. Wonder has maintained a lifelong appreciation for songwriting, penning his first hit at 11 years old and working in Motown’s songwriting department while establishing himself as a performer in the mid-1960s. In recent years, Wonder has mentored a new generation of songwriters, working with fellow ASCAP members Ariana Grande and Francis Farewell Starlite on the Golden Globe-nominated 2016 single “Faith” from the hit film Sing.
A diverse group of speakers and panelists from across the music industry will join Wonder at this year’s ASCAP “I Create Music” EXPO. Previously announced panelists include platinum-selling recording artist Aloe Blacc, Songwriters Hall of Fame member Desmond Child, four-time ASCAP Country Music Songwriter of the Year Ashley Gorley, Grammy winners Darrell Brown (Keith Urban, LeAnn Rimes), Brian Kennedy (Rihanna)and Malik Yusef (Kanye West, Beyoncé);and the next generation of hit songwriters, including Dave Bassett (Elle King’s “Ex’s and Oh’s”), Bibi Bourelly (Rihanna’s “B***h Better Have My Money”), Deputy (J. Cole’s 4 Your Eyez Only), Captain Cuts (Walk the Moon’s “Shut Up and Dance”), Sam Hollander (Fitz and the Tantrums’ “HandClap”) and Matt Jenkins (Kenny Chesney ft. Pink’s “Setting the World on Fire”).
Now in its 12th year, ASCAP’s “I Create Music” EXPO is the United States’ largest conference for songwriters, composers, artists and producers in all music genres. Last year’s conference was the most well attended in EXPO history, attracting 3,000 participants from up-and-comers to GRAMMY winners.
Throughout the three-day “I Create Music” EXPO, participants can attend creative and business-focused panels, workshops, master classes, keynotes, one-on-one sessions, networking events, state-of-the-art technology demonstrations and performances. The ASCAP EXPO provides music creators with an unforgettable and authentic experience, knowledge, tools, connections and a community of support and guidance they cannot find anywhere else.
For more information on the ASCAP EXPO and to register for this year’s conference, visit: https://www.ascap.com/expo.
The American Society of Composers, Authors and Publishers (ASCAP) is a professional membership organization of songwriters, composers and music publishers of every kind of music. ASCAP’s mission is to license and promote the music of its members and foreign affiliates, obtain fair compensation for the public performance of their works and to distribute the royalties that it collects based upon those performances. ASCAP members write the world’s best-loved music and ASCAP has pioneered the efficient licensing of that music to hundreds of thousands of enterprises who use it to add value to their business – from bars, restaurants and retail, to radio, TV and cable, to Internet, mobile services and more. The ASCAP license offers an efficient solution for businesses to legally perform ASCAP music while respecting the right of songwriters and composers to be paid fairly. With 600,000 members representing more than 10 million copyrighted works, ASCAP is the worldwide leader in performance royalties, service and advocacy for songwriters and composers, and the only American performing rights organization (PRO) owned and governed by its writer and publisher members. www.ascap.com
Amsterdam-by way of San Diego, CA-based singer-songwriter Gayle Skidmore is excited to announce the release of her latest full-length, The Golden West. The album will be available nationally on Friday, April 7, 2017.
She’ll also be touring in support of the album. The tour, and the album release, are the culmination of nearly two years of both heartache and mind-clearing revelations. The Golden West would test her perseverance, but ultimately help her grow as an artist.
“The week before my wedding I was still finishing vocals for the album, which was pretty insane,” says Skidmore, discussing The Golden West, her twentieth independent release overall, and her third to feature an adult coloring book with the album, each picture depicting a different song.
But, with an impending wedding and a new album on the horizon, Skidmore was able to purge some of her past ghosts and let go of a lot of stuff she was still holding on to. Throughout the ten-track collection, The Golden West details Skidmore’s personal journey to leave the past where it belongs, a journey that took much longer than planned.
What was originally to be an E.P. quickly turned into a full-length in 2015, following Skidmore’s extensive touring across the U.S. Then a difference of opinions with the producer almost put the record in jeopardy.
“During 2015, I toured extensively, ending my last tour of the year in Eugene, Oregon,” says Skidmore. “There I began an intense time of recording, fundraising, and gigging on the weekends. James Book of Ninkasi Brewing invited me up to record in Ninkasi Studios. We had initially planned to do an E.P. but we got a little ambitious and ended up recording ten songs.
“James and I had a great time tracking the record and therefore ended up starting a bigger project than we could finish in the original time allotted. We ran out of time to finish the album in Oregon and made plans to track some more of the record out at [Dave Catching from Eagles of Death Metal’s studio] Rancho De La Luna in Joshua Tree, California. Our Desert Sessions sparked a lot of creativity. Dave was a gracious host and even jumped in on the last song.”
“James Book and I had a great synergy in the studio and a great start to the record in Eugene and Joshua Tree. However, when I got home with the tracks, I realized there was still a lot more I wanted to do,” she admits. “I brought the album to another producer in San Diego but we had some artistic differences and parted ways,” which put the future of the record into question.
Fortunately, with the help of her friends Jason Begin and Brandon O’Connell, Skidmore was able to get right back on track and set out finishing the album.
“I turned to my friends Jason and Brandon, with whom I normally work on commercial music, to help me finish the album. My friends at Ninkasi Brewing and my fans supported the rest of the process through crowd-funding, and I was able to win a grant for the album and coloring book,” recalls Skidmore. “I kept working for another year until I finally finished tracking. We weren’t able to finish one of the tracks, so we replaced it with a song I recorded in the middle of the night while on tour in Lubbock, Texas. One year, four cities, and four producers later, we finally had an album. Finishing it has been one of the most challenging things I’ve done.”
Beaming about everyone that helped her on this record, Skidmore proudly states, “Everyone who was involved in the project brought their best and I feel like they all caught the vision of what it could be. It is entirely different from what I thought it would be when we started recording a year and a half ago, but at the same time it’s exactly what I hoped for.”
A highlight for her is guest Dave Catching playing guitar on “Only Ever You.” “I’m such a fan of [Eagles of Death Metal], and I’m really grateful to Dave for bringing us out to his studio. It was a dream come true and I’m grateful to Ninkasi Brewing for making it happen.”
When asked to describe the record, Skidmore pauses for a bit and then says with a smile, “It’s whimsical, melancholic music for the romantic intellectual.”
She decided to title the record The Golden West to document her move from California to Amsterdam, where her fiance lived.
“On my tour up to Eugene to begin recording, I penned the chorus to a song I’d been working on while the sun set on the old mining town of Sonora, California. I knew immediately that this would be my single and title track for my upcoming album,” Gayle explains. The chorus’ lyrics, “Let’s bury all we put to rest in the golden west,” captured the spirit of the record. “Since I was contemplating a move to Amsterdam at the time, it seemed only fitting that this album about letting go would be titled after the song that talked directly about leaving California.”
With the record done and set for release, Skidmore reflects on her music career leading up to this record. While she has let go of past relationships and ghosts that have haunted her, she’s also let go of expectations and pressure she puts on herself, helping to make The Golden West the album she wanted to make; pure, honest, and one-hundred percent her. She didn’t make a record to impress others or to make her a “star,” she made a record to truly help her soul, and hopefully others.
“I have spent the last several years touring the country in my tiny car, cramming in up to five instruments just for me, making coloring books, baking cookies, and knitting hats for fans. I’ve driven to New York and back several times by myself and have had countless adventures. I was once an opener for a Juggalo show in Buffalo. I played a house show in a basement in Boise and on the same tour played the EMP museum in Seattle for Ninkasi Brewing’s Ground Control Launch. Once I drove fourteen hours from Chicago to Denver to play a show and was certain I had poisoned myself with energy drinks. I’ve slept in my car, been in accidents, been harassed in the South for looking ‘alternative,’ had a few stalkers, and have had all kinds of funny adventures with tour mates. I’ve opened for my musical heroes, performed in a castle in Denver, toured in Europe, recorded twenty independent releases, and been sponsored by a fantastic brewing company [Ninkasi]. The last few years of performing have been an intense and incredible journey and I can’t wait to see where this new album takes me.”
Also very excited about the accompanying coloring book with The Golden West, Skidmore is quick to remind you, “I still like to think I started the adult coloring book trend,” saying it with her trademark smile.
3/23/17 – Central Saloon – Seattle, WA
3/24/17 – Landmark Saloon – Portland, OR
3/25/17 – Deer Lodge – Portland, OR
3/27/17 – Nightland – Oakland, CA
3/28/17 – House Concert – Rancho Santa Margarita, CA
3/29/17 – The Standard – Los Angeles, CA
4/04/17 – Casbah – San Diego, CA
Portland, Oregon’s Kathryn Claire is gearing up to celebrate the release of her fourth full-length album, Bones Will Last, a ten-track collection of chamber/folk music encompassing her classical music upbringing with her formative folk influences. With five instrumentals and five vocal tracks, Bones Will Last places Claire’s violin and voice at the forefront of the album.
Claire spent years cultivating her own style and approach to music as a violinist, guitarist, singer, and songwriter. The result is an album that features arrangements that are sparse, with the lyrics residing confidently in the music; the violin weaving seamlessly through the album, bringing the instrumental and lyrical compositions together.
“When I decided to put instrumentals and lyrical songs on the album, I knew finding a cohesive sound could be problematic,” admits Claire. “That interweaving was so profound. I have played violin on many albums, and have worked as a side person with incredible performers. Each artist and genre I worked in taught me something. One of the most important gifts I learned as a side person was how to listen. When I made this album I applied that gift to myself. I wanted to capture what I heard in my head with the violin. I went deep within myself to find those melodic or lyrical lines that I kept hearing.”
Kathryn worked with Portland musicians Zak Borden (mandolin), Allen Hunter (upright bass), and Don Henson (piano) to create the album and has performed and toured extensively with all three artists. “It was empowering to work with such sensitive, talented and supportive musicians. They were patient and excited with the whole process. Each of them brought their own style to the album, and still helped me focus on the sound I was trying to create and compose.”
On the title track, Claire sings “Raise a glass, it’s all we have. For tonight has become tomorrow. Fear the flood, the rush of blood, we’ll be gone, but our bones will last,” speaking to the themes of the album: mortality, loss, love and transformation.
“I think about death often,” she says, discussing one of the album’s central themes. “It is not a preoccupation, but something I ponder regularly. In a literal sense, the title speaks to what we leave behind after we die; the remains of our body in the end are just our bones. But in a figurative sense, I wanted to consider the bones of our personality, of our creative work, of our heart: the essential things that last after everything else has died, decayed, and transformed. I like the idea that at the core each of us have this essence, and as an artist, there is a core voice or aesthetic. I sought the “bones” of my creative being through the creation of this album. I wondered how I would feel if this was my last album, if this was the last musical thing I left behind. I needed to make sure that I said and expressed everything I wanted.”
Claire’s own vision changed while making the record. Realizing that she may have two records on her hands, she decided to hold back five songs, and re-work the direction of the album by incorporating the instrumental compositions.
“Generally I go into the studio with a collection of songs that are pretty much intact. I don’t do much editing in the studio because the songs feel complete,” she says of her process. “For this album, I had about ten songs that I had started working on over a two-year period. But it was clear that there were two different albums that wanted to be made. I had to choose the five songs that would work with the instrumentals. I had considered doing an entirely instrumental album and an entirely lyric-driven album, but I saw a way to put a handful of the songs together with the instrumentals. In the end, they informed one another and fit together beautifully. ”
“‘Sweet Chariot,’ ‘Never Be,’ and ‘Thaw’ were all complete and I did little editing on them. ‘Last Day’ definitely morphed from its original version (written in a hotel room in Montana). I credit Danny O’Hanlon at Bunglalo 9 who mixed the album. He helped me shape that song into a piece that fit with the rest of the songs. We took out an entire verse and most of the acoustic guitar part, and just left strings and bass to drive the song. The result is a powerful song about the loss of self and the ending of a relationship. ‘Bones Will Last,’ the title track, was titled ‘Medicine’ for a couple of years. But it had the line ‘We’ll be gone, but our bones will last.’ I knew I wanted that to be the title of the album. But ‘Medicine’ didn’t fit. The energy of the song was cathartic and intense. One night I sat with my guitar and asked the song what it wanted. I learned the song was very tender and really a love song. Once I realized this, and wrote a new chorus, that song became the title track and one of my favorites. Sometimes we have to listen even harder to our own words and music because beneath the initial emotions or melodies is something different, something essential.”
The instrumental compositions on Bones Will Last are where Claire hears the clearest intersection between her classical and traditional music upbringing. The completed album surprised Claire when she realized how deeply her classical roots ran throughout it.
“Classical music is a part of my musical voice, but I haven’t really explored it for years. I was blessed to have a fantastic string/orchestra program in my hometown of Eugene, Oregon. I grew up playing string quartets with my friends and playing some of the great symphonies with my peers. My parents, especially my mother, fostered a love of classical music, and I attended many classical music performances. I didn’t go on to study music in college or to play classical music professionally. I taught myself to play guitar in high school and started writing then. Later on, I fell in love with folk music and traditional fiddle music, and went down that path for many years. When everything got stripped down on this album and I started composing the string parts under the lyrical songs or putting harmony violin parts on the instrumentals, I was surprised by how connected to my classical roots I really am.”
Kathryn Claire has found the bones of her creative voice. It will be interesting to see where the process of making this album takes her in the future. Her honest and poetic writing and unique approach to the violin and songwriting will serve her well as she continues to evolve and explore new musical terrains, creating a sound both original and diverse.
J. Sutta’s single Distortion has just hit No. 1 on Billboard Dance Charts in lieu of her release of her debut album on March 3rd, 2017!
The album is an elegant blend of EDM/Pop and is a personal journey of J. Sutta post Pussycat Dolls. Aurally cinematic with its peaks and pits, J. Sutta sheds her armor and reveals herself, naked and beautiful for the world to adorn her. The album takes us on a musical journey with J. Sutta, discovering the fearlessness that is being a female artist in today¹s world and loving oneself.
“The more you know yourself, the more you will love yourself. The more you love yourself, the less you will care what others think of you. This when we become authentic human beings who refuse to be living up to what others project you to be. This where we are capable of magic. With this kind of magic, we will never speak, think or act out of fear.”
The album includes two singles already released in Forever and Distortion. The former was the #1 independently released song on Top 40 Radio for four weeks straight, peaking at #55 and #58 on Rhythmic with over 1.5 Million streams and over 2 Million views on YouTube.
I Say Yes is a collaborative effort between close friends, producers and artists within the industry, I Say Yes was executive produced by multi Grammy winning Rico Love and features powerhouses like Pitbull, Hopsin, Fuse ODG, S-X, Diego Ave, Rico Love, and Dave Pensado.
VFILES, the global creative social-netowrking website and app, along with Joel Madden of MDDN Co., are announcing the creation of the record label VFILES LOUD!
The VFILES LOUD! partnership will offer yet another way for the VFILES community on the platform to be heard by a global audience—literally. VFILES LOUD! plans to develop and create opportunities for the artists on the VFILES platform (website and app) and the community at large. The VFILES LOUD! program—where users can submit tracks for consideration to be a part of the label and ensuing event series—will now take on an entirely new dimension.
VFILES believes that fashion and music are inseparable and can’t exist without the other. The projects and collaborations that VFILES does with the talented creative community on the VFILES platform have always involved a musical component.
“As a fan and a member of the VFILES community I’m excited about the collaboration with MDDN and VFILES and the impact we are going to be able to have on all VFILES artists. We are truly at the front of finding great new talent and bringing it to the world in the most authentic ways.”—Joel Madden, MDDN
“I have been a fan of Good Charlotte since the beginning. Joel is absolutely a brilliant songwriter and musician and understands VFIL ES in its truest sense,” says VFILES Founder Julie Anne Quay.
This year alone the LIVE AT VFILES event series has included Rae Sremmurd, Lil Yachty, Krewella, Dawn Richards, and Metro Boomin. VFILES RUNWAY has included performances by Tyga, Sophie Beem, and this season Playboi Carti along with the young band Unlocking the Truth. Jeffery (Young Thug) was a mentor for VFILES RUNWAY.
MDDN has their finger on the pulse of contemporary music, a proven track record to produce successful musical artists (including themselves), and a commitment to empowering youth—all of which align with the VFILES mission. Their Culver City, L.A studio has already worked with a number of young artists—Waterparks, Groves, Potty Mouth—and established artists like Jessie J.
These successful collaborations, along with the brother’s own success in the music industry as Good Charlotte, promise to launch the career of any young artist deserving discovery.
VFILES is a creative-focused social networking website and app that connects the global youth community. Users can connect, discover, collaborate, and be a part of what’s next. VFILES enables and encourages collaboration between its members in design, fashion, art, music, and more. VFILES is a movement—join us.
Follow @VFILES –
(August 11, 2016) Composer John R. Graham (BITCH SLAP) has written the original music to the upcoming film KINGSGLAIVE: FINAL FANTASY XV. Although the story of the action-packed full-length CG motion picture is effectively self-contained, it is also part of a complex and dynamic fictional universe shared with two other properties, BROTHERHOOD series and upcoming video game FINAL FANTASY© XV. The soundtrack also features the main theme, written by Yoko Shimomura, who composed the music for the upcoming game.
“Like Final Fantasy itself, Kingsglaive generates much of its energy through opposites. It blends magic and technology, the real and unreal, tolerance and intolerance,” said Graham. “I was brought into write filmic music that would inhabit the world of the film, a counterbalance to Yoko Shimomura’s beloved music for the Final Fantasy game series (Shimomura’s work is also featured in the film). I ended up writing about 100 minutes of music which I hope conveys this simultaneous light-and-dark feeling and underlines the contradictions of the characters, the plot and even the lighting of the film.”
The magical kingdom of Lucis is home to the sacred Crystal, and the menacing empire of Niflheim is determined to steal it. King Regis of Lucis (Sean Bean) commands an elite force of soldiers called the Kingsglaive. Wielding their king’s magic, Nyx (Aaron Paul) and his fellow soldiers fight to protect Lucis. As the overwhelming military might of the empire bears down, King Regis is faced with an impossible ultimatum – to marry his son, Prince Noctis to Princess Lunafreya of Tenebrae (Lena Headey), captive of Niflheim, and surrender his lands to the empire’s rule. Although the king concedes, it becomes clear that the empire will stop at nothing to achieve their devious goals, with only the Kingsglaive standing between them and world domination.
“In Kingsglaive, sacrifice is real and the stakes for the characters are sometimes fatal,” Graham described. “With those feelings running through the movie, the musical score has to feel large-scale and reflect the loss and hazards the characters experience.” To achieve this, he used a large orchestra plus electronic elements and the human voice. “The entire arsenal! Musically the score moves back and forth between dark and light, reflecting the ambiguity and changing position of both the characters and even the place, Lucius, where much of the action occurs.”
John R. Graham has written scores for over a dozen feature films, video games, TV (live action and animation), documentaries, and trailers for movies and games. He’s provided music for Square Enix, DeNA, Bethesda Softworks, The Creative Assembly, Disney, LucasArts, Universal, Warner Brothers, 20th Century Fox, ABC, CBS and many others.
John’s film credits include BITCH SLAP (directed by Rick Jacobson), MY BROTHER’S WAR (directed by and starring James Brolin), and ALLEGED (directed by Tom Hines). His music appears in dozens of movie and game trailers including STAR WARS FALLEN EMPIRE, CINDERELLA, THE ELDER SCROLLS, THE BOX TROLLS, HOW TO TRAIN YOUR DRAGON 2, DISHONORED 2, BOOK OF LIFE, BATMAN: ARKHAM KNIGHT, and AVATAR.
John grew up near the Blue Ridge Mountains, and holds degrees from Williams College and Stanford University. The son of two professors, John has nurtured the two halves of his brain, having worked both as a high level-business executive for Fortune 500 companies and as a film and game composer.
Stage 6 Films and Square Enix present KINGSGLAIVE: FINAL FANTASY XV in theaters on August 19, 2016 and on Digital August 30. The KINGSGLAIVE: FINAL FANTASY XV Original Soundtrack will be available digitally in the US on August 30, worldwide on September 9, and on CD October 26, 2016. FINAL FANTASY© XV will be available for multiple game platforms on September 30, 2016.
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THIRD EYE BLIND TO DONATE SALES FROM “RAISE YOUR HAND IF YOU BELIEVE IN SCIENCE” SHIRT TO HILLARY FOR AMERICA CAMPAIGN
NEW SINGLE, “COP VS. PHONE GIRL,” NOW AVAILABLE FOR STREAMING
AND PURCHASE ONLINE (ITUNES, SPOTIFY, SOUNDCLOUD, YOUTUBE)
During Third Eye Blind’s recent appearance in Cleveland, OH for Musicians On Call, an organization which brings music to the bedsides of patients in health care facilities, frontman Stephan Jenkins asked the attending crowd: “Raise your hand if you believe in science.” Since then the phrase caught fire and has been making the rounds online with even Hillary Clinton echoing the phrase “I believe in science” during her official acceptance of the Democratic party nomination for President of the United States last Thursday evening in Philadelphia, PA. To show support, Third Eye Blind has created its very own “Raise Your Hand If You Believe In Science” shirt and will donate the proceeds from the sales of the shirt to the Hillary For America campaign. More details on the shirt can be found on Third Eye Blind’s Facebook page HERE.
July 26, 2016 — Apple Music will be the global home of CBS Television Studio’s highly anticipated new CARPOOL KARAOKE series through an exclusive first-window licensing agreement announced today. The new CARPOOL KARAOKE series for Apple Music will be produced by CBS Television Studios and Ben Winston’s production company, Fulwell 73. James Corden and Winston are creators and executive producers.
Based on the segment that has become a global, viral video sensation on THE LATE LATE SHOW WITH JAMES CORDEN, the CARPOOL KARAOKE series will consist of 16 episodes. In each episode, celebrities will ride along and sing along with the host (to be announced) as they visit places meaningful to the celebrity, sing tunes from their personal playlists and surprise fans who don’t expect to see big stars belting out tunes one lane over.
Each week, a new episode will become available exclusively to Apple Music subscribers in more than 100 countries. A host for this new series and a premiere date will be announced later, with production slated to begin soon.
“We love music, and CARPOOL KARAOKE celebrates it in a fun and unique way that is a hit with audiences of all ages,” said Eddy Cue, Apple’s senior vice president of Internet Software and Services. “It’s a perfect fit for Apple Music — bringing subscribers exclusive access to their favorite artists and celebrities who come along for the ride.”
“We couldn’t be more excited to be partnering with Apple Music on this exciting new series of CARPOOL KARAOKE,” said Ben Winston, Executive Producer of THE LATE LATE SHOW WITH JAMES CORDEN as well as the new CARPOOL KARAOKE series. “The joy of Carpool is both the intimacy it creates, while seeing the love our passengers have for music. Where better to showcase that than with Apple Music.”
“We’re delighted to bring one of the biggest viral hits, CARPOOL KARAOKE, to Apple Music, where our new series will be available on this phenomenally popular subscription service,” stated Scott Koondel, Chief Corporate Content Licensing Officer, CBS Corporation.
The CARPOOL KARAOKE segment is the biggest viral video hit ever on late-night television, with over 830 million views on YouTube since its inception a year ago. The #1 most-watched late-night clip on YouTube is a CARPOOL KARAOKE segment featuring Adele, which has racked up an astounding 119 million views in just six months. CARPOOL KARAOKE also has the second and third most-watched clips in the history of late night with Justin Bieber and One Direction, respectively. Other top stars, such as Elton John, Jennifer Lopez, Stevie Wonder and Gwen Stefani have also appeared in the segment, as has First Lady Michelle Obama.
The popular CARPOOL KARAOKE will continue to be a recurring segment on THE LATE LATE SHOW WITH JAMES CORDEN, which is broadcast Monday through Friday on the CBS Television Network. Earlier this month, the series received four Emmy nominations for its first season, including Outstanding Variety Talk Series.
Apple Music gives music fans access to over 30 million songs, radio stations curated by artists and music experts, and exclusive music and video content. New subscribers can sign up for a three-month free membership of Apple Music, after which a $9.99/month subscription fee will apply. A family plan providing service for up to six family members is available for just $14.99/month.
About CBS Television Studios:
CBS Television Studios is one of the industry’s leading suppliers of primetime and late-night programming for broadcast, basic and premium cable. The Studio’s roster of primetime programs includes the phenomenally successful “NCIS” franchise; the critically acclaimed series “Madam Secretary,” “Jane The Virgin,” “Crazy Ex-Girlfriend” and “Reign”; the hit dramas “Elementary,” “Blue Bloods,” “Hawaii Five-0” and “Scorpion”; the summer event series “Zoo”; and the new dramas “BrainDead” and “American Gothic.” The Daytime Emmy Award-winning talk show “The Talk” and the late-night talk shows “The Late Show with Stephen Colbert” and “The Late Late Show with James Corden” make up the Studio’s daytime and late-night roster. For CBS All Access, the Studio produces the highly anticipated new “Star Trek” series, as well as the upcoming spinoff of broadcast television’s most acclaimed drama, “The Good Wife.” The Studio’s new series for the 2016-2017 season are “Bull,” “Doubt,” “The Great Indoors,” “Kevin Can Wait,” “MacGyver,” “Man With a Plan” and “Pure Genius” for the CBS Television Network; “No Tomorrow” for The CW; and “Incorporated” for Syfy.
Meet The Janes – a Pop/R&B Girl Group based out of New York. Jaime, Kelly, Llyra, Tayla, & Bella. The group was created by music industry heavyweights Donnie Klang and Matthew LaPorte back in 2011. The girls have been busy making music and just released the perfect anthem for summer.
“Can’t Let Go” is pop / dance song with a hint of Caribbean musical elements. The lyrics are inspired by thoughts in the mind after a break-up and the internal aggravation of wanting to not want to be in love anymore. The melodic verses showcase the talent of the vocalists in the group while the infectious repetitive chant during the hook “I can’t let go” represents the repetitive thoughts that run through the mind fresh after a break-up. The music video enhances the summery feel of the record with epic shots of the girls at the beach while the sun glares off the camera. The video captures the passion The Janes have for their music as well as showcases their choreography and comradeship as a group. The song is a fresh, catchy, relatable, breakout radio ready hit for the summer of 2016.
CHEENA SHARES MUSIC VIDEO FOR NEW SINGLE “STUPOR”
DEBUT LP SPEND THE NIGHT WITH… OUT AUGUST 5TH ON SACRED BONES
PLAYING BERSERKTOWN FESTIVAL IN LA
NYC rockers Cheena are gearing up to release their debut LP Spend The Night With… this August on Sacred Bones Records. Previously the band released the driving, undeniably catchy “Car” and are now sharing their new music video for “Stupor”, it was directed by drummer Eugene Terry, and Robin Pak.
The video sees the band making their way through dilapidated alleyways, the beach, subway platforms and more – just another day in New York. Watch it below and make sure you catch the band at Berserktown Festival in LA this August. West Coast tour dates to follow.
WATCH & SHARE: Cheena – “Stupor” (Official Music Video)
LISTEN & SHARE: Cheena – “Stupor”
July 15, 2016: New York, NY @ Cake Shop
July 22, 2016: Brooklyn, NY @ Rough Trade
Aug 14, 2016: Los Angeles, CA @ Berserktown III @ Teragram Ballroom
Aug 15, 2016: Phoenix, AZ @ Master’s Chambers
Aug 17, 2016: San Francisco, CA @ Elbo Room
Aug 20, 2016: Portland, OR @ Blackwater
Aug 21, 2016: Vancouver, BC @ The Astoria
Aug 22, 2016: Portland, OR @ Star Bar
About Cheena’s Spend The Night With…:
“Don’t sleep. Don’t retreat. Stay a while. Let’s spend the night together. Cheena testify to a long history of New York nights, trading insults and borrowing beer at rooftop parties that began years ago. There’s plenty of New York in this band – Lou Reed’s better glam punches found a jawline or two among them, the heavy handed playing of the Dolls, and that particular manner of NY glam you can hear in Kiss– that’s all in Cheena.
Spend the Night With… is a soundtrack to nights where revelry and lust are never isolated from poor decisions and vanity, where the grave sincerity of a bathroom confession explodes into cruelty and hysteria. Nights on busy streets or crowded subway cars coloured with elegant ambition and constrained by the practicality of street smarts.
While we say this is NY music, we must also say this is American music. One could imagine a timeless jukebox of American RNR history from hard glam to cocaine / codeine country has blasted into the imbibed ears of our Cheens for many nights on end. Thus we hear songs for and of the night, songs pieced together out of iPhone recordings of 5am guitar histrionics and lyrics scraped out of speed fried text exchanges. There is a long history of bands as disparate as the Byrds, Gun Club and the Flesh Eaters which had to reconcile RNR with country and blues roots; a tradition of truly American music that feeds on itself. This is where I would isolate the sound of Cheena. America eating itself.
Every generation gets the Cheena it deserves because we still live in cities and we still need RNR to live. We still need guitars to be gripped by gods. We still need bards to write odes to heroic crime and ignoble, destitute hedonistic excess. We still need music to drink to that also contains the darkness and disease of hangovers, so we aren’t too far away from what is raw and what is real. With love and admiration, I kiss your hand from Melbourne to the Sacred Bones offices and the 538 roof.”
– DX (Total Control, UV Race, Distort)