"When The Sun Goes Down" is third studio album from Selena Gomez & The Scene. Universal confirmed the album had begun last February followed by the release of "Who Says" in March. The album was originally called "Otherside" but was changed for unknown reasons.
Album drops June 28th.
Tracklisting
1. Love You Like a Love Song
2. Bang Bang Bang
3. Who Says
4. We Own The Night
5. Hit The Lights
6. Whiplash
7. When The Sun Goes Down
8. My Dilemma
9. That's More Like It
10. Outlaw
11. Middle Of Nowhere
12. Dices ("Who Says" Spanish Version)
Can't wait. She has a really good voice. PS I am back from vacation.
Music Heaven
Tuesday, May 31, 2011
Fernando Garibay talks Paris Hilton, GaGa and and more
Starting out at the mere age of sixteen years old, Fernando Garibay wasted no time curating a dominant career for himself in the music industry. Garibay first broke through by catching the eye of the millennium Latin-Pop scene, and worked with artists such as Mya and Enrique Iglesias. As the mid-2000s arrived, Garibay continously collaborated with Enrique Iglesias, and by the time 2006 hit, he created a memorable reggae-pop effort… Paris Hilton’s “Stars Are Blind.” In 2007, a newfound musical romance walked into his life, Lady GaGa. Together they made “Dance In The Dark,” one of GaGa’s most notable tracks (as well as the intro track for world renowned Monster Ball Tour) to date due to its combination of vampiric-chic vulnerability. Garibay is now taking on the lead of head-chief musical director alongside GaGa on 2011′s most anticipated pop record, “Born This Way.” It was completely necessary for me to call and chat about his views on millennium pop, the sacred writing process him and GaGa uphold, and who had dibs on “Stars Are Blind” first.
Alex Kazemi: You started producing music during the glory days of late 90s and early 2000s pop… Mya, Enrique, Marc Anthony, Beck… Latin pop, a bit. Do you feel that in 2005-2008 pop music took a switch from that pure-bubble gum pop, (Jessica Simpson, Britney, Spice Girls, N*SYNC) to a more electronic-techno based sound? Possibly music that fell into the genres of Dance, Techno and House in the 90s, could be considered what mainstream pop is like today?
Fernando Garibay: Yes, but actually before that I was putting out techno/house records. I was developing a bit of a name for myself doing underground records when I started getting calls from labels asking me to remix some pop stuff. Inadvertently, pop music was going through a bit of a Latin invasion at the time, which happened to coincide with my goal of proving to my Mexican family that I could actually succeed at this. I knew they wouldn’t know who Beck or Mya were, but they sure as hell know who Enrique Iglesias was. After the Latin invasion, I felt pop music migrated to a more urban phase in American pop radio and definitely a more electronic direction in the U.K. I liked both so my remixes and productions where directly inspired by a hybrid of those two elements.
Kazemi: How do you feel about the birth of millennium pop? N*SYNC, Spice Girls, what is known as “Classic Britney”, does that extravagant-pop songwriting/production stand out to you today?
Fernando: I grew up in South Central LA; there was nothing about Millennium pop I could relate to. All we listened to growing up in the hood was anything by Dr. Dre, hard techno records from Europe like Prodigy, and believe or not New Wave records from the likes of Depeche Mode and Duran Duran. I heard subtle Dr. Dre influences in the Max Martin productions of Britney and N*SYNC, which did perk my ears up. I am grateful we got great artists like Justin and Britney out of that period. Justin is always incredible, and everyone, including myself looks forward to the records he makes.
Kazemi: You were part of that pop-wave in a way, working with Mya as I mentioned before, remixed Ashlee Simpson and of-course Paris Hilton . Do you ever look back at how different the industry was then, such as how people were buying CDs or how music videos were religiously played on MTV? Do you think it was a healthier state, and easier to make music? [laughs] Do you understand the genius of “Stars Are Blind” in retrospect? It’s an amazing pop record; such a summer-reggae pop tune.
Fernando: Thank you. Well I always loved reggae, especially when paired with the imagery of paradise. That’s why I named my studio Paradise, by the way. I loved how British artists like The Police and Culture Club were infusing reggae with pop music in the 80s so I felt that I could attempt the bridge that gap again. Hence why “Star’s Are Blind” was born. It was originally written for Gwen Stefani, but as it turns out she decided not to release an album at that point in time. Next, I played it to Paris Hilton whom I met through mutual friends and that was it. To be honest with you, I do very much miss the album cover as an art form and the excitement of buying a CD, especially one that I worked on. But on the flip side, I do enjoy the convenience of my iTunes library. I try not to think of the former music industry too much, it’s kind of heart breaking. We had budgets back then, to make records and to develop artists. Even though I was still struggling to compete with multi-million dollar earning producers at the time, there was that optimism that you could possible write songs that could potentially change your life financially. In order to do that now, you need to be a lot more innovative, and you have to definitely work much harder in comparison. Funny, at the time I thought I couldn’t work any harder.
Kazemi: I could not agree more about the art form of buying a physical CD, the excitement was some type of natural high. In 2008, you worked with Britney Spears on “Amnesia,” which is very Britney, by the way. How did you come up with the concept?
Fernando: It was one of those songs that my songwriting friend Kasey Livingston and I came up with one evening after she asked me how my weekend was. My response was “I can’t remember,” her response, “that good huh? Amnesia.” As soon as I finished it, I sent it over to Teresa Labarbera Whites (Britney’s A&R) who asked for a record for Britney. She played it for her and we cut it two weeks later. That’s how I’ve always worked. I approach all my music as if I were scoring a movie about myself. I guess I have always seen music that way, as a soundtrack to my life… and hopefully everyone else’s.
Kazemi:When did “Quicksand” come up? Did you call GaGa up for some help? Was this around when you first got to know each other and were writing for other artists?
Fernando: “Quicksand” was one of the first songs Gaga and I wrote. We started working together right after she had just finished The Fame album with Red One. Gaga and I were both artists at Interscope and Jimmy Lovine had asked me to meet up with her at my studio. That same night in came a blonde girl in her underwear who would eventually change my life. Her and I were going through a bit of heartbreak in our lives and I was playing this piano motif right as she walked into my studio for the first time and she just started writing, “baby, because you and me are sinking like quicksand.”
Kazemi: I think basically after that, it was all up-hill! The second public Gaga-Fernando collaboration was “Dance In The Dark” off The Fame Monster, the concept behind the lyrics puts us in the eyes of someone who has sex in the dark and is ashamed on their body. But then again, someone else could interoperate it in a whole different way. Are these songs intentionally supposed to be puzzle pieces?
Fernando: It’s interesting how Gaga’s songs are very open for interpretation yet very specific. That is her true talent. It relates to everyone. It tells her story and your story all at the same time. And she is successful because it’s real, it is who she is, and it is who we are at times.
Kazemi: Do you like the CeCe Peniston mix of “Dance In The Dark” from The Monster Ball Tour? Did you have to approve it before it became the introduction to the concert?
Fernando: That was an edit for The Monster Ball. It’s perfect, approved!
Kazemi: Why didn’t “No Way” make The Fame Monster? How do you feel about the whole leak culture spreading different information and often leaving everyone confused? Was it ever finished?
Fernando: Gaga is holding onto “No Way” at moment and saving it for something special. No, that was a demo that leaked, unfortunately. Leaks are not my favorite thing in the world. It’s like showing the world a sketch of a painting for people to judge as the masterpiece.
Kazemi: When did the Born This Way sessions begin? Was it a particular night? Did GaGa just call you up and ask to work on the second album or was it more complicated?
Fernando: It was more like she called me and said “I have this song I just wrote and I want to play it for you.” Two hours later I was on a flight to Australia. She’s super spontaneous like that; I just go with the flow and try to capture every moment of her creativity to tape, so to speak. I guess you can say that’s how my role of Music Supervisor for the Born This Way album came to fruition. Before I knew it I was traveling the world producing the album with her.
Kazemi: You wrote most of the record on the road, right?
Fernando: That is correct. The whole album was done on the road. From the American leg, to the European leg, and back… we recorded it all along in a bus with a purpose-built studio in it. We recorded with laptops backstage in her dressing room, in her hotel room, you name it. That’s how we were able to get it done in the middle of a worldwide tour.
Kazemi: Could you explain how your writing/creative process coincides with her many influences/inspirations? Do they go hand in hand? You co-wrote almost every song on the album.
Fernando: Well most of the time she’d come in with completed songs, so my job was to facilitate in executing her vision. Sometimes she heard a song in various forms, i.e. a rock version, a techno version, a full electro version, so we had to do many revisions of a song to get to a point that made sense for her. I’ll never forget the way she would describe the way she wanted her records to be like… sometimes she would dance it out for us, other times she’d describe an emotion or give us a visual, and many times she would flat out program the parts. Insane, right? Who does that?
Kazemi: [laughs] Only GaGa, only GaGa! When you released “Born This Way” a lot of “in the know” publications named it as a carbon copy of Madonna’s “Express Yourself”. Did it just end up sounding like that? Do you have anything to address? It is a common-found disco chord progression though, if we put all of the passé “comparisons” bullshit to the side.
Fernando: We take any comparisons to Madonna as a compliment. We are all big fans of her. One of my favorite songs is “La Isla Bonita.”
Kazemi: [laughs] In the studio, what is a natural session like with GaGa? How does a song like “Marry The Night” happen?
Fernando: “Marry The Night” was inspired by two things. For her, it is her metaphoric husband that is New York; for me, I was just trying to outdo the feeling I got when I first saw “Dance In The Dark” performed live as the opening number for the Monster Ball. It was the look on the audiences’ faces the minute that intro started; it was like I saw her for the first time and she was bigger than life. I felt like the audience was going to church, as if they were having a religious experience. I just kept hearing church bells in my head. It’s strange how her and I were so on the same page; upon hearing the track she instantly made to correlation with it being ceremonious and still dark. She looked at me, pointed, and sang, “I’m going to marry the night, I won’t give up on my life…”
Kazemi: Was “Marry The Night” an experiment at all? I’ve noticed the mix of 80s hair-band based choruses over massive pop beats pattern throughout the album worked out really well; was this intentional or unintentional?
Fernando: It was no experiment; she knew exactly what the vision was. That never wavered.
Kazemi: The obscure melodies overpower some of the huge pop production at times through the record; would you agree?
I wouldn’t say it’s the obscure melodies, I would say it’s the power of her songwriting that stands out. And that right there is what a good production should be; it should highlight the song, not the tricks. Anyone with Ableton and a laptop can do tricks; the magic is in the song… that’s where it counts. The rest is fashion, and we do have a good fashion sense I think.
Kazemi: Was it a strange feeling knowing that you were producing an album that was self-proclaimingly aimed as the album of the decade? Did that add any pressure to the job?
Fernando: Pressure? No pressure! It’s not like… I was asked to be responsible for executing the vision of the most influential woman on the planet… All joking aside, once I was over the initial shock of being asked to oversee the album, I quickly got into soldier mode and committed to a mindset that we were not going to fail, no matter what.
Kazemi: [laughs] “Heavy Metal Lover” is, without a doubt, the production highlight on the album. The rave essence of it, the manic vocal shreds, and all the smutty talk makes it an incredible pop track. If “Heavy Metal Lover” were to get on the radio, it would change the state of pop music and open a lot of doors for Top40 artists. Would you say that you and GaGa have created control with pop music, changing it for the better?
Fernando: Wow, you think so! I’m flattered!, but I really think a lot of the songs on this album could potentially have that power, from “Marry The Night” to “Bloody Mary” to “Americano.”
Kazemi: I honestly do believe that..When GaGa cut “Heavy Metal Lover” were you like, “whoa… what have I done? Did I really just make that?” Does she inspire you to make productions like you’ve never before?
Fernando: I just go for it! She would expect nothing less.
Kazemi: I’m sure other artists other than GaGa want to work with you. .
Fernando: Yeah.
Kazemi: You are always going to be a bit more involved with GaGa. How do you create balance? Will an outside artist be getting a more toned down product? Are those productions only as amazing as they are because you and Gaga have such incredible chemistry?
Fernando: I’m passionate about every record I do with whatever artist I work with. I try to take myself and my biases out of the equation for the sake of the artist’s vision I’m working with. I’ll go as far or hard as an artist would like me to go; I see myself as a catalyst for their artistry. Gaga is a producer; I make records with her, and that’s why our records will always sound like Gaga records. She’s not part of the equation, she is the equation.
source: http://alexkazemi.com/2011/05/fernando-garibay/
Alex Kazemi: You started producing music during the glory days of late 90s and early 2000s pop… Mya, Enrique, Marc Anthony, Beck… Latin pop, a bit. Do you feel that in 2005-2008 pop music took a switch from that pure-bubble gum pop, (Jessica Simpson, Britney, Spice Girls, N*SYNC) to a more electronic-techno based sound? Possibly music that fell into the genres of Dance, Techno and House in the 90s, could be considered what mainstream pop is like today?
Fernando Garibay: Yes, but actually before that I was putting out techno/house records. I was developing a bit of a name for myself doing underground records when I started getting calls from labels asking me to remix some pop stuff. Inadvertently, pop music was going through a bit of a Latin invasion at the time, which happened to coincide with my goal of proving to my Mexican family that I could actually succeed at this. I knew they wouldn’t know who Beck or Mya were, but they sure as hell know who Enrique Iglesias was. After the Latin invasion, I felt pop music migrated to a more urban phase in American pop radio and definitely a more electronic direction in the U.K. I liked both so my remixes and productions where directly inspired by a hybrid of those two elements.
Kazemi: How do you feel about the birth of millennium pop? N*SYNC, Spice Girls, what is known as “Classic Britney”, does that extravagant-pop songwriting/production stand out to you today?
Fernando: I grew up in South Central LA; there was nothing about Millennium pop I could relate to. All we listened to growing up in the hood was anything by Dr. Dre, hard techno records from Europe like Prodigy, and believe or not New Wave records from the likes of Depeche Mode and Duran Duran. I heard subtle Dr. Dre influences in the Max Martin productions of Britney and N*SYNC, which did perk my ears up. I am grateful we got great artists like Justin and Britney out of that period. Justin is always incredible, and everyone, including myself looks forward to the records he makes.
Kazemi: You were part of that pop-wave in a way, working with Mya as I mentioned before, remixed Ashlee Simpson and of-course Paris Hilton . Do you ever look back at how different the industry was then, such as how people were buying CDs or how music videos were religiously played on MTV? Do you think it was a healthier state, and easier to make music? [laughs] Do you understand the genius of “Stars Are Blind” in retrospect? It’s an amazing pop record; such a summer-reggae pop tune.
Fernando: Thank you. Well I always loved reggae, especially when paired with the imagery of paradise. That’s why I named my studio Paradise, by the way. I loved how British artists like The Police and Culture Club were infusing reggae with pop music in the 80s so I felt that I could attempt the bridge that gap again. Hence why “Star’s Are Blind” was born. It was originally written for Gwen Stefani, but as it turns out she decided not to release an album at that point in time. Next, I played it to Paris Hilton whom I met through mutual friends and that was it. To be honest with you, I do very much miss the album cover as an art form and the excitement of buying a CD, especially one that I worked on. But on the flip side, I do enjoy the convenience of my iTunes library. I try not to think of the former music industry too much, it’s kind of heart breaking. We had budgets back then, to make records and to develop artists. Even though I was still struggling to compete with multi-million dollar earning producers at the time, there was that optimism that you could possible write songs that could potentially change your life financially. In order to do that now, you need to be a lot more innovative, and you have to definitely work much harder in comparison. Funny, at the time I thought I couldn’t work any harder.
Kazemi: I could not agree more about the art form of buying a physical CD, the excitement was some type of natural high. In 2008, you worked with Britney Spears on “Amnesia,” which is very Britney, by the way. How did you come up with the concept?
Fernando: It was one of those songs that my songwriting friend Kasey Livingston and I came up with one evening after she asked me how my weekend was. My response was “I can’t remember,” her response, “that good huh? Amnesia.” As soon as I finished it, I sent it over to Teresa Labarbera Whites (Britney’s A&R) who asked for a record for Britney. She played it for her and we cut it two weeks later. That’s how I’ve always worked. I approach all my music as if I were scoring a movie about myself. I guess I have always seen music that way, as a soundtrack to my life… and hopefully everyone else’s.
Kazemi:When did “Quicksand” come up? Did you call GaGa up for some help? Was this around when you first got to know each other and were writing for other artists?
Fernando: “Quicksand” was one of the first songs Gaga and I wrote. We started working together right after she had just finished The Fame album with Red One. Gaga and I were both artists at Interscope and Jimmy Lovine had asked me to meet up with her at my studio. That same night in came a blonde girl in her underwear who would eventually change my life. Her and I were going through a bit of heartbreak in our lives and I was playing this piano motif right as she walked into my studio for the first time and she just started writing, “baby, because you and me are sinking like quicksand.”
Kazemi: I think basically after that, it was all up-hill! The second public Gaga-Fernando collaboration was “Dance In The Dark” off The Fame Monster, the concept behind the lyrics puts us in the eyes of someone who has sex in the dark and is ashamed on their body. But then again, someone else could interoperate it in a whole different way. Are these songs intentionally supposed to be puzzle pieces?
Fernando: It’s interesting how Gaga’s songs are very open for interpretation yet very specific. That is her true talent. It relates to everyone. It tells her story and your story all at the same time. And she is successful because it’s real, it is who she is, and it is who we are at times.
Kazemi: Do you like the CeCe Peniston mix of “Dance In The Dark” from The Monster Ball Tour? Did you have to approve it before it became the introduction to the concert?
Fernando: That was an edit for The Monster Ball. It’s perfect, approved!
Kazemi: Why didn’t “No Way” make The Fame Monster? How do you feel about the whole leak culture spreading different information and often leaving everyone confused? Was it ever finished?
Fernando: Gaga is holding onto “No Way” at moment and saving it for something special. No, that was a demo that leaked, unfortunately. Leaks are not my favorite thing in the world. It’s like showing the world a sketch of a painting for people to judge as the masterpiece.
Kazemi: When did the Born This Way sessions begin? Was it a particular night? Did GaGa just call you up and ask to work on the second album or was it more complicated?
Fernando: It was more like she called me and said “I have this song I just wrote and I want to play it for you.” Two hours later I was on a flight to Australia. She’s super spontaneous like that; I just go with the flow and try to capture every moment of her creativity to tape, so to speak. I guess you can say that’s how my role of Music Supervisor for the Born This Way album came to fruition. Before I knew it I was traveling the world producing the album with her.
Kazemi: You wrote most of the record on the road, right?
Fernando: That is correct. The whole album was done on the road. From the American leg, to the European leg, and back… we recorded it all along in a bus with a purpose-built studio in it. We recorded with laptops backstage in her dressing room, in her hotel room, you name it. That’s how we were able to get it done in the middle of a worldwide tour.
Kazemi: Could you explain how your writing/creative process coincides with her many influences/inspirations? Do they go hand in hand? You co-wrote almost every song on the album.
Fernando: Well most of the time she’d come in with completed songs, so my job was to facilitate in executing her vision. Sometimes she heard a song in various forms, i.e. a rock version, a techno version, a full electro version, so we had to do many revisions of a song to get to a point that made sense for her. I’ll never forget the way she would describe the way she wanted her records to be like… sometimes she would dance it out for us, other times she’d describe an emotion or give us a visual, and many times she would flat out program the parts. Insane, right? Who does that?
Kazemi: [laughs] Only GaGa, only GaGa! When you released “Born This Way” a lot of “in the know” publications named it as a carbon copy of Madonna’s “Express Yourself”. Did it just end up sounding like that? Do you have anything to address? It is a common-found disco chord progression though, if we put all of the passé “comparisons” bullshit to the side.
Fernando: We take any comparisons to Madonna as a compliment. We are all big fans of her. One of my favorite songs is “La Isla Bonita.”
Kazemi: [laughs] In the studio, what is a natural session like with GaGa? How does a song like “Marry The Night” happen?
Fernando: “Marry The Night” was inspired by two things. For her, it is her metaphoric husband that is New York; for me, I was just trying to outdo the feeling I got when I first saw “Dance In The Dark” performed live as the opening number for the Monster Ball. It was the look on the audiences’ faces the minute that intro started; it was like I saw her for the first time and she was bigger than life. I felt like the audience was going to church, as if they were having a religious experience. I just kept hearing church bells in my head. It’s strange how her and I were so on the same page; upon hearing the track she instantly made to correlation with it being ceremonious and still dark. She looked at me, pointed, and sang, “I’m going to marry the night, I won’t give up on my life…”
Kazemi: Was “Marry The Night” an experiment at all? I’ve noticed the mix of 80s hair-band based choruses over massive pop beats pattern throughout the album worked out really well; was this intentional or unintentional?
Fernando: It was no experiment; she knew exactly what the vision was. That never wavered.
Kazemi: The obscure melodies overpower some of the huge pop production at times through the record; would you agree?
I wouldn’t say it’s the obscure melodies, I would say it’s the power of her songwriting that stands out. And that right there is what a good production should be; it should highlight the song, not the tricks. Anyone with Ableton and a laptop can do tricks; the magic is in the song… that’s where it counts. The rest is fashion, and we do have a good fashion sense I think.
Kazemi: Was it a strange feeling knowing that you were producing an album that was self-proclaimingly aimed as the album of the decade? Did that add any pressure to the job?
Fernando: Pressure? No pressure! It’s not like… I was asked to be responsible for executing the vision of the most influential woman on the planet… All joking aside, once I was over the initial shock of being asked to oversee the album, I quickly got into soldier mode and committed to a mindset that we were not going to fail, no matter what.
Kazemi: [laughs] “Heavy Metal Lover” is, without a doubt, the production highlight on the album. The rave essence of it, the manic vocal shreds, and all the smutty talk makes it an incredible pop track. If “Heavy Metal Lover” were to get on the radio, it would change the state of pop music and open a lot of doors for Top40 artists. Would you say that you and GaGa have created control with pop music, changing it for the better?
Fernando: Wow, you think so! I’m flattered!, but I really think a lot of the songs on this album could potentially have that power, from “Marry The Night” to “Bloody Mary” to “Americano.”
Kazemi: I honestly do believe that..When GaGa cut “Heavy Metal Lover” were you like, “whoa… what have I done? Did I really just make that?” Does she inspire you to make productions like you’ve never before?
Fernando: I just go for it! She would expect nothing less.
Kazemi: I’m sure other artists other than GaGa want to work with you. .
Fernando: Yeah.
Kazemi: You are always going to be a bit more involved with GaGa. How do you create balance? Will an outside artist be getting a more toned down product? Are those productions only as amazing as they are because you and Gaga have such incredible chemistry?
Fernando: I’m passionate about every record I do with whatever artist I work with. I try to take myself and my biases out of the equation for the sake of the artist’s vision I’m working with. I’ll go as far or hard as an artist would like me to go; I see myself as a catalyst for their artistry. Gaga is a producer; I make records with her, and that’s why our records will always sound like Gaga records. She’s not part of the equation, she is the equation.
source: http://alexkazemi.com/2011/05/fernando-garibay/
Gaga sells over 1 Million plus copies!
http://gagadaily.com/2011/05/born-this-way-debuts/
Quote:
Lady Gaga has earned her first number one album in the United States. The freshly-released Born This Way debuts atop the Billboard 200 with more than 1,110,000 copies sold in its first week, outselling the rest of the top 20 combined.
Born This Way scores the biggest first-week sales since 50 Cent’s The Massacre (2005) and becomes only the ninth fastest-selling album in the U.S. ever. What makes Lady Gaga’s achievement even more impressive is the fact that album sales have decreased 65% over the last ten years. With sales going down year after year, do you think Gaga will be able to deliver another 1 million opening week with her next record? Let us know in the comments below!
It should be noted that least 300k copies came from Amazon’s promotion, which made Born This Way available for just 99 cents to draw interest in the company’s new cloud service. However, Lady Gaga’s manager Troy Carter does not view the deal as a chart manipulation, but rather as an opportunity to get more fans listen to the music legally. “Although we weren’t aware of Amazon’s deal, I applaud them for their efforts,” he said. “Anytime we can get people to purchase music legally, it’s a good thing for the business.”
Born This Way has also made its debut at number one on official charts in the UK, Ireland, Canada, Germany, France, Japan, Australia and New Zealand.
Crap. That is very impressive.
Music Heaven
Quote:
Lady Gaga has earned her first number one album in the United States. The freshly-released Born This Way debuts atop the Billboard 200 with more than 1,110,000 copies sold in its first week, outselling the rest of the top 20 combined.
Born This Way scores the biggest first-week sales since 50 Cent’s The Massacre (2005) and becomes only the ninth fastest-selling album in the U.S. ever. What makes Lady Gaga’s achievement even more impressive is the fact that album sales have decreased 65% over the last ten years. With sales going down year after year, do you think Gaga will be able to deliver another 1 million opening week with her next record? Let us know in the comments below!
It should be noted that least 300k copies came from Amazon’s promotion, which made Born This Way available for just 99 cents to draw interest in the company’s new cloud service. However, Lady Gaga’s manager Troy Carter does not view the deal as a chart manipulation, but rather as an opportunity to get more fans listen to the music legally. “Although we weren’t aware of Amazon’s deal, I applaud them for their efforts,” he said. “Anytime we can get people to purchase music legally, it’s a good thing for the business.”
Born This Way has also made its debut at number one on official charts in the UK, Ireland, Canada, Germany, France, Japan, Australia and New Zealand.
Crap. That is very impressive.
Music Heaven
Friday, May 20, 2011
Vacation Time!!!!!!
I will be Vacation until next monday and I swear I will get more serious about posting.
Music Heaven
Kelly Rowland Score best single peak in US so far!
Without major promotion...urban single, "Motivation", has surpassed "Stole" and "Like This" (which peaked at #27 and #30 in the US respectively) to become Kelly's highest charting solo single in the US, now sitting at #26 on the US Billboard Hot 100 and #2 on the US Billboard R&B/Hip-Hop songs chart.
At a time when urban/R&B music is becoming more and more obscure in the robotized, electronic world the music industry has become of late and following a change of label and management, a series of hit-and-miss singles, multiple leaks and album pushbacks, this is a feat to be commended.
OH, one last thing, THE SONG IS NOW AVAILABLE ON UK ITUNES! I'VE GOT MY COPY, HAVE YOU GOT YOURS?
#TeamKelendria #TeamDestiny'sChild-ren #TeamMotivation
Good for her. Even though I don't like the song that much she deserves to smash.
Music Heaven
At a time when urban/R&B music is becoming more and more obscure in the robotized, electronic world the music industry has become of late and following a change of label and management, a series of hit-and-miss singles, multiple leaks and album pushbacks, this is a feat to be commended.
OH, one last thing, THE SONG IS NOW AVAILABLE ON UK ITUNES! I'VE GOT MY COPY, HAVE YOU GOT YOURS?
#TeamKelendria #TeamDestiny'sChild-ren #TeamMotivation
Good for her. Even though I don't like the song that much she deserves to smash.
Music Heaven
Cascada - Original Me - Cover/Tracklisting and Release Date
Tracklisting:
CD 1:
1. San Francisco
2. Au Revoir
3. Unspoken
4. Pyromania
5. Enemy
6. Independence Day
7. Stalker
8. Night Nurse
9. Sinner on the Dancefloor
10. Original Me
11. Hungover
CD 2 (Best Of):
1. Everytime We Touch
2. What Hurts the Most
3. Evacuate the Dancefloor
4. Truly Madly Deeply
5. What Do You Want From Me
6. Bad Boy
7. How Do You Do
8. A Neverending Dream
9. Fever
10. Wouldn’t It Be Good
11. Dangerous
12. Because The Night
13. Faded
14. Perfect Day
15. Last Christmas
Release Date:
13/06/2011 in UK
Source: http://www.sainsburysentertainment.co.uk/en/Music/CD/Cascada/Original-Me/product.html?product=E10918570
Can't wait to hear it. Too bad San Fransico sounf Cailiforia Gurls.
Music Heaven
CD 1:
1. San Francisco
2. Au Revoir
3. Unspoken
4. Pyromania
5. Enemy
6. Independence Day
7. Stalker
8. Night Nurse
9. Sinner on the Dancefloor
10. Original Me
11. Hungover
CD 2 (Best Of):
1. Everytime We Touch
2. What Hurts the Most
3. Evacuate the Dancefloor
4. Truly Madly Deeply
5. What Do You Want From Me
6. Bad Boy
7. How Do You Do
8. A Neverending Dream
9. Fever
10. Wouldn’t It Be Good
11. Dangerous
12. Because The Night
13. Faded
14. Perfect Day
15. Last Christmas
Release Date:
13/06/2011 in UK
Source: http://www.sainsburysentertainment.co.uk/en/Music/CD/Cascada/Original-Me/product.html?product=E10918570
Can't wait to hear it. Too bad San Fransico sounf Cailiforia Gurls.
Music Heaven
Sunday, May 8, 2011
Tinie Tempah - Disc-Overy [US Edition Tracklisting]
After the success of his single "Written In The Stars" , Tinie is releasing his album upon the US. The new edition comes with most of the original version as well as 3 new songs, including the second single "Till I'm Gone" featuring Wiz Khalifa. You can currently catch him on tour with Wiz Khalifa.
Albums drops May 17th.
Tracklisting
1. Intro
2. Simply Unstoppable
3. Pass Out
4. Till I'm Gone (featuring Wiz Khalifa)
5. Illusion
6. So Addicted (featuring Bei Maejor)
7. Snap
8. Written In The Stars (featuring Eric Turner)
9. Frisky (featuring Labrinth)
10. Miami 2 Ibiza
11. Love Suicide (featuring Ester Dean)
12. Wonderman (featuring Ellie Goulding)
13. Let Go (featuring Emeli Sandé)
Music Heaven
Albums drops May 17th.
Tracklisting
1. Intro
2. Simply Unstoppable
3. Pass Out
4. Till I'm Gone (featuring Wiz Khalifa)
5. Illusion
6. So Addicted (featuring Bei Maejor)
7. Snap
8. Written In The Stars (featuring Eric Turner)
9. Frisky (featuring Labrinth)
10. Miami 2 Ibiza
11. Love Suicide (featuring Ester Dean)
12. Wonderman (featuring Ellie Goulding)
13. Let Go (featuring Emeli Sandé)
Music Heaven
Christina Aguilera is working with Sandy Vee!!
http://twitter.com/#!/sandyveeNYC/status/65895604907294720
'On my way to the studio, working with Christina Aguilera. Songs folder is hot '
He has produced 'Only girl in the world' , 'S&M', 'Firework', David Guetta's 'One Love', among others
Music Heaven
'On my way to the studio, working with Christina Aguilera. Songs folder is hot '
He has produced 'Only girl in the world' , 'S&M', 'Firework', David Guetta's 'One Love', among others
Music Heaven
Thursday, April 28, 2011
Will be back shortly
Sorry I haven't been updating but that will be changing next week. I have slammed at work and trying figure out what school to go to since I graduated my other one.
Music Heaven
Music Heaven
Wednesday, March 30, 2011
Katy Perry Scores 4th #1 singles in a row
Z 100 announces: E.T. hits No.1 on Billboard Hot 100.
E.T. becomes Perry's 4th consecutive #1. One more No.1 and Perry will tie Michael Jackson's all time record.
Singer has lot of surprises for her fans coming these days. So stay tuned.
So Excited for her
Music Heaven
E.T. becomes Perry's 4th consecutive #1. One more No.1 and Perry will tie Michael Jackson's all time record.
Singer has lot of surprises for her fans coming these days. So stay tuned.
So Excited for her
Music Heaven
New Artist Alert Baker
It's been awhile since we've been in touch, but I hope this email finds you well and in good health. I've recently started working with Baker, a talented young artist/DJ/producer who splits his time between LA and NYC. Baker just released a brand-new single, "All I'm Gonna Say" from his forthcoming album he is currently recording with LA-based Hyper Crush and noted NYC producer duo Mysto & Pizzi (R.Kelly and Wynter Gordon).
Hot on the heals of his promising 2010 debut single, "Echo," Baker takes his takes his uncanny knack for propulsive beats and anthemic pop sensibilities to new heights with "All I'm Gonna Say" The track is a fitting introduction to his debut album that is intent on getting dance floors moving.
I've enclosed some links along with Baker's bio for review, including a Soundcloud link to download the new single. Please let me know if there are any additional materials I can provide you with. Baker will also be available for Q&As and interviews if you were interested in setting something up. I hope you find Baker and his new single worthy of your attention and mention on the site.
BAKER
"All I'm Gonna Say" - http://soundcloud.com/bakermusicofficial/baker-all-im-gonna-say
"Echo" Official Video - http://www.youtube.com/watch?v=zbqFyLQx3BM
Baker on Facebook - http://www.facebook.com/bakermusicofficial
Baker on Twitter - http://twitter.com/BAKERmusic
Baker on YouTube - http://www.youtube.com/bakermusicofficial
Baker EPK - http://epk.pranamarketing.com/baker/HOME.html
BIO
The question of where to find a resoundingly sexy, soulful, powerful male pop star has yet to find a definitive answer. Sure, there have been a slew of artists that critics and fans see as THE male pop star of the 21st century; however, the names we’re all familiar with rely mostly on RnB and end up being more Michael Jackson, Justin Timberlake, and Boys II Men, than David Bowie or George Michael. As a product of the DIY era, Baker draws on the latter as his musical inspiration, and it has already helped separate him from the pack. It was growing up as a cellist and performing all over his native New York, including Carnegie Hall recitals, singing in school musicals and choirs and, ultimately, as a student at Harvard in one of the university's acapella groups that allowed him to discover his sound and find the path he would follow.
Baker explains, "Pop music has always resonated with me, and it was the people I met in the studio that helped me figure out why. I've been lucky so far, and feel blessed that I have met such a diverse and talented creative group of people in the industry.”
While New York will always be home, Baker has taken up roots in LA where he splits his time. It was his summer in LA before senior year in 08 that Baker met a DJ and producer Kelly Cole that led him to record the up-tempo , soulful dance cover of Nirvana's "Heart Shaped Box" (myspace.com/bakermusicofficial).
Baker’s released his promising debut single and video, “Echo,” last year, generating buzz among Dance music fans and critics alike. “Echo” was co-written and co-produced with LA based Hyper Crush (The Arcade and Robo Crush) who brought the bubble to a full boil, generating interest from pop music blogs and fans alike.
Baker is positioning the pieces to make 2011 his breakout year. He's looking to craft "the catchiest, most danceable pop album ever" for his forthcoming release and to ensure that people all over the world will be able to relate the music to their lives listening to the radio or dancing in clubs. Baker is currently in the studio with LA based Hyper Crush, as well as NY producer duo Mysto & Pizzi, (R.Kelly and Wynter Gordon).
All I'm gonna say is an amazing song is an aweosme song I suggest yall check out his mixtape.
Music Heaven
Hot on the heals of his promising 2010 debut single, "Echo," Baker takes his takes his uncanny knack for propulsive beats and anthemic pop sensibilities to new heights with "All I'm Gonna Say" The track is a fitting introduction to his debut album that is intent on getting dance floors moving.
I've enclosed some links along with Baker's bio for review, including a Soundcloud link to download the new single. Please let me know if there are any additional materials I can provide you with. Baker will also be available for Q&As and interviews if you were interested in setting something up. I hope you find Baker and his new single worthy of your attention and mention on the site.
BAKER
"All I'm Gonna Say" - http://soundcloud.com/bakermusicofficial/baker-all-im-gonna-say
"Echo" Official Video - http://www.youtube.com/watch?v=zbqFyLQx3BM
Baker on Facebook - http://www.facebook.com/bakermusicofficial
Baker on Twitter - http://twitter.com/BAKERmusic
Baker on YouTube - http://www.youtube.com/bakermusicofficial
Baker EPK - http://epk.pranamarketing.com/baker/HOME.html
BIO
The question of where to find a resoundingly sexy, soulful, powerful male pop star has yet to find a definitive answer. Sure, there have been a slew of artists that critics and fans see as THE male pop star of the 21st century; however, the names we’re all familiar with rely mostly on RnB and end up being more Michael Jackson, Justin Timberlake, and Boys II Men, than David Bowie or George Michael. As a product of the DIY era, Baker draws on the latter as his musical inspiration, and it has already helped separate him from the pack. It was growing up as a cellist and performing all over his native New York, including Carnegie Hall recitals, singing in school musicals and choirs and, ultimately, as a student at Harvard in one of the university's acapella groups that allowed him to discover his sound and find the path he would follow.
Baker explains, "Pop music has always resonated with me, and it was the people I met in the studio that helped me figure out why. I've been lucky so far, and feel blessed that I have met such a diverse and talented creative group of people in the industry.”
While New York will always be home, Baker has taken up roots in LA where he splits his time. It was his summer in LA before senior year in 08 that Baker met a DJ and producer Kelly Cole that led him to record the up-tempo , soulful dance cover of Nirvana's "Heart Shaped Box" (myspace.com/bakermusicofficial).
Baker’s released his promising debut single and video, “Echo,” last year, generating buzz among Dance music fans and critics alike. “Echo” was co-written and co-produced with LA based Hyper Crush (The Arcade and Robo Crush) who brought the bubble to a full boil, generating interest from pop music blogs and fans alike.
Baker is positioning the pieces to make 2011 his breakout year. He's looking to craft "the catchiest, most danceable pop album ever" for his forthcoming release and to ensure that people all over the world will be able to relate the music to their lives listening to the radio or dancing in clubs. Baker is currently in the studio with LA based Hyper Crush, as well as NY producer duo Mysto & Pizzi, (R.Kelly and Wynter Gordon).
All I'm gonna say is an amazing song is an aweosme song I suggest yall check out his mixtape.
Music Heaven
Sunday, March 27, 2011
Mercury Records quits making physical singles
Mercury Records is to abolish the production of physical CD singles.
The music label has reported that 99% of its single sales are downloads, leading it to announce the end of single CD production.
The record label is home to artists including The Killers, Arcade Fire, U2 and Elton John.
Discs will still be available for special circumstances, such as charity singles.
"Major labels have struggled to find a way of coping with the relatively small runs that a physical single entails," said Ian McCann of Record Collector magazine.
"But real records are still must-have items."
Music Heaven
The music label has reported that 99% of its single sales are downloads, leading it to announce the end of single CD production.
The record label is home to artists including The Killers, Arcade Fire, U2 and Elton John.
Discs will still be available for special circumstances, such as charity singles.
"Major labels have struggled to find a way of coping with the relatively small runs that a physical single entails," said Ian McCann of Record Collector magazine.
"But real records are still must-have items."
Music Heaven
Britney Spears - I AM The Femme Fatale (MTV:Special)
New, Following Britney Spears as she records her album "Femme Fatale," shoots a music video and prepares for a surprise performance. (2011), (Documentary).
MTV for a special airing next week. A teaser will debut Tuesday on MTV, the same day Spears' latest album, Femme Fatale, hits stores. April 3rd at 9pmEST
Source: Mtv.com
MTV for a special airing next week. A teaser will debut Tuesday on MTV, the same day Spears' latest album, Femme Fatale, hits stores. April 3rd at 9pmEST
Source: Mtv.com
Saturday, March 26, 2011
MTV: Britney Brings Las Vegas To It's Knees
LAS VEGAS -- After a killer set from "Jersey Shore" star DJ Pauly D on Friday night (March 25), a montage of Britney Spears' best video moments played to a hyped crowd at Rain nightclub inside the Palms Casino and Resort. Once the videos wrapped, the crowd went even crazier as the Femme Fatale herself hit the stage.
Spears sported a stunning sequined bodysuit and performed her first song of the night, lead single "Hold It Against Me." Flanked by sexy male dancers, she sashayed her way through the song, which included sexy hair-tossing and a wind machine.
For her second track of the night, Spears debuted the will.i.am-produced track "Big Fat Bass." Her dancers hit the stage in bright yellow, while Spears opted for a body-hugging latex bodysuit. She emerged from a speaker box, and the appearance had her fans screaming. The track was remixed to include past hits like "3," "Slave 4 U" and "Gimme More." She danced around the stage and climbed up on speakers as she danced to the track.
Britney kicked it up a few futuristic notches for her latest club banger, "Till the World Ends." The stage was filled with ladders, LED lighting, dancers and Spears in a black latex bodysuit covered in red lights. She clearly was having a good time, smiling to her fans. Her choreography was decidedly sexy, including flirty dance moves with her male dancers.
At the end, Spears ascended the ladders and ended up on a platform, gyrating from above the room. As fireworks lit the stage, Spears danced and tossed her hair as the song closed. The room was filled with electricity and excitement.
The performance was being taped by MTV for a special airing next week. A teaser will debut Tuesday on MTV, the same day Spears' latest album, Femme Fatale, hits stores.
-MTV
From the youtube videos that I saw she was AMAZING
Music Heaven
Friday, March 18, 2011
E.T. Music Video to premire on..
Katy Perry and Kanye West are ready to beam their video for “E.T.” down to earth. The pop starlet and rapper’s collaborative clip is set to arrive on March 31, when fans will get a chance to see the intergalactic visuals directed by Floria Sigismondi. The single, a remix to the original off Perry’s Grammy-nominated album Teenage Dream, has already cracked the top 5 on the Billboard Hot 100, currently sitting at No. 3. Mark your calendar for the alien invasion.
Can't wait.
Music Heaven
Can't wait.
Music Heaven
Britney Gears Up For TTWE Video and FF Performances
New York, NY -- Britney Spears is gearing up for a week of appearances and surprise performances to promote the release of her seventh studio album, Femme Fatale.
First off is a special performance on ABC's Good Morning America from San Francisco's historic Castro district. This is the first time the show has filmed a concert from the location, and due to the time difference and logistics Britney will pre-tape the performance on Sunday, March 27th and the concert will air on GMA on March 29th. She is scheduled to make several appearances on The Ellen DeGeneres Show week of release and MTV is celebrating Femme Fatale with a Britney take-over day on March 29th. Britney is confirmed to participate on Nickelodeon's Kid's Choice Awards on April 2nd.
In between rehearsals, Britney is shooting the video for her newest song, "Till The World Ends" in Los Angeles. Ray Kay has been tapped to direct the video.
Britney is currently featured on the covers of V magazine and Out magazine's first ever "Ladies We Love" issue.
Tuesday, March 15, 2011
Rolling Stone reviews FF
4/5
Quote:
Britney Spears is pop music's stealth avant-gardist. For years, critics have dismissed her as a cipher with a wisp of a voice. But from the minute she burst on the scene — heralded by the keyboard power chords of ". . . Baby One More Time" — her music has steered bubblegum into weirder, woollier territory. "Toxic" was a mélange of Bollywood and spy-movie guitar; "Piece of Me" was an essay on 21st-century tabloid infamy crooned over 22nd-century club rhythms. Then there's this year's "Hold It Against Me," which dissolves into a furious dubstep breakdown — easily the most assaultive beat on the Hot 100 right now.
Femme Fatale may be Britney's best album; certainly it's her strangest. Conceptually it's straightforward: a party record packed with sex and sadness. Max Martin and Dr. Luke, the world's two biggest hitmakers, are responsible for seven of 12 songs: big melodies and bigger Eurodisco thumps. But other producers go nuts, tossing the kitchen sink at Britney. The Bloodshy-helmed "How I Roll" is sputtering, oddly beautiful techno. In "Big Fat Bass," Will.i.am turns Britney into a cyborg obsessed with low-end. ("The bass is getting bigger!" she exults.) On nearly every track, Britney's voice is twisted, shredded, processed, roboticized. Maybe this is because she doesn't have much of a voice; it's certainly because she, more than almost any other pop diva, is simply game. Femme fatale? Not so much. But say this for Britney: She's an adventuress.
http://www.rollingstone.com/music/albumreviews/femme-fatale-20110314
a little bit shady but her highest rating ever.
Music Heaven
Quote:
Britney Spears is pop music's stealth avant-gardist. For years, critics have dismissed her as a cipher with a wisp of a voice. But from the minute she burst on the scene — heralded by the keyboard power chords of ". . . Baby One More Time" — her music has steered bubblegum into weirder, woollier territory. "Toxic" was a mélange of Bollywood and spy-movie guitar; "Piece of Me" was an essay on 21st-century tabloid infamy crooned over 22nd-century club rhythms. Then there's this year's "Hold It Against Me," which dissolves into a furious dubstep breakdown — easily the most assaultive beat on the Hot 100 right now.
Femme Fatale may be Britney's best album; certainly it's her strangest. Conceptually it's straightforward: a party record packed with sex and sadness. Max Martin and Dr. Luke, the world's two biggest hitmakers, are responsible for seven of 12 songs: big melodies and bigger Eurodisco thumps. But other producers go nuts, tossing the kitchen sink at Britney. The Bloodshy-helmed "How I Roll" is sputtering, oddly beautiful techno. In "Big Fat Bass," Will.i.am turns Britney into a cyborg obsessed with low-end. ("The bass is getting bigger!" she exults.) On nearly every track, Britney's voice is twisted, shredded, processed, roboticized. Maybe this is because she doesn't have much of a voice; it's certainly because she, more than almost any other pop diva, is simply game. Femme fatale? Not so much. But say this for Britney: She's an adventuress.
http://www.rollingstone.com/music/albumreviews/femme-fatale-20110314
a little bit shady but her highest rating ever.
Music Heaven
Friday, March 11, 2011
The Britney Storm Is Coming
Britney's New album is about to leak and the songs that leaked are fucking amazing. I I I Wanna Go O O is fucking amazing along with Inside Out and Drop Dead Beautiful. And let me just say her new promo picture is fucking hot. The best she has looked in fucking long time.
Music Heaven
Sunday, March 6, 2011
Never Felt Like This Before
Britney Spears has fucking done it again. Till The Worlds Ends is pure EPIC FIRE!!!!! The beat, lyrics, and her signature voice all wrapped up into instant hit. It is a MUST BUY for any Britney fan or any Music fan in general. So go buy it on itunes! I will be posting a review later this week.
Music Heaven
V Sevani
V Sevani, formerly of pop boy band NLT and brother of Step-Up 3D star, Adam Sevani, presents his latest single, “Take You to the Moon”. Over the past year, V has been working with High Valley Entertainment in developing and creating his concept album, Steps. Steps is an album chronicling every step of a relationship from the initial love at first sight, to the broken heart and all the emotions and situations that fall in between.
V has also released his latest music-video, “Too Much Too Soon” that can be viewed via V Sevani’s profile page on TheeWebsite.com-- http://bcove.me/6n4tj3eg
The song is good and I usually can NOT stand anything slow.
Music Heaven
V has also released his latest music-video, “Too Much Too Soon” that can be viewed via V Sevani’s profile page on TheeWebsite.com-- http://bcove.me/6n4tj3eg
The song is good and I usually can NOT stand anything slow.
Music Heaven
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