#musicislife

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Is this lit🔥or shit💩? Let us know in a comment below! 🎶 🎵 Follow @producernations for more awesome videos like this one!🔥🔥🎵🎧🎶💯🎹🎚🖥⌨🖱 (By: @charlieputh) 🎶 🎵 #RecordingStudio #Musicians #Rap #Instrumental #MusicIsLife #Trap #Recording #Instrumentals #MusicProducer #InstaMusic #MusicStudio #ProducerLife #Beats #MusicProduction #MusicIndustry #EdmLifestyle #Musica #BeatMaker #MusicLife #HipHopMusic #HipHop #Musician #FLStudio #StudioFlow #Music #RapMusic #Beat

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walkin on sunshine

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‘The Eisenhower Fuzz™’. Outrageous “in your face” tone ⚡️ #TonallyAwesome

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Recent Posts

LINK ABOVE ❕❕❕🙏🏼 UPDATE: WANT TO HEAR PAIN OR RELATABLE MUSIC? GO LISTEN TO SMACK BOY'S NEW MUSIC "LUCY KNOWS" FOLLOW THE SOUNDCLOUD POSTED IN THE BIO 🐐🤟🏼🌜 INSTRUCTIONS: •LIKE & COMMENT "DONE" FOR A FOLLOW BACK 💯💯💯 •FOLLOW TRAIN LETS GO GO-TO SOUNDCLOUD AND SEARCH FOR : OFFICIALSMACKBOY_ THEN FOLLOW UP WITH A INSTAGRAM FOLLOW @upnextsmack @upnextsmack@_gain_followas @upnextsmack #music #liluzivert #hiphop #rap #xxxtentacion #musiclover #instagood #follow #workhard #souljaboy #famous #producer #indieartist #typebeat #rapper #photography #666 #studio #song #trending #lilpump #bhfyp #musicislife #mixtape #soundcloud #ybnalmightyjay #linkinbio #songwriter #followme #explorepage

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"Todos tenemos algo en lo que creer, Algo que nos hace seguir adelante levantarse y no rendirse por lo que luchar nos enseña el significado de continuar en el camino, Por lo cual decimos no podran conmigo ." @abrahammateo siempre continua luchando ,se desvive por aquello con lo que sueña y ama y logra hacer realidad es admirable y que encima nos comparta su trabajo y su sonrisa ya se supera desde aqui te brindo mi apoyo sigue asi.💜 - - - #talent #band #art #music #musician #musically #musica #musicians #musical #musicvideo #musiclife #musicislife #hiphop #love #musiclover #newmusic #musiclovers #musicals #singer #instagood #song #musicaly #guitar #musicphotography #musico #bands #musicbox #rap #recording #abrahammateo

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MUSIC EDUCATION CAN SPARK A CHILD’S IMAGINATION OR IGNITE A LIFETIME OF PASSION 🎻 We are excited to share this journey with @nempacboston music students like Sophie who loves to play her violin and brings her bright personality to our studios every week. . To pledge a student or faculty performer at our Perform-a-thon 2019, please visit: www.nempacboston.org/performathon . #nempacboston #mondaymotivation #musicmonday #music #musician #musicteacher #musicstudent #performathon #nempactalent #musicislife #weareallmusicians #musicforall #pledgeme #followme

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Miss these guys! Come back to Sweden @anthrax ! • • • Doing tour photos, liveshots, promo and video and documentary and more. For prints and bookings send me a DM or send me a email at robert.hellstrom.foto @gmail.com • • • #anthrax #forallkings #anthraxforlife #musicislife #canonnordic #bestbandever #thrashmetal #thebig4 #blackrapidstrap #roberthellströmphoto #creativecloud

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“I think music in itself is healing. It’s an explosive expression of humanity. It’s something we are all touched by. No matter what culture we’re from, everyone loves music.” ― Billy Joel ( not my best but I try) #art #painting #graphicdesign #artistoninstagram #college #artwork #drawing #drawings #arthistory #music #musiclovers #musicislife #illustrator #illustration

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The life of a creative is.. Never being satisfied with the finished product... How do you pull yourself away from your creative process?? Music 🎧 is my escape.. #RnB #rosenberries #backtominimal #urbanstyle #urbanfashion #musicislife #calledtobecreative #creativecommunity #londonlife #onlygoodvibes #trueself #musiclover #paradiseofminimal #creativeminimalism #minifashion #toddlerfashion

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Step with intention and focus will carry you into patience. Well now I don’t have much to say. Have a good day 😂😊🤣💕🙌 #Musicislife #happy #model #bts #shoppingonline #shopping #venueshopping

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Behind every favorite song, there is an untold story. Rise up - Andra Day ✨ #music #video #singing #practice #vocal #pianocover #monday #mood #riseup #lovethissong #staystrong #musicislife

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Подписывайся✔️✔️✔️ Ставьте лайки👍♥️ Пишите комментарии✍🏻 . . . #сохранёнки #сохры💫 #сохры2018 #сохрытоп #сохраненки♠️ #сохраненкитоп #сохры #сохраненки🌝🌸 #юмор #любовь #топ #fashion #landscape #lake #uk #music #musica #musician #instagmusic #instagramanet #instatagm #musical #bestsong #goodmusic #musicvideo #musicislife #musicians #musiclife #вписка

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That's a fact . . . . . . . #music #emotions #playmusic #song #freestylerap #sing #musicislove #musician #vocals #stage #sound #rhythm #voice #liveshow #singers #musicislife #musicartist #musicalbum #lyrics #lyricst #musicindustry #keyboards #band #harmonies #musicaltheatre #musicbox #popmusic #music #emotions #playmusic #song #freestylerap #sing #musicislove #musician #vocals #stage #sound #rhythm #voice #liveshow #singers #musicislife #musicartist #musicalbum #lyrics #lyricst #musicindustry #keyboards #band #harmonies #musicaltheatre #musicbox #popmusic #music #emotions #playmusic #song #freestylerap #sing #musicislove #musician #vocals #stage #sound #rhythm #voice #liveshow #singers #musicislife #musicartist #musicalbum #lyrics #lyricst #musicindustry #keyboards #band #harmonies #musicaltheatre #musicbox #popmusic #music #emotions #playmusic #song #freestylerap #sing #musicislove #musician #vocals #stage #sound #rhythm #voice #liveshow #singers #musicislife #musicartist #musicalbum #lyrics #lyricst #musicindustry #keyboards #band #harmonies #musicaltheatre #musicbox #popmusic #music #emotions #playmusic #song #freestylerap #sing #musicislove #musician #vocals #stage #sound #rhythm #voice #liveshow #singers #musicislife #musicartist #musicalbum #lyrics #lyricst #musicindustry #keyboards #band #harmonies #musicaltheatre #musicbox #popmusic #music #emotions #playmusic #song #freestylerap #sing #musicislove #musician #vocals #stage #sound #rhythm #voice #liveshow #singers #musicislife #musicartist #musicalbum #lyrics #lyricst #musicindustry #keyboards #band #harmonies #musicaltheatre #musicbox #popmusic

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Work essentials: ☕️ + 🎵 //// Esencial para trabajar: ☕️ + 🎵 • Pic by Little Visuals • #workplaylist #creativas #musicislife #holalunes👋

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Give me a paper and a pen, so I can write about my life of sin A couple bottles of gin, in case I don't get in Tell all my people I'm a ridah Nobody cries when we die, we Outlawz, let me ride #2pac #2pacwallpaper #tupacamarushakur #makaveli #hiphoplegend #hiphopgoldenera #legend #musicislife #music #motivation #hiphop #rap #rapmusic #afenishakur #oldschool #outlawz4life #dethrowrecords #rip #lovemusic #thuglife #gangster #chill #tupacamarushakur #lifestory #lifestyle #drdre #studio #snoopdogg #shugnight #legendsneverdie #liveanddie

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Artist if you say your working out here. Then your music should pop up in here. Know where your music is being played as far as the radio. If your not on here then learn the steps. So your music can be tracked . You’ll never make it to @billboard w/o taking the necessary steps. @digitalradiotracker @privatepracticemgmt • • • • • #explore #hothothot #music #brooklyn #complex #fader #thisis50 #Music #musician #musica #musically #musicvideo #musical #musicislife #musicians #musicproducer #musiclife #MusicLover #musicallyapp #musicproduction #musicfestival #musicismylife #musicphotography #musicstudio #musicindustry #musiclovers

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И на закате дня с днём рождения тебя😂🌹😬

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MASSEDUCTION's opening track “Hang on Me” presents Annie Clark as the restless consumer on a come down, a prologue to the excesses of thought and sex and substance that populate the record. Her voice is uncharacteristically cracked but still hopeful, begging for someone to cling to while everything crashes around her. Her fifth record, MASSEDUCTION is maximalist by definition: Lyrically, aesthetically – the all-caps, the clashing red and pink and leopard of its cover art – and musically; with Clark’s virtuosic guitar playing crashing into layer upon layer of synths and programmed beats. Every song contains sounds or ideas for ten others, as though the record might suddenly burst and multiply like spiders running from a nest. There is a complete sense of Clark at the centre: and she knows from experience that loneliness lives at the core of excess. “Los Ageless” is a near-future fable of eternal youth, its accompanying video a pastel-coloured plastic surgery nightmare. Nestled between the depictions of cage-dancing girls and endless artificial summer is the repeated refrain, “How could anybody have you and lose you and not lose their minds too?”, an explanation or an excuse: People don’t just destroy themselves – or let others destroy them – for nothing, you know. As the song fades out, her usually assured voice laments, “I tried to write you a love song,” a kind of epilogue or correction. Gender and sexuality are presented as experimental, unfixed: On “Sugarboy”, Clark proclaims, “BOYS! I am a lot like you / GIRLS! I am a lot like you,” an update of Prince’s promise that “I’m not a woman / I’m not a man / I am something that you’ll never comprehend.” The title track’s refrain of “I can’t turn off what turns me on,” is Clark embracing the unhinged elements of her sexuality, as one who has shed all the urges of adolescence, and whose control stems from her acting like a man. Instead, Clark prizes adolescent urges as part of her spectrum of sexual experience, wrestling back uninhibited, self-serving female pleasure. MASSEDUCTION defies explanation and critique, rendering the critic a dead weight in the dust of its ever-accelerating sucker-punch of ideas.

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James Blake deduced that "music can't be everything" after the emotional heavy lifting and self-examination of 2016's The Colour In Anything, and the press that followed pointed to an artist more open and in touch with himself. Blake's personal development is the primary driver of fourth LP, Assume Form, a tight 12 tracks that show the artist at his most approachable, romantic and optimistic. These feelings are apparent from the opening verse of the album's title track. "I hope this is the first day / That I connect motion to feeling," Blake sings, adding, in the chorus: "I will be touchable by her, I will be reachable." Further on, they're undeniable. "You waive my fear of self," he expresses on "Can't Believe the Way We Flow." "I've thrown my hat in the ring, I've got nothing to lose with you," he sings on "I'll Come Too," backed by a lovelorn vocal sample and sweeping strings. Major keys aren't new to Blake's repertoire, but he has never expressed joy and feeling so plainly. To suggest he has entirely abandoned the dour moods of his earlier work would be wrong; now he's using them as juxtaposition against the album's uplifting moments. It's best captured in "Don't Miss It," which finds Blake recounting anxious, cyclical thoughts in slight vibrato. Blake's continued openness has also crept further into his creative process, with Assume Form boasting the largest number of credited collaborators to date. On "Mile High," a reserved Travis Scott leaves ASTROWORLD behind for a graceful turn in Blake's world, ceding the rap star power to a wound-up André 3000 on "Where's the Catch?" Moses Sumney pushes his range for a haunting hook on "Tell Them," while Rosalía lends both harmony and Spanish vocals to "Barefoot in the Park." The cover art finds Blake in repose, hands behind his head, staring into the camera. No longer masked by double exposure, deep blues and greys, Assume Form is Blake coming into focus.

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It is radical, in a world of constant sensory overload, to use quietness to make yourself heard: this is something Jessica Pratt uses masterfully on her new album. The plinked keys, strummed strings and warbled words are having none of it – Quiet Signs, as sparse and subtle as its name suggests, shares its secrets only with those willing to give their complete and undivided attention in exchange. Though there is much common ground with 2015’s gorgeous On Your Own Love Again – prominent and distinctive use of acoustic guitar, at-times unintelligible (yet still beautifully sung) lyrics, a nod to folk music of yore and, of course, that strange, otherworldly voice – Quiet Signs is more finely tuned, sleekened by a studio where previous releases, largely home-recorded, were grainy and warmly primitive. This refinement is immediately clear, as the slinky, cinematic piano of album opener "Opening Night" leads into the silken melody of "As The World Turns." Pratt is hard to pin to specific genres, eras, realms, shapeshifting through Quiet Signs’ spindly silver branches like Woolf’s Orlando – at one moment a siren accompanied by synth strings (on "This Time Around,") the next a 16th-century courtier (on the Greensleeves-evocative "Crossing"), later a mournful chorister ("Silent Song") and eventually, on "Aeroplane," an ethereal all-seeing deity. There is no sense here of a ‘difficult third album,’ nor the kind of alarming change of direction that breaks fans’ hearts, but rather a skilful honing of a craft – a less frantically picked guitar here, a more softly spoken word there, a little bit of flute. And what a wondrous thing, for it is, I think, much harder to make what you have subtly better than to try your hand at something completely new.

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Sophie Ellis-Bextor takes two decades of tunes for a symphonic spin on The Song Diaries. A superb songwriter with an instantly identifiable vocal approach, Ellis-Bextor’s chameleonic career turns at retro-modernist disco, new wave and adult contemporary balladry. But, in true Ellis-Bextor fashion, a simple singles collection transformed into something more: enter The Song Diaries. Produced in collaboration with Ed Harcourt, The Feeling bassist Richard Jones and David Arnold, The Song Diaries charts Ellis-Bextor’s journey from frontwoman for theaudience to an engaging solo entity through reimagined tracks. “Heartbreak (Make Me a Dancer),” one of Ellis-Bextor’s stormiest floorfillers from her fourth album Make a Scene (2011). Originally composed as an acidic, electro-pop groove with mock- violin touches, the frenetic programming finds itself swapped out for actual cascading strings. Even with the new organic instrumentation in place, the compositional integrity isn’t lost on “Heartbreak (Make Me a Dancer)." If anything, the song's intensity is increased. Throughout The Song Diaries, each song finds its mood heightened by these symphonic alterations. Intricate synth-sections are recast as mighty string beds on “Mixed Up World.” Elsewhere, robust brass pumps in the place of a power pop pulse on “Catch Me.” Ellis-Bextor delivers two makeovers for “Murder on the Dancefloor” on the LP. In its first version, it is spun into an uptempo ballad, trimmed with castanets and just enough percussion to lend it an airy Latin feel. That aspect is expounded upon with the “orchestral disco version” with a kicking rhythm section that gives it a light, four-on-the-floor boost that teases out its vintage pre-Song Diaries vibes. The scope of the musicianship on The Song Diaries is impressive. But, ultimately, as it has been with every Sophie Ellis-Bextor effort post-Read My Lips (2001), the record will impact most with those open enough to receive its charms. She needn’t worry though, The Song Diaries will find a home in the hearts of those discerning enough to enjoy having their pop perspectives reoriented by a woman that wields her artistic vision fearlessly.

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“Lux prima” is Latin for “first light,” and as a title it’s a nearly perfect fit for the debut effort from Karen O and Danger Mouse. The album largely oscillates between two modes: mixtape adventurism and mashup experimentalism. Bookend songs “Lux Prima” and “Nox Lumina” are the latter, and are of a pair: they’re the two longest songs on the record and they imagine the result of something like stitching together the groove of Massive Attack’s “Protection” and the spaciness of Pink Floyd’s “Shine On You Crazy Diamond." And the duo pulls it off via lush production and brilliant melodies. Similarly, “Reveries” morphs from bedroom demo guitar picking to haunting art-pop craft as it progresses, its steady and confident build selling the endeavor. As for the former mode, take the bluesy stomper “Woman” or the disco-infused “Turn the Light” as examples, both of which are (mostly) played straight. They shouldn't work, either on their own or within the context of an album in the typical sense, but they do because of the ‘no boundaries’ mentality throughout. This is to say nothing of the superbly layered, headphone-preferring production and some strong hooks, of course. As for the lyrics, they encapsulate the music by suggesting an independence of their own. After declaring that “We’re the life inside a flame” on the bubble bath lovely “Drown," O asks to be allowed to drown as a release. The title track seems to discuss a freedom in anonymity in the refrain: “I’m nowhere, I’m no one, I’m nobody/ There’s nobody but you." And on “Redeemer” she sees freedom as transformative by shedding one’s makeup and tail. Yet it’s a promotional photo of the duo that might make for the most effective summation of Lux Prima. In it, Karen O and Danger Mouse are in a corner, at the edge of a pool. Karen O stands and is wearing a bold dress that changes color depending on the light, while Danger Mouse sits next to her wearing a traditional suit and tie. It’s the juxtaposition of shimmering and subtle, of everything and nothing. It’s the idea that not only do opposites attract, if paired correctly they can become something great.

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This is a segment focusing on the albums which have impacted my life. Music is universal, and for me it has always been this intimate, religious experience. Music is my language, my form of expression, and my life. . I've been a fan of Sheryl Crow since Tuesday Night Music Club, but it was 1998's The Globe Sessions that hit me like an emotional semi truck. Crow lays herself bare throughout the record exposing fears, heartache, and disappointments in excruciating details. The Grammy winner has always possessed a powerful, distinct voice, but on this album it connects with every note. Her relation to the material is palpable in every guitar lick and vocal delivery. As a teenager something about a beautiful, intelligent, and talented woman dealing with insecurities was comforting. It seemed at least from my perspective she was the complete package, but it just illustrated things aren't as they appear. We've all felt a sense of lacking, and moments of doubt in our lives. When I was younger, I struggled with communicating my feelings so I gravitated toward artists who bravely invited anyone willing to listen into their most private and painful experiences. On The Globe Sessions, Crow is naked on self-doubt ridden "Am I Getting Through," pleads "don't bail on me" on "Riverwide," and confronts mistakes made on "The Difficult Kind." Bob Dylan gifted her a song for this album, and as a testament to Crow the songwriter, it is impossible to discern which song without prior knowledge. Unlike some of her contemporaries Crow has strived for improvement and willingly embraced/incorporated different sounds from the popscape of C'mon, C'mon to the blue eyed soul of 100 Miles from Memphis. As an adult, I've grown, made mistakes, and survived heartbreak which only adds to my admiration of this record. At 14, I could appreciate and imagine her pain and resolution. At 35, I've shed tears, confronted my own lingering doubts, sabotaged myself, and even had my own "(My) Favorite Mistake." These were all lessons I'm grateful to have learned from, and appreciative to have had The Globe Sessions along for the journey. THANKS SHERYL!

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While not the first single from Nina Nesbitt‘s The Sun Will Come Up, The Seasons Will Change, "Loyal To Me" received the most buzz partly because it best signified a radical shift in musical direction. An instantly catchy ode to knowing your worth, with ’90s R&B influences abounding and distinctly more poppy production than we’re used to hearing from the singer-songwriter, this song’s only crime might be to promise something that the album doesn’t consistently deliver. "Love Letter" continues in that vein, trap 808s and more throwback R&B – Jamelia’s "Call Me," anyone? – accompanying a fiery kiss-off to a guy who “couldn’t get it to-to-together”, but there are also plenty of more understated songs, which range from powerful (such as album opener "Sacred") to pretty but forgettable. Penultimate track "Last December" is a particular offender: saccharine nostalgia about a relationship that was so good until it ended, a sparse guitar figure failing to maintain interest and little electronic flourishes here and there that feel limp in the context. It’s hard to tell which of these contrasting styles is more “authentic” for Nesbitt at this stage, but the schmaltz of a tune like this certainly feels contrived. Elsewhere on the record, "Somebody Special" incorporates a brilliantly minimal pop-drop, and "The Moments I’m Missing" utilises the reminiscent tone of "Last December" to far greater effect, but it’s the title track that is most powerful. “The sun will come up, the seasons will change” is repeated, mantra-like, as a safety net for life’s disorientating changes over electric piano chords and modern pop’s ever present vocoded harmonies, a fitting end to an album that finds Nesbitt in the midst of personal and artistic self-discovery. She’s almost there, just a few more seasons.

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Offset continues the Migos mantra of "more is more" on his debut effort. Father of 4 is a solid if uneven introduction to the rapper offering glimpses into the person behind the tabloid fodder. We’re talking about the man who wrote “Rain drop, drop top,” so you know the syllables will slap. Offset has a gift for finding the pocket of the beat. He laps up Wavy’s production on “Lick," a slippery tale of crime and punishment. “Father of 4” is an introspective look back on Offset’s bumpy road to fatherhood and features some of his strongest writing. J. Cole and Cee Lo Greenbring strong guest verses to “How Did I Get Here” and “North Star," respectively. Perhaps some doubted him, but Offset has more than enough charisma to carry an album on his own. Many albums are frontloaded. However, Father of 4 is so top-heavy that it’s about to fall over. The back half of the record is a morass of similar-sounding flows over repetitive Metro Boomin beats. There was a time when seeing Boomin’s name 10 times in an album’s credits meant there was a minimum of 10 great songs. But these days, he’s too busy, perhaps even overexposed. Now if he contributes 10 beats to an album, they might not be the 10 best beats he made this month. “On Fleek” and “Quarter Milli” feel like tired versions of better songs, and “Underrated” never quite wakes up. Finally, the song “Clout” had explosive potential, featuring as it does Offset’s recently estranged wife, Cardi B. Offset spends the first few tracks of the album revealing more of his personal life than he ever has before, but by the time “Clout” rolls around nine tracks in, he has retreated to platitudes. Or perhaps the marriage wasn’t in a place where the couple felt comfortable discussing it. Offset splits his time between personal stories and generalized trapping, with mixed results. When he finds the right flow, few can match him for sheer musical joy. Other times he sound flat and stale. But Offset has proven he can carry his own solo album, and you have to respect the work ethic that produced these 16 tracks, even if many of them don’t merit a second listen.

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Why should Daptone, Eli “Paperboy” Reed and James Hunter have all the fun when it comes to churning out classy contemporary/retro soul? It’s a question Nick Waterhouse might have asked himself back in 2010. Or more likely, why can’t that pie get a little bigger with a shot of blue-eyed R&B from a West Coast bred lover of the kind of ’50s and ’60s sounds Austin Powers used to find “groovy baby”? Nine years, three critically acclaimed albums and plenty of road work later, Waterhouse has answered that query to everyone’s satisfaction. His music finds the perfect storm where Ray Charles, the Dap-Kings and JD McPherson meet for a shimmy-shimmy-ko-ko bop combination of styles guaranteed to get any dance floor vibrating.  But lyrically, everything is not quite as rosy in Waterhouse’s world. On the hip Motown-infused “Wreck the Rod,” he croons, “Love is a trap/ Love is a lovely suicide pact” as backing singers shout “love” in staccato harmony, a King Curtis-styled tenor sax wails, and Waterhouse howls with abandon. On the slinky, stripped-down “Which Was Writ,” he sings, “I used to trust but I learned that I was wrong” over a feline walking bass, subdued guitar and backing “woo-woos.” There are plenty of edgy love tunes too, like the swinging “Urge Coming On,” the disc’s only cover. Here the backing singers bring the churchy Raelettes/Ikettes feel (not surprising since the song’s writer Joshie Joe Armstead was once a member of both those vocal acts) as Waterhouse goes pure Jackie Wilson. It’s an all killer-no filler set that’s the culmination of everything Nick Waterhouse has accomplished for the past nine years. He might have plenty bugging him, but with soul music this joyous and exuberant, you’ll be too busy riding the groove to care.

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| I don't give a f*ck what u think 'bout me and I' m proud of this✌🏻

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| T-Pain - F. B. G. M. (Guitar Cover)

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