Amba Tremain - 'Baby You're Gold' Single Review

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Amba Tremain - 'Baby You're Gold' Single Review

Amba Tremain’s new single ‘Baby You’re Gold’ is a graceful, yet energetic addition to her family of Soulful songs with heavy R&B and Ska influences.

Any Amy Winehouse fan would very much enjoy the Soulful, Ska aura of the song, starting with a dreamy intro featuring chords on a Rhodes type electric piano and a classic Ska guitar part on the offbeat. The harmonizing, tremolo backing vocals paint a beautiful vibration in your head.

The chorus features a dramatic build to a loving call and response between Amba and the backing singers. Amba’s voice is a powerful instrument, used here in a tender way through her affectionate lyrics to display a kinder side. The vibrato keys throughout the chorus help synergize the bright, sunny tone, alongside the higher end magical sounding key scales.

A breakdown into a relaxing Ska middle 8 consisting of engaging guitar delay and a smooth bassline prepares you for a last booming chorus. The structurally brilliant song finishes with a sharp, exuberant ending. Amba has certainly got the knack for writing engaging and well written music, here she has grown her range with an undeniably catchy and jubilant song.

Check Out Amba Tremain's BRAND NEW single 'Baby You're Gold' here: https://jeeni.com/amba-tremain-baby-youre-gold/

How can Jeeni support artists like Amba Tremain?

JEENI is a multi-channel platform for original entertainment on demand. We’re a direct service between creatives and the global audience.

• We give creatives, independent artists and performers a showcase for their talent and services. And they keep 100% of everything they make.
• We empower our audience and reward them every step of the way.
• We promise to treat our members ethically, fairly, honestly and with respect.
• Access to artist liaison and a supportive marketing team.

Check out Amba Tremain's Jeeni page: https://jeeni.com/?s=amba+tremain

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10
Jun

Facing the Broken Music Industry.

By Adam Cowherd @ AmplifyX.com Did you know that artists take home only 12% of the $43 billion spent on music annually, according to Citigroup? [1] The hip-hop artist Russ put it perfectly when he said, “The music business isn’t set up for the artists to get rich. It’s set up for everyone else to get rich off the artists.” [2] If you start looking deeper into the music industry, one of the first things you’ll discover is how broken it is. Artists are the nucleus of the business, but somehow they’re the individuals left with no ownership of their Intellectual Property (IP), inhibited creative freedom, and only a sliver of the earnings. There are so many entities involved in the value chain of music that it has created a convoluted industry structure that lacks equality and transparency. When we break down the mechanics of the music industry, we see just how many hands are in the pot: record labels, managers, producers, booking agents, and streaming platforms. A report by Ernst & Young highlighted the post-tax payouts of streaming revenue and identified that record labels are taking nearly 75% of the payout. [3] Why are artists today signing with record labels? Signed artists have fans. They do not have a majority of royalties, ownership of their masters, or creative freedom. Artists have historically been enticed to join record labels as a way to grow their popularity, because major labels can provide global brand recognition. But the music industry is in the business of making a profit — not in the business of freebies. The artist’s growth may be guaranteed, but not their wealth. Take Thirty Seconds to Mars for instance: after multiple platinum records, they were still millions of dollars in debt to their label. [4] This is a result of the artist being forced to pay the label back for cash advances. Although advances may seem extremely alluring, many don’t realize how hard these loans will be to recoup from their small slice of royalties. Artists thriving off of their album sales are the exception, not the rule. This recognizable gap in income has inspired a large number of artists to start challenging the status quo of record label contracts. Artists today have more tools and resources to build their career — and wealth — independently. Traditional services formerly tied to record labels, like recording, distribution, and promotion, are becoming commodified. Also, modern artists have a wide range of social media platforms to engage listeners on, from Instagram to TikTok to Triller. Artists can grow their fame and find new fans on their own terms—retaining their rights and independence. Evaluating the industry today, music spending is at an all-time high. Goldman Sachs predicts we will have over 1.1 billion people on paid streaming platforms by 2030, generating over $130 billion in music industry revenue. [5] By pursuing alternative ways to release music, artists can take a larger cut of the profits while retaining ownership of their IP and a majority of royalties. The industry is projected to experience massive growth over the next decade. Artists should reap the rewards.

10
Mar

Daisy Chute – 'Songs of Solace' EP Review

Multifaceted singer/songwriter, Daisy Chute’s newest project, ‘Songs of Solace’ is a warm, comforting collection of acoustic music, powered by sentiment and emotive memories. According to Daisy, The EP walks the listener through the "beginning, middle and end of a relationship”. Cleverly, the EP acts not only as a narrative describing the need for solace during a relationship, but also as the solace itself. The tone and style of ‘Songs of Solace’ couldn’t have been timed better. The soothing instrumentation found in the twinkling guitars, legato strings and tender vocals provide unmistakably autumnal compositions. The burgeoning seasonal blues also coincides well to the comfort that many could find in this project right now. The opening track, ‘Secondhand Heart’ acts as an almost sorrowful prelude to the story Daisy is about to tell, like something you might see at a play to set the audience up for the tragedy they’re about to experience. It’s one of the most effective introductions I’ve ever heard in such a short project. Another highlight on the project is the inviting ‘I’ll Drink for You’ which subtly reveals Daisy’s classical background in music theory and understanding as the melodies and rhythms leap and pause around in unexpected yet totally satisfying and accessible ways. I hope Daisy isn’t sick of hearing the comparison but folk legend Joni Mitchell can’t help but come to mind when Daisy demonstrates her brilliant range in pitch as she does on this track. ‘Meet In The Middle’ holds a certain delicacy and familiarity reminiscent of Laura Marling’s ‘Song For Our Daughter’ album from last year. As a matter of fact, Marling could do with taking a page out of Daisy’s book in terms of expanding her instrumentation. The track ends the project in a similar yet more optimistic tone to the introductory track, ‘Secondhand Heart’. The track swells and features the full band before fizzling out with a spacey hum of the instruments. Perfectly produced, each component shines together to make a well-rounded and polished example of modern indie folk. If you need some warmth this Autumn, Daisy Chute’s ‘Songs of Solace’ is out now. How can Jeeni support artists like Daisy Chute? JEENI is a multi-channel platform for original entertainment on demand. We’re a direct service between creatives and the global audience. • We give creatives, independent artists and performers a showcase for their talent and services. And they keep 100% of everything they make. • We empower our audience and reward them every step of the way. • We promise to treat our members ethically, fairly, honestly and with respect. • Access to artist liaison and a supportive marketing team Check out Daisy Chute’s page on Jeeni: https://jeeni.com/?s=daisy+chute

12
Mar

Barack Obama - His Tracks of 2020

Recently released via Instagram, Barack Obama - Tracks of 2020, the annual eclectic collection of music that accompanied his, and his family's day to day. In 2015, President Barack Obama was declared the only President you could reliably trust to DJ a party. An elder of the Hip-Hop Generation and still younger than Chuck D, he helped endorse American made music for the 21st Century. That year, he gave us a kind of 'Desert Island Discs' of the tracks which had got him to, and through two presidential terms. The list was in most part, exactly what you would expect from an educated man in his 50's. However, there were some interesting additions, including Bob Dylan's - 'Maggie's Farm', credited as the track to get him into the right mindset for the political season and the country track by Brad Paisley - 'Welcome to the Future', with Obama declaring himself accepting of the indelible impact country music has had on the USA. Since then, Obama has created an annual listing of his favourite tracks. For his tracks of 2020, he has 'fessed up to having help from his daughter Sasha, and together they have created another interesting collection of old and new. A few of Obama's tracks of 2020, have already been put in the 'Best of' spotlight by many music bloggers. Tracks like Dua Lipa’s - 'Levitating' [ft. DaBaby], Waxahatchee’s - 'Can’t Do Much' and Phoebe Bridgers’ - 'Kyoto'. Added into the mix is a little bit of country, with the next generation of Nashville stars, Ruston Kelly’s - 'Brave' and Chris Stapleton’s - 'Starting Over', plus some old school legends, including the President's go-to, Bob Dylan with 'Goodbye Jimmy Reed'. With over 34m followers on Instagram, it makes this list quite an appealing one to find your name on. Listen to Barack Obama's soundtrack for 2020, below. https://open.spotify.com/playlist/37i9dQZF1DX5gYucl3g9Ad?utm_source=embed_v2&go=1&play=1&nd=1

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