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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06
Jun

Why weird is my new wonderful.

By Sammie Venn Jeeni's Official Writer, Columnist and Blogger. The dictionary definition of weird is “extraordinary, out of this world” I remember the feeling of utter hope and merriment when I read that. I suddenly didn’t feel alone anymore. Once I fully released my inner oddball, the magic started to happen. The people who I thought I loved and loved me just fell away. It was like watching grains of sand slip through my fingers. At the time it felt like a gigantic loss but in hindsight it was the best gift I could have been given. I’m grateful every day for all the losses as what I have gained surpasses anything I could have dreamt of. I came out of the “kooky closet” said a tentative hello to my new surroundings and have never looked back. Having always felt like I had trodden a different path in life, I used to feel embarrassed about my so called “weirdness”. A damaging label that was attributed over the course of many years. Always being on the periphery at school, shallow friendships and poor choices in men made me feel like there was something wrong with me. Decades later I began the journey of coming to terms with whatever it was that made me feel a bit different. I read countless books, watched documentaries on Gaia, downloaded as many spiritual audibles as I could afford and after a period of counselling I realised that actually being “different” totally rocked and I certainly wasn’t the only one experiencing all those feelings of self-doubt. Self-doubt had finally set sail to distant shores and my passport to a happier more soulful life had been stamped with creativity with no expiration date. My wired but wonderful List...So I’m not ashamed of saying that... 3am – the hour of writers, poets, musicians, silence seekers and overthinkers – In this crazy time that is 3am I really do achieve a lot of work. The silence is accompanied with prolific bird song and the sunrise paints a spectacular sunset across the fields. So there is no better landscape for creativity. Gardening at Night -I water my roses at midnight in an old fashioned Victorian nightie with a gin and tonic in hand. The kiss of the night time breeze provides a magical space to reflect on the past 24 hours and plan the next. Adventure at work -I have made a home office in my camper van and drive to various different places to work and mediate and be away from the humdrum of daily life. I need to be portable otherwise I feel stagnant and confined. My camper caters for most needs; a whistling kettle for fresh coffee, a writing station and insanely comfortable bed for those cheeky afternoon power naps. Writing Erotica -I love to write erotic poetry and have an entire bookcase at home dedicated to naughtiness throughout the ages. Ancient manuscripts and recent tomes dedicated to Love, and all of the emotions surrounding it adorn the shelves. Wild words and Soul Magic - I have about 10 different tarot desks I particularly Love Rebecca Campbell’s “Work your light” the illustrations are as magical as her words. I love to practice either quietly by myself or with my bestie in London. We savour our weekends as they are few and far between these days but we still write together and have created different worlds where we pretend to live like we were once warrior soul sisters. In fact lockdown has been perfect for that. There are so many other things I do in my arsenal of “weird but wonderful” and I wouldn’t be without any of them now. Lewis Carroll wrote in “Alice in Wonderland” “you’re mad, bonkers, completely off your head. But I’ll Tell you a secret. All the best people are”. Definitely my mantra, it even sits as a plaque on my wall in the studio. Have you got any practices or quirks that you embrace? We would love to hear about them. Click HERE to visit or return to jeeni.com

03
Sep

Music Tech Startups announce strategic alliance for the greater good of the Musician and Performer.

We are delighted to announce the strategic alliance between Jeeni and California-based AmplifyX, the only FINRA and SEC compliant platform that allows investors to build a portfolio by directly funding musicians. The alliance was arranged by Kelli Richards, Jeeni Managing Director USA, who was mentored by Steve Jobs at Apple where she launched and managed the Apple music and entertainment division. This represents a major advantage for Jeeni in the USA, our most important global territory in terms of artists and revenues. We gain access to more rising stars along with their followers and fanbases, with mutually advantageous joint promotions and publicity. The partnership will officially kick off at the end of August with a global streamed concert, featuring our 10 most popular artists from both sides of the Atlantic, and will be co-branded between Jeeni and AmplifyX. Co-founder of AmplifyX Bobby Kamaris says, “Our companies run in an adjacent space helping independent artists, and our philosophies and motives are very very close. What you guys at Jeeni have done in putting it together and launching is actually incredible.” Co-founder of AmplifyX Adam Cowherd adds, "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?" Jeeni Founding Director Shena Mitchell adds, "This is an exciting opportunity for Jeeni to develop strong relations with USA partners. AmplifyX is focused on building a new framework to fund independent artists with their unique platform for artists to raise capital from nontraditional sources. Our visions are entirely complementary and aligned." Jeeni, is the social music platform that brings artists closer to their fans, and shares revenue ethically. Jeeni is presently raising funds on Crowdcube and is 110% overfunded with 4 days to remaining. If you want to see our pitch click HERE.

01
Jul

Zeeteah Massiah - ‘Bad Guy’ Single Review

Zeeteah’s newest release is a genius reggae reimagining of Billie Eilish’s breakthrough hit, ‘Bad Guy’. Jeeni ambassador and long-term supporter, Zeeteah Massiah has now provided Jeeni with 21 individual pieces of her unique brand of jazz and reggae, all of which are available at her showcase. Her husband, Paul Caplin acts as both songwriter and producer for Zeeteah and the two of them have released two albums together, ‘Juice’ and ‘Maybe Tomorrow’. A certain level of musical depth and understanding is needed to undergo a stylistic transformation of an existing song. To some, it’s merely a process of downgrading the intensity and presence of the piece to a slow, acoustic setting. However, in a lot of these cases, the essence and arrangement of the pieces are largely unchanged. On the other end of that spectrum of effort and passion, you’ll find artists like Zeeteah Massiah who listened to the ‘Old Town Road’ dethroner and heard a hidden stylistic potential held in Billie’s hit that she knew would effortlessly make sense to any listener. Zeeteah set out to not just echo Billie’s Grammy-winning hit in a slightly different accent, but instead, wanted to transpose it into a completely different musical language. The result is a rejuvenated and refreshing take on ‘Bad Guy’ that has a vivid coat of Caribbean-styled paint applied to just about every element of the source material. Where the original was dark, somber yet playful, Zeeteah’s keeps just the playfulness for her rendition. The slow, creeping tempo compliments the lyrics and performance from Zeeteah in a way that could make you think that this might actually be the original. This almost sinister embrace of the villainous title is enhanced by the harmony that dips in and out of jazzy minor chords that keep the listener in a subtle state of unsettlement, and curiosity. As is to be expected from Zeeteah and her artistic proclivities, bright and colourful instrumentation commands the tone of this arrangement. Being the first component heard; a classic reggae drum roll makes the genre-shift immediately apparent. This Caribbean staple is then joined by its good friends; short offbeat guitar stabs and deep, bouncy basslines. In this introduction, we also hear a brilliant alteration from Billie and Finneas’ original arrangement. The quirky, recognisable synth melody heard after Billie’s isolated ‘Duh!’ is instead taken up by a muted trumpet, heard before the vocals even enter. This is a clever embrace of the fact that Zeeteah’s choice of cover is of course a colossal hit, so there’s no sense in shying away from its most recognisable moments. That melody is also expanded on later for a phenomenal trumpet solo towards the end of the cover that acts as a sort of replacement for the sudden shift in pace, heard at the end of the original. Considered a part of Billie Eilish’s brand as both a performer and a person, her vocals are often intentionally sleepy and low-energy, something that Zeeteah decided not to adopt for her interpretation. The vocal performance here is mischievous and rebellious to the core as opposed to Billie’s more disinterested and indifferent approach. Zeeteah also uses next to no effects on her voice compared to the first version, which is just as well because it would be a shame to distract from the raw talent and personality held in Zeeteah’s performance on ‘Bad Guy’. This task of reinventing one of the biggest hits from the last 10 years was a tall order, however, unsurprisingly, Zeeteah Massiah’s ‘Bad Guy’ is nothing but a triumph.

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