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Kathleen “Kristy Love” Brooks – The Soul of Rock n Roll

Kathleen “Kristy Love” Brooks – The Soul of Rock n Roll 

URL: kristylovebrooks.com/bio/ 

A natural outgrowth of Kristy Brooks’ stage musical The Legend of Kristy Love in the Soul of Rock ‘n’ Roll is the accompanying soundtrack album The Soul of Rock ‘n’ Roll which, as its title implies, aims to do nothing less than survey the vast expanse of stylistic variations rock music is capable of while remaining a focused, coherent effort. Her attempt is uniformly successful. Brooks is, obviously, a seasoned vocalist, writer, and performer who only abides by personal restrictions, never any arbitrary ideas of what sort of role her talents should slot into. She’s just as convincing with sultry, slow evolving R&B as she is with its funkafied counterparts and even tackles straight up radio rock with a total command over the material. Her earlier recordings with the RCA label, a stint with The Platters, and countless live appearances over the years have sharpened her skills into something capable of laying an audience open. She does so on The Soul of Rock ‘n’ Roll with immense results. 

“Keep On Believing-Believe In Yourself” sends the album into the stratosphere from the first. This is a rousing reminder to empower yourself through faith in your own uniqueness and gifts fate has seen to bless you with filtered through an invigorating musical arrangement. The majority of The Soul of Rock n Roll deals with R&B and soul in various permutations, but the sound on this song mixes R&B with gospel stylings to particularly memorable effect. “Good To See You” glows with genuine warmth and has some gently sparkling passages thanks to the contributions from synth and other keyboards raining down throughout the track. Brooks shows great sensitivity with her vocal. “Love Is On My Mind” gives listeners a thoroughly sensual, yet classy, musical and lyrical experience with Brooks giving a lightly theatrical and intensely atmospheric singing performance.  

“Get Smooth” has a nice, ambling dance groove and a strong reliance on recurring synth figures. The song balances a modern sound with some basic fundamentals that go back in the genre thirty years or more and there’s some first class backing vocals joining Brooks throughout the song. “Rainbow of Love” has a light reggae bounce without ever trying to slavishly imitate the musical style and Brooks only slightly twists her voice to attempt framing her phrasing in a manner complementary to the style. “Time for Love” is reminiscent of the earlier track “Good to Meet You” in the ballad-esque way it slowly unfolds for listeners and focus on lush melodic structures. “Find a Good Woman” is a great R&B mash up with some stronger than normal blues influence and an appropriately strong vocal performance from Brooks. The finale “Dream Your Dreams” forms a natural bookend with the album’s first song as it is another song aiming to stir the spirit and it’s impossible to quarrel with its positive message. It’s a great way to wrap up this album because it emphasizes a critical component of Brooks’ presentation – she doesn’t fall for the easy despair affecting so many performers in popular music and, instead, makes deeply personal music that shows us a better way.  

CD BABY: store.cdbaby.com/cd/kristylovebrooks6 

Michael Saulman

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Albert Cummings – Live at the ’62 Center

Albert Cummings – Live at the ’62 Center

URL: albertcummings.com/

Albert Cummings’ journey through the world of blues music has paid off with a loyal following allowing him the luxury of cutting a live album. His latest album Live at the ’62 Center draws the bulk of its material from his latest studio recording, 2015’s Someone Like You, but Cummins does an excellent job of providing his audience with a broad overview of his overall career and certainly makes a case that he’s every bit as talented as higher profile peers like Joe Bonamassa. The engaged crowd for this Williamstown, Massachusetts performance, Cummings’ hometown, clearly inspire Cummins more than a little and they are uniformly responsive to whatever he does. Live at the ’62 Center is a powerful audio document that makes a strong case the blues genre is as alive as ever, though its practitioners may not be as legion as they were thirty years ago or more.

Cummings likely wouldn’t deny it, but he’s got a rocker in his heart as well and the configuration of his band alone, including female backing singers and a prominent keyboard/organ role, tips his hand. The blues, naturally, forms a foundation for everything he does and the opener “500 Miles” illustrates that with ease. It’s blues, through and through, lighting up the song’s changes and informing its sound, but there’s a hard-charging swagger to the song that owes every bit as much to younger members of the musical family tree than Muddy Waters. Cummings isn’t all about the whiskey soaked hard loving blues rock style, thankfully. Songs like the album’s second cut “Finally in Love” and the later album cut “Cry Me a River” show off his softer side as a performer rather than marking him as bombastic blues lacking any subtlety. His enthusiasm for the music is apparent in his guitar solos, if nowhere else, and “Cry Me a River” is one of the more emotive moments of its kind on Live at the ’62 Center while the former track shows off some of the humor that’s an underrated ingredient in the best blues music.

“I’ve Got Feelings Too” continues that wont for incorporating some humor into the song’s for added heartbroken pathos and there’s a raucous go-for-broke quality coming off the band on this cut that’s impossible to ignore. It’s a very physical, raise the roof type of number and Cummings never cheats its need for energy. His Stratocaster driven lines are colorful, sinewy, and snap through the arrangements with electrifying results. Few songs illustrate the way his guitar can take over a song better than this track. “It Hurts Me Too” revamps a classic blues cover in Cummings’ own musical image and the results are memorable. The album’s penultimate number “Movin’ On” dives deep into some electrified swamp blues peppered with a funky bite and nicely seconded by the organ attack. Bringing these two instrumentals proves key to the success of many performances on Live at the ’62 Center and this is one of the most glaring examples of that. What a powerhouse blues album and it’s dosed with just enough rock and roll to get anyone bobbing their heads, tapping the feet, or shaking a white-knuckled fist in the air.

I-TUNES: itunes.apple.com/us/artist/albert-cummings/id22139012?ign-mpt=uo%3D4

Lance Wright

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Helen Kelter Skelter drop new LP

Helen Kelter Skelter drop new LP

YOU TUBE: www.youtube.com/watch?v=C6DgC1TCRgU

Melter, by the tongue and ear twisting Helen Kelter Skelter is their new album, their second release which make you long to hear their first album if you haven’t. Take the opportunity or start in the chronological order. It doesn’t make any difference because they’re chock full of everything that is good about all forms of rock, and the lighter side of it too. They seem to have it all and are taking no prisoners, or I am hearing things. Singer Eli Wimmer, bass player Cody Clifton, percussionist Scott Twitchell, guitarist Jay Jamison and keyboardist Tim Gregory, all rock with the best it takes.

Trip back in the mind to the 90s and then go all the way back to the 60s and you’re getting the picture of what they sound like. The album comes out flying right into your face on “21st Century” which is a track for all centuries by any measure. They loosely weave dance rock stylings with a surf and spy appeal. It’s a killer visit to the way back machine, like an amusement ride of melody and vocal swagger. There is nothing polished about it, but it sure sticks to the brain anyway. That’s something to find about HKS you won’t in very many out there, it’s contagious once you get wind of them.

“Gudd” plays like a signature track to demonstrate their dark side, and it’s something to get out of their system early on, so don’t lose sight of the prize with it. For some reason it sounds a little bit like Smashmouth with lyrics they’d never mature to. It’s very edgy but there’s something very likeable about it. And the album takes off from there with flying colors on “Palamino” with one of the higher standards kept on what is another slice of their own perfection. Their musical chemistry is fully displayed on this track which is a thing of beauty that reflects the title and pulls out all stops.

“Minding” is another story, with some guitar and keyboard passages of the jaw dropping level with some awe-inspiring work. They take you where nobody has in a while with songs that you can’t let go of once they sink in, and this is an up-front example of their ability to do so. It’s continued-on “75” but the pop side of his voice starts to surface more on this track, making it all-the more contrasting from the former but still complimenting it. One thing is for sure, these are all massively compelling tracks for all they contain and these two lead the bunch for my taste.

“Time Bomb” is where things turn and never look back, setting up the rest of the rocket to the moon of tracks. This is dirty and groove with drone dropping effects. If you like things dark, prodding along and moody, this is the token track for it. “Tracers” weighs in at about the same poundage but it’s the preferred mood of the two for me. Both do create the same level of magic, it just depends on whether you favor melodies to power chords. The album has it all for the rock fan and plenty for the alternative and the rest to dig into. It will turn you “Inside Out.”

SPOTIFY: open.spotify.com/artist/2w78FQxMnyQff7CjvW2oZ5

Randy Jones

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nuCalee




nuCalee

From the former Audio Lead of The Sims3, nuCalee is a mixture of jazz\rock\funk\techno. All instruments by Jeff Lillard, except where guest artists are noted.

store.cdbaby.com/Artist/nuCalee


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Brian Hutson – Midnight Sessions

Brian Hutson – Midnight Sessions

URL: brianhutsonmusic.com/

Midnight Sessions, a five song EP release, does something that few pop oriented releases can ever manage – exhibiting full on pop music appeal while still speaking to adult concerns, all in an entertaining fashion. Hutson’s vocal chops are unquestionably the centerpiece of the release, but he’s well backed by some expert musical performances that err on the side of brevity and, in turn, create a stylish and often elegant musical landscape for his voice to inhabit. Renowned producer Joe Vulpis has an outsized influence on the presentation of Hutson’s music and he wisely emphasizes Hutson’s phrasing and emotive edge while still keeping the instrumental virtues firmly in focus. Midnight Sessions has nice atmospherics, as well, and Vulpis works with Hutson to show quite a steady hand in this regard; not a single song can be heard as self-indulgent in this regard. Instead, Brian Hutson’s debut EP builds on the promise of his first single and shows this promising vocal talent and songwriter taking the next necessary step into his future.

“Break My Heart” introduces the EP in a way sure to provide comfort for first time listeners. Hutson places his audience in recognizable territory, both in terms of music and subject matter, while impressing with stylistic choices and a personality that are all his own. Piano is the primary instrument on this song, but it never overwhelms the other instruments and, instead, the song reveals Hutson as a steadfast adherent of blending various strands into a wider ranged, coherent whole. You might expect, based on title alone, “Kiss Me Feel It” to be a far jauntier number, but Hutson opts for keeping emotion on a low but steady simmer throughout the entirety of this tune. He leans on guitar more here and it’s recorded quite nicely – detail and warmth alike help make it one of Midnight Sessions’ more memorable musical performances.

INSTAGRAM: www.instagram.com/brihutson/

“One Night Stand” continues the same mood as the previous two numbers, especially during the verses, but producer Joe Vulpis and Hutson earn our attention and respect with an exhortative chorus that connects more solidly than virtually any other single instrumental passage on Midnight Sessions. We hear a bit more of his songwriting sleight of hand as what the title suggests about its lyrical content really has nothing to with the lyrics at all. “Behind the Wall” is a much harder pushing tune than anything else on the EP, bonus truck included, and sports some particularly big guitars to drive home its sentiments. Hutson ramps up his singing for this one, as well, and throws himself into the song with abandon. “Keep the Faith Alive” is deemed a bonus track, but what is typically a bit of filler on many releases is, here, a viable part of the EP as it was released and finds Hutson in an interesting moment of self reflection as a listener and winning over listeners with a show-stopper vocal. It’s the final crowning achievement on an EP certain to turn ears in his direction.

Photo Credit – Zachary Shapiro

SOUNDCLOUD: soundcloud.com/brihutson/sets/midnight-sessions/s-9nAIq

Dale Butcher

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Theo Czuk – The Black Bottom

Theo Czuk – The Black Bottom

URL: tedczuk.com/

Theo Czuk’s album The Black Bottom definitely seems like a near obsession for the artist that resulted in a full length album chock full of original compositions and even a novel exploring some of the same subject matter. His ambitions for the album aren’t small. The Black Bottom seeks nothing less than a panoramic overview of jazz and its many different styles while still serving to audiences a coherent and complex collection that remains accessible to the widest possible listener base. Theo Czuk has succeeded on all counts. The dozen songs on this collection dazzle with the sheer variety of their approach and Czuk keeps the material working on a very accessible level throughout while never pandering to the lowest common denominator in an attempt to attract listeners. The Black Bottom is a remarkable musical experience in an era where such experiences are increasingly paltry and stands as Czuk’s most substantial achievement yet as a recording artist.

The album begins with its first instrumental and title song “The Black Bottom”. Czuk strikes pay dirt for the first time thanks to a fantastic bass line that anchors the track, top notch percussion accompaniment, and some appropriately restrained yet substantial keyboard contributions. Many of the songs on this release will succeed with jazz newcomers because, despite his pursuit of authenticity, Czuk orchestrates these songs in a way recognizable to anyone who’s heard a rock song and the first instrumental is a key example of this. “Cold Corridor” is the album’s first song with vocals and lyrics. It’s another home run for the release thanks to the abundance of concrete details in the lyrics and the familiar, albeit grim, world they paint a picture of. There’s a hint of the hard boiled or noir creeping in along the edges of his lyric that makes for a strong atmospheric experience. “Mi Casa Bossa” demonstrates, via its title, some of the humor that’s one of The Black Bottom’s strongest qualities, but it also demonstrates the band’s versatility by tackling a jazz/Caribbean/Latin mix that takes considerable chops to pull off – but Czuk and his musical partners make it sound easy.

“Let It Swing” has some of the qualities we’d associate with a musical workout rather than a traditional singer/songwriter styled piece but it doesn’t stick out like a sore thumb because of it. Instead, the song occupies a place as an enjoyable diversion and a testament to their considerable musical talents. Though it should be interpreted as no slight to Czuk’s songwriting powers as a lyricist, “Lunch Wagon on Highway 57” stands out as one of the best marriages of music and words on the album and Czuk gives us a superb reading of Kenneth Patchen’s original poem set to a memorable musical arrangement. “Good Night’s Sleep” has some humor and lyrical bite alike, plus ample musical energy, and “Pi to the Nth Degree” rates as another of The Black Bottom’s best instrumentals while exhibiting a different, denser sound than we heard on earlier cuts. The Black Bottom is an important work, more than just reverential, and will garner Czuk a more sizable following than ever before.

CD BABY: store.cdbaby.com/cd/theoczuk1

Scott Wigley

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Teen Rapper with Sophisticated Mentality




Teen Rapper with Sophisticated Mentality

Embarking on imagination, rapper Aynjewl Faycc (Angel Face) “Gem of the Cloudz” was raised to believe in angels. This type of “IQ” gave way to intellectual enhancement that many children have been conditioned to shut out. Through her music, Faycc expresses her journey as a way to remind others of celestial wisdom with logical form. In 2007 the Street Light album was a complete recorded collection of key beliefs Faycc identifies with.

Today Aynjewl Faycc is 27 years old, but the messages are so prevalent she has remastered the recordings the best she could under her label I.Q. Productionz. Street Light is now available on iTunes and Spotify for a gold mine of coded philosophy released from a young, fresh 14-17 year-old’s world.

The lyrics are what makes the content because the beats are all originally produced; mostly from the Fruity Loops program and some of them are pretty out there! In her song Streetlight, Faycc attempts to have drastic tempo changes- check it out to see if she pulls it off!

aynjewlfaycc.wix.com/aynjewlfaycc


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MELEKEL

Image Link

Media Type: Digital

GTIN: 096962290399

Description:
Melekel is on a mission to record and perform Reggae Dancehall music in the great tradition upheld by all other members of the Jamaican music fraternity and is aided by the integrity of the drum and musical accompaniment , linguistics and culture; this album Marriage To Dancehall is a classic.

Link: melekel.com/the_numbers_man_cd/

A.K. Murderwright




A.K. Murderwright

Join A.K. Murderwright on a comedy Wild West mini-musical adventure as he takes you by the hand to meet the odd lot of characters that grace the streets of New West Town.

www.AKMurderwright.com


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Frostylocks




Frostylocks

I am Frostylocks—the minstrel, bard and jongleur who travels from Faire to Faire (Renaissance, Medieval, piratical, fantastical, Victorian, Wild West) serenading patrons in the lanes and creating Living Art. O, the beautiful lanes!—the warm gooey center of crowds from one to large where entertainment spawns raw and real. Where I pass out music and improv like chocolates, and hilarity explodes into the cosmos. Where it is you and I, and the outside world pauses for a few precious moments so we can have some fun together.

www.Frostylocks.com


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Da Rap Game Is On Notice

Image Link

Media Type: CD (Physical Disc)

GTIN: 096962323011

Description:
Igno first Solo Release project.

Link: astringmusicstore.bandcamp.com/album/da-rap-game-is-on-notice

The Acoustic Music of Raven and Red Soars on New CD, We Rise Up, Out February 2, 2018




The Acoustic Music of Raven and Red Soars on New CD, We Rise Up, Out February 2, 2018

Mark Pucci Media
FOR IMMEDIATE RELEASE
Contact: Mark Pucci (770) 804-9555 / mpmedia@bellsouth.net

The Acoustic Music of Raven and Red Soars on New CD, We Rise Up, Coming February 2, 2018, on
Line Crossing Records

NASHVILLE, TN – Acoustic trio Raven and Red announce a February 2, 2018, release date for their new CD, We Rise Up, on Line Crossing Records. Originally from Georgia and Pennsylvania and now based in Nashville, Raven and Red is comprised of Brittany Lynn Jones – lead and harmony vocals, 5-string violin, tenor guitar, mandolin and banjolin; and brothers Mitchell Lane – lead & harmony vocals, 6 and 12-string guitars; and Cole King – harmony vocals, mandolin. Special guests on We Rise Up are Paul Leech on electric, upright bass and cello; and Justin Collins on drums and percussion.

“‘Living and Loving You’ is the first song we finished writing together and it describes the feeling of coming to a crossroads in your life and having to make difficult decisions when you don’t feel ready,” says Mitchell Lane. “Do you make a commitment to a loved one and create a life with him or her, or do you pursue your dreams–even if it means having to leave that person behind and risk it all?”

Raven and Red combines elements from all of their different musical influences into their songwriting and the songs featured on We Rise Up. “We find it difficult to really narrow down our style into one particular genre,” observes Mitchell. “We have so many influences, from John Denver and Jim Croce to Tim O’Brien to classic rock and back to Bach. We are still learning from each other every day and developing our signature sound. This album is one milestone in our musical journey.”

“So many of our musical influences seemed to flow into these songs naturally,” explains Brittany. “We listen to so many different genres, and I think that can be heard within our music. Each song adds its own distinct sound and emotion to this album.” Although We Rise Up blends Americana, folk, classic country, bluegrass, Celtic and bits of classic rock and pop, Raven and Red has created a sound of their own. “We love songs that tell true stories. Many of the songs on this album are inspired by true stories, but even the fictional stories reveal human truths that are familiar to everyone,” adds Brittany.

This is the trio’s first album of original music. “When we began writing, we had no idea how our music was going to progress and develop over time,” admits Mitchell. “At the end of 2014, we moved to Nashville and slowly began writing these songs between 2015 and 2017 amidst a busy touring schedule. The writing process came together quicker than we thought it would, and we discovered that we really enjoy writing and the feeling of completing songs.”

Mitchell’s lead vocals are exceptionally clear and strong, and with Cole’s harmony as an anchor, Brittany’s rich, mellow voice is the perfect complement to the pure singing heard throughout the album.

Raven and Red began as a duo with Brittany and Mitchell. Cole King, Mitchell’s youngest brother and currently an 11th grade student at Woodward Academy in Atlanta, soon joined the two on mandolin and helped to fill out the group’s three-part harmonies. Cole was only 13 years old when he began performing with the band. “I was so excited to be a part of Raven and Red,” enthuses Cole. “Brittany and Mitchell were very influential for me musically, and I was ready for anything.”

“As a group, we are very focused on our vocals,” says Brittany.” We enjoy arranging harmonies and writing melodies that capture the lyrics in our songs.” “Cole’s voice creates a smooth blend, accentuating the harmonies, and his learning to play violin in school translated seamlessly to the mandolin,” adds Mitchell.

On the CD, Brittany uses the fiddle and tenor guitar to weave in and out of the musical phrases, smoothly connecting the songs’ transitions together. Her fiddle playing gives each song what it needs by varying between bold, innovative solo lines and sensitive, lyrical melodies. “The fiddle is an important part of our sound, and it really sets the tone for the band. I think the mandolin helps to add that folk element people want to hear, and nothing sounds quite like it,” Cole states.

We Rise Up represents a collage of musical ideas and memories that the trio shares from traveling and performing together. “After writing the title track, ‘We Rise Up,’ we realized that many of the songs share common themes, including love, heartbreak, admiration, and self-reflection. ‘We Rise Up’ completed the album as the final song. We wanted it to have a positive message that anyone could relate to about overcoming obstacles and struggles and persevering–something everyone has to go through in their lives. We also wanted it to sound catchy and fun at the same time with lots of harmonies and instrumental solos throughout the song,” Mitchell states.

For more info, visit: www.ravenandred.com

www.ravenandred.com


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Sombras blancas (White Shadows), piano album by J M Solare




Sombras blancas (White Shadows), piano album by J M Solare

Sombras blancas (White Shadows) is the tenth studio album by Argentine composer & pianist Juan María Solare. Released on 19th November 2017 on the Janus Music & Sound record label.
Genres & Styles: Classical, Neo-Classical, Contemporary Instrumental, Solo Instrumental

Listen on Spotify: open.spotify.com/album/5ElRtKQhuaTyl8vKiyEyZv
Listen on Deezer: www.deezer.com/album/51379892

The paradoxical term sombras blancas (White Shadows) can refer to problems in life that don’t leave negative sequels or by-products. It also means: foreshadows of good things to come. And if shadows are like a mirror of our bodies (or souls), a “white shadow” reflects the luminous part of us.

Translated into everyday language: it’s about music that underlines our most positive aspects. Entertaining, but with depth.

Casually, many of these white shadows are related to women that were or are important in the artist’s life, and not only couples or unfulfilled loves: Edelmira and Flora were his nannies in his first months and years of life.

The phrase Sombras blancas stems from a poem by Barthold Hinrich Brockes (Hamburg 1680-1747), “Kirschblüte bei der Nacht” (Cherry blossoms at night), where an extreme, celestial whiteness is described, and where one of its lines says “sogar den Schatten weiß und sonder Schwärze hat” (even the shadow is white and void of any black). A nice thought, albeit extreme utopian, since absolute whiteness -immaculate perfection- belongs to angels, not humans.

Credits:
Pianist: Juan María Solare
Recording Engineer: Juan María Solare
Mastering: Finn Halle (www.dubcity.de)

Cover Art: Alban Low (www.albanlow.co.uk)

Liner notes: Juan María Solare
Producer: Juan María Solare

(C) & (P) Juan María Solare.
All rights reserved
Label Janus Music & Sound (LC-24894), catalogue number JMS-014
juanmariasolare.com/CD_sombras_blancas.html

juanmariasolare.com/CD_sombras_blancas.html


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MICHAELSTAR “NO BEHAVIOR” RELEASES ON NEW YEAR’S DAY!




MICHAELSTAR “NO BEHAVIOR” RELEASES ON NEW YEAR’S DAY!

Atlanta, GA — MICHAEL STAR “NO BEHAVIOR” RELEASES ON NEW YEAR’S DAY and will be available on iTunes, Spotify, Google Play and Amazon Music.
Michael Star’s latest single, “No Behavior” a Pop / Dancehall / Tropical House / Afro-Beat track is sure to get everyone up and keep then on the dancefloor.
In this follow up single, “No Behavior” Michael Star is a maturing young man that loves the finer things in life such as fashion, exotic cars & making money. But he unwittingly develops a crush on this mysterious woman he met while out at the nightclub. They become romantically involved only find out she is somewhat of a “Gold Digger” that love to date men with money so she knows how to get what she wants. Will Michael Star fall into her trap like the others or will she be the one played?
Michael Star is an Atlanta based Pop/ R&B artist that started at a very young age, inspired by his father, Mikey Spice, a well-known reggae artist in Jamaica. Along with Usher, Chris Brown, Bobby Brown and the Temptations. Michael Star’s voice has been compared to Stevie Wonder or a smooth tenor like Charlie Wilson, and Chris Brown. He is not only a musician, but a songwriter, actor, dancer, and anti-bullying advocate.
For more information, press only:
The O’Kelly Factor
678-431-6462
madamepublicist@gmail.com
“No Behavior” available on January 1, 2018 iTunes, Spotify, Google Play and Amazon Music

michaelstarmusic.com


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Genius 30

Media Type: Digital

GTIN: 096962321895

Description:
Genius 30 is an Artist from the suburbs of Chicago and on this song he displays his ability to rock out a show like a Rockstar!!

Link: soundcloud.com/genius30

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