The Nomadic Pays Tribute To New York With Its Latest Single

Courtesy: O’Donnell Media Group

The Nomadic debuted its latest single this week.

The group, founded by Robert Gaylard, debuted its new single ‘Manhattan View‘ Friday.  The song is the act’s fourth single.  It follows the release of the songs ‘Drifting,’ ‘Waiting‘ and most recently, ‘Beyond Blue.’

The musical arrangement at the center of ‘Manhattan View’ is a light, airy work founded in its piano line.  Separate, subtle guitar and bass lines (and apparent harp, too) join with Gaylard’s equally gentle vocal delivery to make the song appealing to fans of acts, such as Train, Peter Cincotti, and Jamie Cullum.

The song’s lyrical theme will leave listeners with a positive feeling, too, according to Gaylard.

“The song is my ode to New York, a city that has become like a second home to me, where there is something magical in the air, something so amazingly creative that you feel like absolutely anything is possible!,” he said.

‘Manhattan View’ is just the latest single that Gaylard had plans to release. He also has plans to release the singles, ‘Walk The Streets,’ ‘Grand Mistakes’ and ‘Under a Georgia Sky’ as the year progresses.

More information on The Nomadic’s new single and upcoming music is available online along with all of the group’s latest news at:

 

Websitehttp://thenomadic.band

Facebookhttp://www.facebook.com/TheNomadicBand

 

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Keegan Calmes Debuts New Single, ‘Broken Heart’

Courtesy: N43 Records

Independent singer-songwriter Keegan Calmes premiered his latest single this week.

Calmes debuted his new single ‘Broken Heart‘ Friday.  The song, from the ex Vinyl Theatre singer, features a gentle, piano-driven arrangement that will appeal to fans of acts, such as John Mayer, Peter Cincotti and Ben Folds.

The song’s lyrical theme is centered on the familiar topic of a broken relationship, according to a statement from Calmes in a recent interview.

“‘Broken Heart’ is a culmination of a year of soul searching; Trying to pinpoint who I am and what is most important to me intrinsically,” he said.  “This is that ‘aha’ moment for me in trying to both define my sound and work through past emotions. It’s a song about loving someone after your love as ‘one’ has expired. And in that lingering love, you decide to always wish them the best. And when you see them again, to smile with love although your love together will never be again.”

Calmes co-wrote ‘Broken Heart’ with Steven Pitzl and Timothy Wolf.  The song was produced by Four Giants.

More information on Keegan Calmes’ latest single is available along with all of his latest news at:

 

Facebook: http://www.facebook.com/KeeganCalmes

Twitter: http://twitter.com/KeeganCalmes

 

To keep up with the latest entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

 

The Secret’s Out: Nikki Yanofsky Proves She’s Ready To Break Out On Her Latest LP

Courtesy:  Caroline Records

Courtesy: Caroline Records

At only 19 years old, Canadian-born singer Nikki Yanofsky has already recorded and released three full length albums and gained a fan base from around the world.  So it goes without saying that by and large Yanofsky, who has worked with big names including: will.i.am, Herbie Hancock, Phil Ramone, and Elton John just to name a few, is anything but a secret to audiences.   This summer, Yanofsky released her aptly titled fourth full-length studio effort Little Secret.  The little secret revealed in this record is that Yanofsky isn’t just a jazz singer.  Just as Norah Jones eventually branched out, so has Yanofsky.  And just as Jones’ fans became divided when she started branching out, so have Yanofsky’s, too.  Fans have either gotten totally on board with this record or they have completely disavowed it.  Those fans that disavowed Little Secret have obviously failed to see…er…hear that she has not abandoned her jazz roots on this record.  Rather, she has taken those roots and shown her ability to grow as an artist while maintaining them.  That is evident more than once throughout the course of this album’s dozen tracks.  One of the songs that proves this is her take on David Houston’s 1967 hit single ‘You Mean The World To Me.’   There is also a retooled version of the jazz standard ‘Jeepers Creepers’ simply titled ‘Jeepers Creepers 2.0’ that audiences should take into account.  Whether for the re-tooled take on ‘Jeepers Creepers’ or her take of ‘You Mean The World To Me,’ audiences that give this record a chance will hear and agree that Yanofsky hasn’t lost her jazz roots.  At the same time, they will also agree that she has grown and branched out.  That is evidenced both in the album’s fittingly titled opener ‘Something New’ and its closer ‘Kaboom Pow.’  These songs by themselves prove that Yanofsky has not forgotten her roots but rather taken them and grown with them.  And together with the album’s remaining songs not noted here, audiences new and old alike will agree that Little Secret is deserving of far more credit than some have given it.

Little Secret has proven to be quite the divisive record among Nikki Yanofsky’s fan base.  There has been no gray area with this record.  Audiences have either hated it, claiming that Yanofsky has essentially sold out and forgotten her jazz roots or they have loved it noting her growth.  This critic chooses to take the side of those noting her positive growth.  Yanofsky shows on this record that she hasn’t forgotten her jazz roots.  She has merely taken them and grown with them.  One example of that display comes in her rendition of the jazz classic ‘You Mean The World To Me.’  This song is a  wonderful and beautiful break from the album’s more pop-centered songs.  It is a slow, gentle song perfect for a romantic moment with yanofsky singing, “I think about you all the time/I think about how you’re all mine/How only I can hold your hand/And you’re the one I call my man/And you mean the world to me/Everytime I feel your touch/Boy it gives me such a rush/And every time you stroke my hair/It sends shivers everywhere/I think about you and your smile/I think about the longest smile/Then I would run to get to you/I know that you would do that, too/Cause you mean the world to me.”  The gentle strains of the piano and laid back beats make the song even more enjoyable.  Regardless of the occasion, this is a great song for that special, romantic moment.  And it is one piece of evidence in the argument that Yanofsky hasn’t lost her jazz roots on this album.

Yanofsky’s take one ‘You Mean The World To Me’ is solid evidence that she has not lost her jazz roots on this, her latest full-length studio effort.  Those perhaps not yet convinced need look no farther than her updated take on the jazz standard ‘Jeepers Creepers’ for even more proof that she has not lost her roots, but used them to grow as a performer.  ‘Jeepers Creepers 2.0’ takes the jazz standard and brings it into the 21st century with her take of the song here.  She sings alongside jazz legend Louis Armstrong who popularized the original Harry Warren/Johnny Mercer tune in this rendition.  The pairing of the old and new is enhanced even more with the placement of some decidedly poppy beats over the whole thing.  The end result is one more song proving how much Nikki Yanofsky has grown on this record.  It’s also one more of the album’s songs that proves why Little Secret is a great candidate for a spot on any critic’s list of the year’s best new pop albums.

Despite what so many would like to believe, Nikki Yanofsky proves more than once on her latest full-length studio release that she has not lost her jazz roots. Rather she has shown how much she has grown on this album.  That is evident in both of the already noted songs.  While she proves that she has not forgotten her jazz roots, she also proves just how much she has grown as an artist and branched out as she has gotten older and more experienced with her craft.  She proves this just as much as she proves her continued connection to her jazz roots.  One of the best examples of that growth comes in the form of the album’s aptly titled opener ‘Something New.’  This song is right up there with songs from so many of Yanofsky’s bigger name counterparts that currently run on the nation’s biggest radio stations.  Audiences that give this song a chance will recognize a very familiar sample used as the song’s backbone.  It is the same sample used as a music bed in actor Mike Meyers’ hit Austin Powers movies.  The album’s closer ‘Kaboom Pow’ is just as aptly titled.  That’s because it closes out this surprisingly impressive album with a bang.  As with the album’s opener, it is catchy enough that it could easily hold its own against any major song playing across America’s major Top 40 station’s today.  Yanofsky’s vocal abilities are incredible to say the least, especially when she hits the high notes in this song.  It is truly something that must be heard to be fully appreciated.  Those talents, the talent exhibited in the album’s opener, and that of her jazz renditions show collectively a solid balance of Yanofsky’s past, present and future.  They prove together that she has not lost her roots nor has she forgotten them.  She has simply taken those roots and grown with them and released an album that is far more worthy of praise than some would seem to believe.

Nikki Yanofsky proves with Little Secret that she is more than just a jazz singer.  She is a multi-talented vocalist that could go any direction that she wants in her future releases. Regardless of the direction that she chooses or the support (or lack thereof) that she gets from America’s Top 40 stations, this record has proven that the secret is out.  Nikki Yanofsky is one of the best young vocalists in American music today.  Audiences that give Little Secret a chance will agree with that sentiment, too.  Yanofsky is currently touring in support of Little Secret.  Audiences can check out her latest tour schedule online now and keep up with her latest news updates online at:

Website: http://www.NikkiYanofsky.com

Facebook: http://www.facebook.com/nikkiyanofsky

Twitter: http://twitter.com/NikkiYanofsky

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Peter Cincotti successfully re-invents himself again on new lp

Peter Cincotti is quite the interesting artist.  Audiences and critics alike likened him to the next Harry Connick, Jr. on the release of his first two records.  Then on his third full length release, “East of Angel Town”, Cincotti surprised everybody by re-inventing himself in a more pop sense.  Now with his fourth full length release, “Metropolis”, Cincotti has re-invented himself yet again.  “Metropolis” is an interesting mix of pop sensibility and borderline techno that even brings along some elements of “East of Angel Town.”

The album’s opener/title track is a techno-esque piece is unlike anything that Cincotti has recorded before.  But it’s a fitting open as it lets audiences know right up front that this is an entirely different record from his previous releases.  He follows that up with a straight forward rock style song in ‘My Religion.’  He sings of how he simply can’t get a certain woman out of his mind in this piece.  He sings, “I’m making you my religion.”  That’s not to mean he’s obsessed with said woman.  Rather, he’s just all about her.  The dance/rock combo style makes for a really interesting listen.

The first two songs on “Metropolis” are quite the change from the sound on Cincotti’s first three albums.  And just when listeners think that Cincotti can’t change things up any more, he switches gears again on ‘Do or Die.’  This song is an excellent radio friendly single that could help to springboard Peter Cincotti to major mainstream fame.  In ‘Do or Die’, Cincotti sings about trying to figure out how to talk to a woman in whom he’s interested.  He sings, “It’s do or die\for you and I\I can’t let it just pass me by\without knowing\if we’ll ever get together…I need a topic of conversation\Something a little more than\ hi, how ya doin’ laet me get your number\Don’t wanna be that guy.”  He goes on about what he’s thinking in his head what he could say to strike up a conversation with the woman in question.  The catchy little keyboard riff near the song’s end adds a little “spice” to the song.  It makes it that much catchier and poppier. If ever there were a lead off single for this album, ‘Do or Die is it. 

‘Do or Die’ isn’t the only radio ready single on “Metropolis.”  ‘Nothing’s Enough’ is another great song.  It comes across as social commentary of sorts on our obsession with excesses. Hee sings, “I’m on by blackberry while I’m running on the treadmill/on my bluetooth talkin’/trying to keep my head still/Got the tv on/flippin’ through the channels browsin’/Why stay on one when ya got 2,000.”  He also makes mention of people that don’t stay faithful in their relationship because they just have to have more than that one person.  As poppy as the song is, it comes across as a scathing indictment of our culture of excess, warning of the dangers of it.  The combination of the catchy music and the hard hitting lyrics makes this another of the highlights of “Metropolis.” 

Speaking of relationships, another of the album’s highlights is another relationship based song in ‘Fit You better.’  Cincotti sings on this song, “We’re the perfect opposites\When you gonna see?\No one goes with you better or gets you better\No one’s ever gonna fit you better than me.”  The funny thing of this song is that it’s in direct contradiction to ‘Do or Die.’  With ‘Do or Die’, listeners got a glimpse of someone who was really nervous aroudn a certain female character.  ‘Fit You Better’ presents a male lead who is much more self confident.  And he lets his female interest know it.

While ‘Do or Die’ and ‘Fit You Better’ show two entirely different sides of a certain individual, there’s one more song that shows a wholly different side in itself.  That song is ‘Forever and Always.’  Cincotti sings on this track, “I tried like hell to fight this feeling\told myself, it’s nothing more\than just another phase I’m going through\I tried to keep it nice and simple\be the guy I was before\And not do anything he wouldn’t do\But everytime I’d pull in the reins\go back to short term me I used to call it\it’s not the same.”  This isn’t the first song of its style.  But there’s a certain catchiness to the music that makes it another great, catchy up-tempo radio ready single. 

“Metropolis” is quite the change for Peter Cincotti from his self titled, jazz themed debut record that was released over nine years ago.  In all the changes that he’s shown from that debut to where he is now, Peter Cincotti has proven why he is the great artist that he is.  He reinvents himself, rather than taking the easy way out and being redundant with his sound.  If the key to comedy is timing, then he has proven that the key to sucess in the entertainment business truly is originality.  He has taken risks over and over.  And every risk has proven a good one.  This time is no different.  Even if it doesn’t break him out to mainstream pop success, “Metropolis” has proven Peter Cincotti to be not only one of the best jazz or pop artists of the current era, but one of the greatest artists period of his time.

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