by Kaitlyn Hamer | Apr 5, 2017 | Uncategorized
January 16th, 2017 — (Santa Monica, CA) — Interscope Records’ La La Land: Original Motion Picture Soundtrack — which features songs from the original musical film, La La Land, from Lionsgate’s Summit Entertainment label and starring Emma Stone and Ryan Gosling — has leapt to #1 in pure album sales and #2 overall on the Billboard Top 200 album chart. In addition, the album comes in at No. #2 this week overall with over 42,000 album equivalent units.
Listen to the soundtrack HERE.
The massive surge comes the week following the 2017 Golden Globe Awards where the film, which was written and directed by Academy Award® nominee Damien Chazelle, took home a record-breaking seven awards, winning in each category in which it was nominated, including best musical/comedy film. The composer Justin Hurwitz won for “Best Score,” as well as “Best Original
Song” with lyricists Benj Pasek and Justin Paul for “City of Stars.”
The La La Land film soundtrack and score has earned raves reviews, with Entertainment Weekly noting that “composer Justin Hurwitz’s songs (especially the dewy ‘City of Stars’) have both an intimacy and an occasional irony that act as counterweights to all of the razzle-dazzle we’re taking in with our eyes.” GQ called the film “gorgeous, romantic, and unabashedly sentimental,” while Rolling Stone called it “sheer perfection” and “the movie of the year.”
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by maggie coutu | Feb 23, 2016 | Uncategorized
[embedyt] http://www.youtube.com/watch?v=8ybJf0y3Vps[/embedyt]
[wp-review]
The overnight sensation “Lost Boy” took the world by storm with its thought-provoking and emotional lyrics. “Lost Boy” carries emotional lyrics accompanied by a beautiful piano that leave the listener in tears. New to the songwriting world, Ruth B makes an astonishing impact with this beautiful song that eloquently describes the true lost boy, Peter Pan. The music video, although nicely accompanies the lyrics, does not go above and beyond to impress the viewer. What the music video lacks, the song makes up for with its eloquence and beauty.
by maggie coutu | Feb 23, 2016 | Uncategorized
So much has happened so quickly for 20 year old Canadian singer /songwriter Ruth B. You might think her beautifully rendered viral hit “Lost Boy” has transferred its notions of ‘arrival’ to her own personal story, but it’s the song that takes flight under Ruth’s stunning vocal command. Blessed with keen songwriting instincts and intimate phrasing, there’s a touching heartache to the artist’s delivery that brings authenticity to every whispery verse.
Note the organic way she went about posting the first staggered snippets of “Lost Boy” on the short-form video sharing service Vine – looping snatches of the song in haunting, six second reveals. Such patient handling reflected the quiet confidence in her own muse – a crucial indicator as to how a complete unknown could go on to garner nearly two and a half million followers on YouTube, blaze a self-propelled sales-trail on iTunes, and ink a major label record contract all in a six month window.
Despite her strength for piano-tinged ballads, Ruth’s music is never subdued. She elicits an enlivened narrative on “Lost Boy” that glides over her striking piano accompaniment and the trill of her mesmerizing vocals. Ruth also recorded a host of other songs she wrote in a burst of creativity after “Lost Boy” caught the attention of viral music fans. Lyrics tumble out with amazing profundity on the radiant gem “Golden,” a grateful confessional that captures her hypnotic delivery and sparingly delivered arrangement, as does the sultry tremble of “Dandelions” – also tenderly crafted; And then there’s the uplifting cascade of “Young,” a gentle, tumbling anthem of hope that is sure to inspire the Vine generation that embraced her; All effortless story-songs that place her in the company of a prescient lineage of evocative female singer/songwriters such as Janis Ian, Norah Jones, and Sarah Bareilles; Artists who grasped early on in their careers how the power of understatement can translate into sublime emotional richness for the listener.
Ruth recognized the power of storytelling at a young age, always reading and writing stories growing up. “It’s funny but I always remember thinking, even when I was a little kid, that music was what I was called to do,” she says. The immediacy and connectivity of social media’s role in her incredible rise, notwithstanding – you get the feeling there’s an old soul lurking deep inside the Edmonton native. She is quick to cite her Ethiopian heritage, another patch in the quilt of bold threads infusing her songs with that magical blend of innocence and gravitas; All the more remarkable when you realize she only took up songwriting less than a year ago. “I took piano lessons for five years starting when I was 8 years old, so I always used music as my solace whenever I was feeling lost or inspired or bubbling over and needed to express myself. But as far as sitting down and completing whole songs, I only began to seriously write this past January.”
Ruth’s tightly knit family life and solid middle class upbringing grounded her. Being able to attend a new public school for her senior year of high school also galvanized her creatively. “The new school was a lot more diverse,” she says, which led to a wide range of musical influences, “from Lauryn Hill to the Beatles.”
“After starting to use Vine right out of high school, little by little, people started to follow me. People gravitated more towards my six second originals versus the covers”. The idea for “Lost Boy” evolved after a friend suggested she watch the TV drama Once Upon A Time. “I don’t know why she suggested that show,” marvels Ruth, “but it had been on for a couple years so I binge-watching on Netflix to catch up. One of the seasons had a Peter Pan storyline, and the next thing I knew I was down at my keyboard making up the first couple lines to what would become ‘Lost Boy.’ It just seemed to come out of nowhere.”
Ruth was sufficiently inspired to post a snippet of her singing the first part of the song on Vine. Positive comments followed immediately, with fans urging her to finish the song. She had surpassed 80,000 likes by the end of the week, and continued to add to the newly-crafted “Lost Boy.” Ruth completed the track and posted it on YouTube, waking up the next morning to more than 100,000 views. That was in January of 2015. “Lost Boy” would make the kind of viral impact that changed Ruth’s entire life virtually overnight.
by clare | Nov 12, 2015 | Uncategorized
“Do you have an auxiliary cord?” the grown-up tween idol asked her driver on a recent Monday afternoon, queuing up a Spotify playlist (“It’s kind of all over the place”) and reaching into the front seat to crank the volume on a Christian rock song. One Direction, Nicki Minaj and the indie group Chromatics followed.Ms. Gomez, like seemingly every other 23-year-old in the country, scrolled inattentively through Instagram and agreed to order sushi via an app as she rapped along to Drake under her breath (“Trigger fingers turn to Twitter fingers …”).
If she hadn’t recalled her stint, at the age of 7, on “Barney & Friends,” it was almost possible to forget Ms. Gomez’s child star bona fides: four seasons of a popular Disney show, “Wizards of Waverly Place”; four studio albums under the company’s music arm, Hollywood Records; and a soul-draining teen romance saga with Justin Bieber. But that’s all in her past now — sort of.
In an attempt to declare her rebirth as an independent, confident adult woman, Ms. Gomez will release “Revival,” her first album for Interscope, on Oct. 9. Yet while the music’s thematic awakenings (personal, professional, sexual) are meant to supplant her previous personas — tidily packaged goody-goody in her work, baby bird with broken wings in the tabloids — the songs are also savvily exploiting those same public stories and preconceptions. As Ms. Gomez sings on the album’s opener: “What I’ve learned is so vital/More than just survival/This is my revival.”
The risk, however, is getting bogged down in past associations that threaten to eclipse her obvious growth as a performer. So Ms. Gomez must mine her experiences while trying to avoid a pop star identity that’s only refracted through others, be it Mr. Bieber or Taylor Swift, her longtime industry BFF who also sought in recent years to own the ugly chatter about her relationships with a new sense of agency and emphasis on female friendship.
The run-up to the album had to be carefully considered: The lead single, “Good for You,” featuring a sly verse from ASAP Rocky, is a statement of self-worth and sexual power as breathy come-on, conjuring none of Ms. Gomez’s ghosts. Only after its unexpected summer success — the mid-tempo song recently hit No. 1 on Billboard’s pop chart and landed at No. 5 on the Hot 100 — did Interscope release the more obvious single “Same Old Love,” a defiant but wounded kiss-off about a trampled heart.
While she plans to address her past, she is hyper-aware of how she has been perceived. “It’s all part of my story,” Ms. Gomez said while not quite relaxing in a Beverly Hills hotel suite before boarding the S.U.V. to rehearsal. “I’m growing and changing. I was in a relationship, and I was being managed by my parents, and I was still under Hollywood and Disney, and I was being held to this expectation of being the good girl.” She continued: “I knew deep down that this wasn’t what I wanted to do — being exhausted of forcing something that wasn’t right, even in my personal life. I had to have moments where I was crying and I was like, ‘Why am I not in love with what I do?’ I was forced to get very uncomfortable for a while in order to make the decisions I made.
Poised without seeming robotic, Ms. Gomez can also be a ball of nerves, making her perhaps the most earthbound of her generation’s Disney graduates (Miley Cyrus, Demi Lovato). She said she is prone to overthinking, endures episodes of “angst” and is extra-sensitive to uncomfortable situations. (“Had major anxiety at the airport,” she tweeted recently to more than 32 million followers. “Not feeling good at all.”)
Years of paparazzi attention and interest in her barely pubescent love life contributed to the guarded uneasiness just under her shimmery surface. Ms. Gomez recalled thinking: “I need my work to just outshine all of this because the noise is driving me crazy, and it’s preventing me from leaving my home. When I walk into a place and people look at me, they don’t see an artist.” Still, she took to a new path tentatively. Rather than shattering her Disney halo and leaving loyal fans, known as “Selenators,” behind, Ms. Gomez matured in fits and starts, always referencing her past eras.
Before signing with Interscope in December 2014, Ms. Gomez took a bigger stride toward independence with a final, contract-fulfilling single for Disney. “The Heart Wants What It Wants” begins with a tearful monologue and addresses her relationship with Mr. Bieber all but explicitly.“My public life was doing all the speaking for me, for a moment,” Ms. Gomez said. While the gossip press “made it their mission to make me seem meek and small,” she added, “I translated that into my music.”
Her openness carried over to sessions for “Revival.” Along with producers and songwriters of the moment (the Max Martin acolytes Mattman & Robin, Hit-Boy, Benny Blanco), Ms. Gomez, who is listed as executive producer and has writing credits on six songs, worked with a slew of young women, including Charli XCX (“Same Old Love”), Julia Michaels (“Revival,” “Good for You”) and Chloe Angelides (the is-it-Bieber anthem “Sober”).
Justin Tranter, another “Revival” songwriter, said that Ms. Gomez was realistic about playing into the gossip. “Those questions do come up while writing,” he said. “Of course we don’t want everything to feel like it’s feeding into the tabloids, but also we need the song to win. She’s smart enough to know that.”
The release of “Revival” happens to coincide, for better or worse, with the re-emergence of a humbled Mr. Bieber, who faces a similar dilemma with a new album due Nov. 13. Asked recently by Ellen DeGeneres if his new single, “What Do You Mean?,” is about Ms. Gomez, he could only fidget and grimace. (Mr. Janick acknowledged the promotional overlap but added, “We’re not exploiting it in any way.”) While avoiding speaking Mr. Bieber’s name, Ms. Gomez said she was heartened by their parallel successes. “While people were writing that I was stupid for being in it, this is what I always saw in him,” she said. “I’m like, duh!”
Ms. Gomez is careful now to balance her camera-ready self with a more low-key version. Last month, she gamely posed with Ms. Swift’s girl gang of models and actresses at the MTV Video Music Awards. “Taylor is a lot more trusting than I am,” she said. “I have trust issues, given my situation. She’s very open, so she brings out this other side of me.” But after a night among starlets, Ms. Gomez returned home to the celebrity suburb of Calabasas, to eat cookies with her two roommates (a realtor and a nonprofit employee.)
“In the last two years, I’ve seen Selena start to make her career her own,” Ms. Swift said. “She’s separated her opinion out and prioritized it above anyone else’s. Her childhood was defined by working hard, with the major business decisions primarily being made by others. The coolest part of watching her grow up has been seeing her gradually take the creative reins and start to steer the ship.”
Ms. Gomez said she’s getting used to the autonomy. “I definitely remind myself that I’m in control,” she said. “I feel like ultimately if I sit down and I think about a decision I need to make, it’s really within myself. I make the decision. Everything goes through me.”
by maggie coutu | Nov 12, 2015 | Uncategorized
The Los Angeles-based Gardner has been touring in support of his debut album Adventures in Real Time, which is out now on Warner Bros. Records. Co-produced by Gardner and John Dragonetti (The Submarines, Jack Drag), the album is a stellar showcase for the 19-year-old Illinois native’s brisk hooks, high-spirited melodies, and a musical eclecticism that reflects his deep love for his pop-rock predecessors, including The Beatles, Ben Folds, and Vampire Weekend. Gardner first began to attract attention with the album’s opening track “Let’s Get Started” when he put it up on Spotify earlier this year. After being included on a popular playlist called “Smart Is The New Sexy,” the track caught fire and began racking up plays. (It is now close to four million.) Watch the official video here.
Raised in both Illinois and Arizona, Gardner has been playing piano, guitar, and drums, as well as writing songs since he was a kid. His father, Mark, was the bassist in ’80s Chicago power-pop band The Kind and young Dylan pored over his dad’s record collection, becoming deeply enamored with such classic artists as The Beatles, The Beach Boys, Bob Dylan, The Rolling Stones, and The Doors. Before recording Adventures in Real Time, Gardner studied the techniques detailed in Brian Kehew’s 500-page tome Recording The Beatles.
