Daniel O’Donnell might have the luck of the Irish. He also has the stamina of a marathon runner.

With his latest album 60 (via DMG TV), the veteran singer, who hails from Donegal, snags his 41st Top 40 chart impression, and extends his U.K. record for having impacted the Top 40 at least once each year since 1991.

60 bows at No. 4 on the Official U.K. Albums Chart, and is the followup to 2020’s Daniel, which hit No. 3 on the national survey. O’Donnell’s career tally exceeds 10 million album sales worldwide.

The latest, easy-listening effort is produced by Nigel Wright, who worked on the records of many Andrew Lloyd Webber musicals, including the film versions of Evita — starring Madonna and Antonio Banderas –The Phantom of the Opera, and other TV and film projects.

On the LP, O’Donnell performs versions of such standards as “Let Your Love Flow”, “I’ll Never Find Another You”, “Happy To Be On An Island In The Sun” and “Somethin’ Stupid,” a duet with his wife Majella.

For the record, O’Donnell is still 59. He doesn’t turn 60 until Dec. 12.

Billie Eilish has called for “urgent, urgent action” on climate change ahead of COP26, the United Nations’ upcoming conference on the topic in Glasgow.

The conference is set to run between October 31 and November 12, and is aiming to “bring parties together to accelerate action towards the goals of the Paris Agreement and the UN Framework Convention on climate change”.

READ MORE: Savages’ drummer and Music Declares Emergency co-founder Fay Milton on climate change: “Music needs to get real”

Eilish – along with actor Rainn Wilson, explorer Levison Wood and others – united with scientists from Arctic Basement as part of the University of Exeter’s GreenFutures campaign, filming a video message addressing world leaders.

“This year, our leaders are deciding the global actions required on the environment and climate emergency in a critical decade for our planet,” Eilish says in the brief clip.

“We must stand together and speak up to save our planet. Not just for us, but for our future generations. We need urgent, urgent action now, and to work together as one.”

“We must stand together and speak up to save our planet, not just for us, but for our future generations and we need urgent, urgent action now and to work together as one”- the amazing @billieeilish gives an important message to world leaders ahead of #COP26 @ArcticBasecamp pic.twitter.com/sK1T1l8NUM

— University of Exeter (@UniofExeter) October 26, 2021

Eilish has been vocal about the need for action on the climate emergency for some time. Last month, she was one of many artists who called on the United States Congress to push for strong climate change policy.

Earlier this month, The 1975 launched a new t-shirt in collaboration with climate change organisation Music Declares Emergency, who are behind the No Music on a Dead Planet campaign.

“This November, the fate of the planet will be decided at COP26, the UN Climate Change Conference,” the band said in a statement at the time. “We are proud to be supporting Music Declares Emergency and their #NOMUSICONADEADPLANET campaign as they fight to ensure a greener future for all.”

Back in April, the likes of The Cribs, Declan McKenna and Skunk Anansie showed their support for No Music on a Dead Planet on Earth Day, calling on the government to do more to tackle climate change.

The post Billie Eilish calls for “urgent action” from world leaders ahead of UN climate change conference appeared first on NME.

When Team Kelly’s Cunningham Sisters went up against Hailey Mia on Tuesday night’s (Oct. 26) Knockout edition of The Voice, the knockout was on us.

Mia, the teenage New Jersey native, went first with a stunning cover of Duncan Laurence’s “Arcade”. Then, the sister act, Macie (15) and Marie (14), captured the energy of their gospel origins on Hillsong United’s “Oceans (Where Feet May Fail)”.

Kelly Clarkson was so proud of her teen warriors. “Way to go ladies,” she hollered, as she gave a standing ovation.

Blake Shelton admitted the sisters were one of his favorite acts this season, while Mia, “holy crap, wow,” he remarked. “You really dug down deep and gave it a knock-out worthy performance.”

Ariana Grande had similar things to say. “Oh my god, what is happening,” she said of Mia. “That was so so stunning and so powerful to see your growth, I’m just astounded by what I watched.”

Legend remarked that Mia’s performance was “compelling”.

The hard decision was Clarkson’s to make. The original Idol loved the sisters’ ability to “magically” blend their tones. But on this occasion, Clarkson gave the win to Hailey.

“She really came alive,” Clarkson explained later.

Watch below.

The man who supplied fentanyl-laced oxycodone pills that contributed to Mac Miller‘s death has agreed to plead guilty to the charge of fentanyl distribution.

READ MORE: Mac Miller – ‘Circles’ review: posthumous album is a conflicting, tantalising taste of what might have been

Stephen Andrew Walter is one of three men charged in relation to Miller’s death, along with Cameron James Pettit and Ryan Michael Reavis. According to court documents, Walter originally provided the pills to Reavis, who delivered them to Pettit, who ultimately sold them to Miller on September 5, 2018.

Miller was found dead two days later on September 7, with his death later determined an accidental drug overdose from a combination of fentanyl, cocaine and alcohol. Walter, Pettit and Reavis were indicted in 2019 on charges of conspiracy and distribution of drugs resulting in death.

As part of Walter’s deal, his grand jury indictment on the more serious charges of fentanyl distribution resulting in death and conspiracy to distribute a controlled substance resulting in death will be waived. He will instead be charged on a single count of fentanyl distribution. As Rolling Stone reports, Walter has agreed to a prison sentence of 17 years, which the judge in the trial will either accept or reject.

In a written statement attached to the agreement filed in Los Angeles federal court, Walter said: “I am pleading guilty because I am guilty of the charge and wish to take advantage of the promises set forth in this agreement.”

According to Rolling Stone, Pettit has also reached a plea agreement that has been sealed, while Reavis will go to trial on March 1.

Earlier this month, Miller’s mixtape ‘Faces’ arrived on streaming platforms for the first time. Originally released in May of 2014, the project features appearances from Schoolboy Q, Rick Ross, Thundercat, Vince Staples, Mike Jones, Earl Sweatshirt and more.

The post Man charged in relation to Mac Miller’s death agrees to guilty plea deal appeared first on NME.

Ryman Hospitality Properties, Inc. has reached an agreement to acquire the Block 21 complex in Austin, Texas, from Stratus Properties, Inc. for $260 million.

The two companies had previously reached an agreement for Stratus to sell Block 21 to Nashville, Tenn.-based Ryman Hospitality Properties for $275 million in December 2019, though the agreement was terminated in May 2020 due to the COVID-19 pandemic. According to Stratus, Ryman Hospitality Properties forfeited $15 million in earnest money to Stratus due to the termination of the deal.

Now, Ryman has renewed its intentions to acquire Block 21, home to the 2,750-seat entertainment venue ACL Live at the Moody Theater (ACL Live), which serves as the filming location for the Austin City Limits television series. The Block 21 complex, which was completed in 2010 and is located on an entire city block in Austin’s 2nd Street District, is also home to the W Austin Hotel, the 3TEN at ACL Live club and nearly 53,000 square feet of Class A commercial space.

The deal is set to close near the end of the fourth quarter of this year. Opry Entertainment, one division of Ryman Hospitality Properties, includes the Grand Ole Opry, Ryman Auditorium, WSM 650 AM, Ole Red, and Circle, a country lifestyle media network owned via a joint venture with Gray Television.

The $260 million price tag includes the assumption of nearly $138 million of existing mortgage debt. Ryman Hospitality Properties will also receive approximately $11 million of existing cash reserves.

Colin Reed, chairman and CEO of Ryman Hospitality Properties, said, “We are pleased to again have the opportunity to add this one-of-a-kind asset to our growing entertainment portfolio. Much like Nashville, Austin’s leisure and hospitality industry is recovering and is well-positioned for growth in the years ahead. This acquisition allows us to have a meaningful presence in two of the most dynamic music cities in this country and presents many opportunities to showcase the unique music cultures in each city to millions of fans through our Circle TV network.”

Reed added, “We are thrilled for the long-term opportunities to grow our customer base and create quality entertainment experiences for local music lovers and the millions of tourists who visit Austin each year. We love what Beau and the entire Stratus team created with Block 21 and share their vision for the enormous potential it has to become a world-renowned, music-centric hub in the heart of this great city.”

William H. Armstrong III, chairman of the board and CEO of Stratus, said, “I am proud of the Stratus team for continuing to
position this iconic property for success from early development plans through permitting, construction, leasing and management. I am also grateful for the community’s, our partners’, and our patrons’ continuous support, particularly during
the pandemic. We were pleased to reach an agreement with Ryman in 2019 and again this year. We remain confident that their experience with entertainment and hospitality properties makes Ryman the right partner for Austin and Block 21.”

On the latest Billboard Pop Shop Podcast, we’ve got a Halloween treat for you! We find out the story behind one of modern film’s most iconic music sequences: Hocus Pocus’ “I Put a Spell on You,” as performed by Bette Midler.

Marc Shaiman, who produced and arranged the song for the movie, joins the Pop Shop to discuss how the song came together — and why the performance and film continues to enchant viewers so many years later.

“I Put a Spell on You” was first released in 1956 by Screamin’ Jay Hawkins, who also wrote the track. It has since been covered by many artists, including Nina Simone, Creedence Clearwater Revival, Annie Lennox and, of course, by Midler and her onscreen Sanderson Sisters in Hocus Pocus, played by Sarah Jessica Parker and Kathy Najimy in the 1993 film.

“The original recording… is a classic,” Shaiman tells the Pop Shop (listen below), “but it really only has like three lines of lyrics in it. So we just sat at the piano and we were like, ‘Well, there has to be lyrics that fit the story.’”

“My memory is that we just [came up with additional lyrics] right there on the spot,” Shaiman says. “Basically me and Bette. I’m sure everyone else threw in ideas … and it works. And it’s so good in the movie. And it was fun to arrange in the style of Bette Midler so that Kathy and SJP sing parts like The Harlettes would sing, Bette Midler’s backup group.”

Why has the movie, which has become a seasonal favorite, and its “I Put a Spell On You” performance endured all these years?

“Well, Bette Midler, Bette Midler, Bette Midler,” Shaiman explains simply, “And then, Bette Midler, as far as the number. And then you know, the ladies are just having so much fun. I mean, Bette still to this day says it was the most fun she ever had on a movie. I mean, I do remember it was kinda disappointing that when it came out, it didn’t do so well. I think it did OK, but, it was not unlike The Wizard of Oz — I’m not saying Hocus Pocus is like The Wizard of Oz — but it was through the television showings that it became what it is now.”

Shaiman also laments the lack of commercial or streaming availability of Midler’s “I Put a Spell on You.”

“What’s heartbreaking is the fact that it doesn’t exist on a record anywhere… I guess it must be about Bette’s record [label] affiliation. She was with Atlantic [Records] then and I bet they couldn’t make a deal to borrow her [for a soundtrack release]. It’s crazy. … It’s gotta sit somewhere in the vaults at Disney.” (Walt Disney Records could not be reached for comment. Midler’s rendition of “Spell” has never been released commercially or via streaming services, while the movie’s score has only seen a limited release on CD many years ago.)

Shaiman says “hopefully maybe” they’ll release the song — “well, now that they’re making a sequel…”

Speaking of that sequel, Hocus Pocus 2, coming to Disney+ in 2022: Is Shaiman involved? “I don’t think I’m allowed to say anything,” he says, “but maybe the fact that I’m telling you that I’m not allowed to say anything says something.”

Also in his chat with the Pop Shop, Shaiman — a Grammy, Emmy and Tony Award winner — discusses his long working relationship with Midler that dates back to the late 1970s. ( “Every dream of mine came true… I’ve been working with her, and great friends with her, ever since.”) Outside of his work with Midler, Shaiman has been an in-demand composer, lyricist, producer and music supervisor for film, television and musical theater. He received his sixth and seventh Academy Award nominations for the 2018 film Mary Poppins Returns (for best original score and best original song: “The Place Where Lost Things Go”).

The Billboard Pop Shop Podcast is your one-stop shop for all things pop on Billboard’s weekly charts. You can always count on a lively discussion about the latest pop news, fun chart stats and stories, new music, and guest interviews with music stars and folks from the world of pop. Casual pop fans and chart junkies can hear Billboard’s executive digital director, West Coast, Katie Atkinson and senior director of Billboard charts Keith Caulfield every week on the podcast, which can be streamed on Billboard.com or downloaded in Apple Podcasts or your favorite podcast provider. (Click here to listen to the previous edition of the show on Billboard.com.)

All Grammys look the same, but some categories are vastly more competitive than others. In the upcoming 64th annual Grammy Awards, three categories — best music video, record of the year and song of the year — each have more than 1,100 entries. At the other extreme, four categories have fewer than 50 entries each: best traditional blues album, best large jazz ensemble album, best Latin jazz album and best regional roots music album.

First-round Grammy voting opened Friday and continues through Nov. 5. As Grammy voters ponder their choices in 80 categories (nominations in the other six categories are determined by craft committees), let’s take a look at all the categories on this year’s ballot.

We start by dividing all Grammy categories into six classifications – the closely watched Big Four, genre albums, genre songs, genre performances, other classifications and the six categories in which the nominees are determined by craft committees.

There are surprises galore here. Music videos are sometimes thought to be decades past their peak, but there are more entries for best music video (1,185) than for any other category — even record and song of the year.

Similarly, rock is sometimes portrayed as being on its last legs, but rock leads in two classifications: There are more entries for best rock song than for any other genre song award and more entries for best rock performance than for any other genre performance award.

Among genre album categories, best rock album is third, behind best score soundtrack for visual media (includes film, television, video games and other visual media) and best spoken word album (includes poetry, audiobooks and storytelling). The fact that those two categories include so many subcategories probably explains why they’re on top.

The Grammy Awards structure emphasizes album achievements. There are 40 genre album awards, compared to 19 genre performance awards and eight genre song awards. There are also 11 other categories that don’t fit neatly into any of the previous classifications and six craft categories.

More surprises: Few would expect best new age album (170) and best comedy album (132) to have more entries than best country album and best R&B album (which are tied with 91 entries each).

In terms of performance categories, best rock performance (523) is followed by best American roots performance (521) and best pop solo performance (454).

But combining separate genre performance categories that are in the same Grammy field, classical leads with 838 entries, followed by pop (829), rock (618), American roots (521), R&B (488), rap (456), jazz (436), gospel/contemporary Christian music (416), country (220) and global music (205).

Classical is probably higher than you might have thought, especially if you see it as a niche market. Country is probably lower than you might have expected. It may lag because there are so many country music awards shows.

The Grammys added two new categories this year. They are shown in italics in the list. Neither had a huge number of entries. Best música urbana album has 52 entries, which puts it 35th among the 40 genre album categories. Best global music performance has 205 entries, which puts it 11th among the 19 genre performance categories.

Within each classification, categories are listed in descending order in terms of most categories. Ties are shown in alphabetical order.

Note: The Grammys have two categories that honor performances and songs jointly – in gospel and contemporary Christian music. We show them under both of those classifications.

Big Four categories:
Record of the year: 1,172
Song of the year: 1,163
Album of the year: 837
Best new artist: 463

Genre album categories:
Best score soundtrack for visual media: 309
Best spoken word album: 308
Best rock album: 284
Best contemporary instrumental album: 281
Best jazz instrumental album: 276
Best alternative music album: 224
Best pop vocal album: 206
Best Americana album: 198
Best rap album: 198
Best global music album: 192
Best new age album: 170
Best folk album: 168
Best dance/electronic album: 133
Best comedy album: 132
Best regional Mexican music album, including Tejano: 127
Best reggae album: 125
Best children’s music album: 114
Best classical compendium: 102
Best contemporary Christian music album: 102
Best progressive R&B album: 94
Best country album: 91
Best R&B album: 91
Best Latin pop album: 86
Best traditional pop vocal album: 86
Best tropical Latin album: 72
Best compilation soundtrack for visual media: 71
Best jazz vocal album: 71
Best classical solo vocal album: 69
Best contemporary blues album: 69
Best opera recording: 67
Best gospel album: 60
Best Latin rock or alternative album: 59
Best roots gospel album: 56
Best bluegrass album: 54
Best música urbana album: 52
Best musical theater album: 51
Best traditional blues album: 49
Best large jazz ensemble album: 48
Best Latin jazz album: 47
Best regional roots music album: 41

Genre song categories:
Best rock song: 455
Best American roots song: 402
Best rap song: 319
Best R&B song: 328
Best gospel performance/song: 216
Best contemporary Christian music performance/song: 200
Best country song: 178
Best song written for visual media: 168

Genre performance categories:
Best rock performance: 523
Best American roots performance: 521
Best pop solo performance: 454
Best improvised jazz solo: 436
Best pop duo/group performance: 375
Best classical instrumental solo: 364
Best R&B performance: 312
Best chamber music/small ensemble performance: 299
Best rap performance: 268
Best gospel performance/song: 216
Best global music performance: 205
Best contemporary Christian music performance/song: 200
Best melodic rap performance: 188
Best traditional R&B performance: 176
Best country solo performance: 140
Best orchestral performance: 110
Best metal performance: 95
Best country duo/group performance: 80
Best choral performance: 65

Other categories:
Best music video: 1,185
Best engineered album, non-classical: 487
Best instrumental composition: 480
Best arrangement, instrumentals and vocals: 435
Best dance/electronic recording: 396
Best arrangement, instrumental or a cappella: 335
Best engineered album, classical: 249
Producer of the year, non-classical: 235
Best contemporary classical composition: 215
Producer of the year, classical: 156
Best music film: 111

Craft categories (number of entries not listed):
Best recording package
Best boxed or special or limited-edition package
Best album notes
Best historical album
Best remixed recording
Best immersive audio album

Kid Cudi has shared the trailer for a forthcoming documentary based on his life, A Man Named Scott – watch below.

READ MORE: Kid Cudi – ‘Man On The Moon III: The Chosen’ review: an art piece of epic highs and honest lows

The film, which was directed by Robert Alexander, “explores Cudi’s journey over a decade of creative choices, struggles and breakthroughs, making music that continues to move and empower his millions of fans around the world”.

It will premiere on Amazon Prime next Friday (November 5).

“Creating something new and helping people, it’s always been an escape for me,” Cudi says at the start of the new trailer. “And it’s freeing.”

This is my story. A Man Named Scott premieres on @primevideo November 5. #KidCudiDoc pic.twitter.com/PkzS2Cf08g

— The Chosen One : I YOU FRESHIE 4EVER (@KidCudi) October 26, 2021

He continues: “Everything I make has to help people in some way. How can I make something that calls out to the broken and the lost? I needed to feel something with the music.

“How can I push it? How can I give people something that they haven’t heard before?”

The clip goes on to intersperse footage from the studio and live shows with new interviews. Later, Cudi – real name Scott Mescudi – explains how he “felt like a fraud” during his darker moments. “People look up to me, but I’m not a happy person,” he says.

“That’s what drove me to escape from reality,” he tells viewers, adding that he’s “put [his] story out there to help others”. “That’s always been my mission,” he explains. “I’m not done yet.”

Kid Cudi opened up about his mental health back in June. “God has better days waitin for me. I just know it,” he captioned a post on Instagram. “Sadness eats away at me sometimes,” the text in his post read.

The post Kid Cudi shares trailer for new documentary ‘A Man Named Scott’ appeared first on NME.

Rep. Ted Deutch (D-Fla.) introduced new legislation Monday that would allow independent music artists, labels and creators to collectively negotiate for better royalty rates.

Endorsed by the Assn. of Independent Music (A2IM) and the Artist Rights Alliance, the Protect Working Musicians Act would allow independent artists to band together to negotiate with streaming platforms and make antitrust laws no longer an obstacle to those provisions, as well as grant artists the ability to collectively refuse to license their music to any dominant online distribution platform that doesn’t pay market rates.

Currently, as freelancers, independent artists aren’t allowed to collectively bargain and have no union to bargain for them.

“Through the pandemic, streaming services became even more indispensable, allowing us to enjoy the music we love, even when live performances were shut down. But with the exponentially increasing market power of a few tech platforms, the voices of independent musicians are getting harder to hear,” said Deutch in a statement. “By empowering a more diverse chorus of voices to negotiate fair terms and rates for their music, the Protecting Working Musicians Act recognizes the fundamental value of music and gives working artists a fair shot.”

“The power imbalance must be addressed by Congress so that creators and independent labels can band together to fight for fair compensation and against anti-competitive schemes that devalue music,” said A2IM president/CEO Richard Burgess. “Year after year these platforms grow their profits and subscriber bases at astronomical rates while artists struggle, especially in the wake of the pandemic. We thank Rep. Deutch for standing up for the premise that artists and creators deserve to make a living wage even if they aren’t a mega star or signed to a major label.”

“We must level the playing field for [independent artists and labels] and boost their streaming payouts,” added Cake’s John McCrea, who is co-chair of the ARA with Rosanne Cash. “This bill accomplishes that, and empowers them, by using free-market tools to ensure that all artists get fair market value for their work.”

When Elton John had to pause his “Farewell Yellow Brick Road” tour back in March 2020 because of the COVID pandemic, his original plan to retire and tour was diverted. What resulted, however, was a one-of-a-kind collection of collaborations titled The Lockdown Sessions (released Oct. 22) that allowed John the ability to work with legends like Stevie Wonder, Brandi Carlile, Stevie Nicks and Eddie Vedder and legends in the making like Dua Lipa, Miley Cyrus and Charlie Puth.

With more than 300 million records sold, John’s discography is diverse not only in sound but in partnerships and collaborations. His music is played widely across and beyond television, film and stage and is stacked full of famous names, including John Lennon, Eric Clapton and Lady Gaga.

 Billboard took a look through the icon’s discography and picked out our 15 favorite collabs from John’s career. Now we want to know: Between our classic list and John’s new album, which Elton John collab is your favorite? Cast your vote below!

Ed Sheeran performed a new track called ‘Overpass Graffiti’ during his debut appearance on NPR’s Tiny Desk – tune in below.

READ MORE: Ed Sheeran’s ‘Bad Habits’ is an on-trend bop from one of the savviest men in pop

The singer-songwriter played the upcoming ‘=’ song as well as previous singles ‘Bad Habits’, ‘Visiting Hours’ and ‘Shivers’. Joined by a group of session musicians, he also offered up a choir-assisted cover of ‘Make It Rain’ by Foy Vance.

“Hello Tiny Desk, I’m Ed Sheeran,” he said after the first track, adding that he’d “always wanted to” appear on the series. “This is a wonderful band that are playing with me today; Adam Blackstone put this together.”

Sheeran performed ‘Overpass Graffiti’ at an intimate Coventry show in August, where he also treated fans to a live airing of the forthcoming ‘First Times’.

You can watch Ed Sheeran’s ‘Tiny Desk (Home) Concert’ here:

The singer is set to release his fourth album – the follow-up to 2017’s ‘÷’ – this coming Friday (October 29). He’ll head out on his ‘+ – = ÷ x Tour’ (pronounced ‘The Mathematics Tour’) next April, with the stint including four nights at London’s Wembley Stadium.

Sheeran’s manager Stuart Camp recently revealed that the musician already has another record lined up. “The material is there and it won’t be another four-year wait, I can promise you,” he said.

Camp continued: “Ed already knows what the next album is. He’s already got a track-listing for it, and I will get that changed over the next 12 months.”

Yesterday (October 25), Ed Sheeran previewed every song from ‘=’ on YouTube Shorts.

The post Watch Ed Sheeran perform new track ‘Overpass Graffiti’ on NPR’s Tiny Desk appeared first on NME.

Currently in his sixth NBA season, Dejounte Murray of the San Antonio Spurs has recently unveiled a New Balance 327 collaboration inspired by his hometown, Seattle.

Offered in two styles, the retro sneaker boasts some of its most colorful arrangements yet, with vibrant orange and yellow appearing across both options. High-quality perforated leather and canvas divvy up one of the joint-New Balance offerings, which also features a reflective strip on the tongue. The accompanying “Heat Up” pair forgoes these components, but still makes a statement via its disparate color palette. Exaggerated lateral “N” logos, aggressive rubber tread and wild color-blocking nod to Murray’s penchant of carrying on even when others are ready to pack it in.

Enjoy campaign imagery of the collaboration here below, and find pairs arriving to FootLocker.com and Foot Locker Inc. family of brands on November 3rd.

For more from the Boston-based brand, check out the New Balance 990v6, which is set to debut in 2022.

© Sneaker News, 2021. |
Permalink
|
No comment
|
Add to del.icio.us

The post Dejounte Murray Reminisces About His Hometown Of Seattle In Upcoming New Balance 327 “Heat Up”
appeared first on Sneaker News.

The post Dejounte Murray Reminisces About His Hometown Of Seattle In Upcoming New Balance 327 “Heat Up” appeared first on Sneaker News.