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Clairo, Lucy Dacus, Nao, More Join No Music for Genocide Boycott
Music

Clairo, Lucy Dacus, Nao, More Join No Music for Genocide Boycott

by jummy84 October 11, 2025
written by jummy84

On Oct. 10, the No Music for Genocide collective announced that Clairo, Lucy Dacus, Nao, and more have joined their ranks. Last month, the decentralized organization kicked off a boycott movement protesting what a United Nations commission and other organizations have deemed Israel’s genocide against Palestinians in Gaza in their war with Hamas following the attacks of Oct. 7, 2023. The No Music for Genocide boycott unites artists, labels, and music rights-holders in geo-blocking their music from Israel. Wolf Alice, Of Monsters and Men, Nilüfer Yanya, and Jorja Smith’s label Famm were also among new participants announced on Oct. 10 the same day a new ceasefire agreement took effect. 

A representative for No Music for Genocide told Rolling Stone, “We’re hopeful that this new ceasefire will put an end to the worst of the worst, if Israel doesn’t violate it, but our urgency remains unchanged. The ‘peace plan,’ imposed on Palestinians under the threat of continued genocide, offers no guarantees or credible paths for a full Israeli withdrawal from Gaza; the end of Israeli apartheid and occupation; Palestinian rights to self-determination, self-governance, and the return of refugees; nor holding Israeli war criminals accountable.” The groups says over a 1,000 artists and labels have joined their boycott. According to Reuters, this first phase of the Trump administration’s plan to end the war gives Israeli troops 24 hours to pull from urban areas of Gaza, although they will still hold more than half of the area.

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No Music for Genocide launched on Sep. 17 with artists such as Faye Webster, Arca, MIKE, Japanese Breakfast, and redveil, participating. On Oct. 3, it announced that acts like Hayley Williams, Marina, Idles, Muna, Obongjayar, and many more joined as well. According to the group, Williams and Paramore — who had joined the boycott but found that their labels Atlantic Records and Warner Music Group overrode their geo-block in what they called a glitch — have gotten most of their music removed from streaming services in Israel as well. 

“Many of our peers have felt, like ourselves, unsure how to use music in this moment,” organizers told Rolling Stone in September, citing their aims to “help reject political repression, shift public opinion toward justice, and refuse the art-washing and normalization of any company or nation that commits crimes against humanity.” They added that, “Our first goal with No Music For Genocide is to inspire others to reclaim their agency and direct their influence toward a tangible act.”

October 11, 2025 0 comments
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Forrest Frank, Brandon Lake & Jelly Roll Win at 2025 GMA Dove Awards
Music

Forrest Frank, Brandon Lake & Jelly Roll Win at 2025 GMA Dove Awards

by jummy84 October 11, 2025
written by jummy84

The GMA Dove Awards celebrated many of the biggest songs and artists of the year when the annual awards ceremony aired on Friday night (Oct. 10) on TBN. This year’s awards show took place at Nashville’s Bridgestone Arena (the awards show had previously been held at Lipscomb University’s Allen Arena for several years).

With the theme “Creation Sings,” it was appropriate that the evening both started and concluded with two elements: the evening began with For King & Country, Taylor Hill, Africa Nashvlle, and Stage Ready performing a new song, “World on Fire,” as flames danced across the stage.

The show was filled with uplifting singing, all aimed a sharing a faith-filled message. Being in Music City, a various sounds were represented during the evening, including rap/hip-hop, Southern Gospel, Spanish-language, pop, and country.

New artist of the year winner Leanna Crawford performed her hit “Still Waters (Psalm 23),” while host Tauren Wells and Gio also offered up a sterling, energetic rendition of “Let the Church Sing,” complete with staging that included pews and a church podium, as he sang joined by a choir.

Josiah Queen performed “Dusty Bibles” and “The Prodigal” while Elevation Worship and Elevation Rhythm performed “Goodbye Yesterday” and “I Have Decided.” Other performers included Fred Hammond with The Choir Room.

Josiah Queen performs at the DOVE Awards. Photo: Blue Amber

Blue Amber Photo

Israel & New Breed teamed with Unified Sound, Adrienne Bailon-Houghton, Alex Campos, Christine D’Clario, Josh and Waleska Morales, Ingrid Rosario, Janina Rosado, Lucia Parker, Nate Diaz and Aaron Moses for a charismatic, uplifting performance of “Coritos de Fuego,” while flying several flags including flags representing Puerto Rico and the Dominican Republic.

Forrest Frank was awarded the biggest honor of the evening, artist of the year, as well as accolades for pop/contemporary recorded song of the year (“YOUR WAY’S BETTER”) and pop/contemporary album of the year (CHILD OF GOD). Frank had previously released a video on social media stating he was not attending the awards ceremony, and was not present at the ceremony.

The Brandon Lake/Jelly Roll collaboration “Hard Fought Hallelujah” took home honors for song of the year, bluegrass/country/roots recorded song of the year and short form music video. Lake took home five total awards — he also won songwriter of the year-artist, and worship recorded song of the year, for “I Know a Name” with Elevation Worship and Chris Brown.

“I’m not sure how much I belong speaking up here right now…I ain’t been this nervous since I went to criminal court, y’all,” Jelly Roll said as he took the stage alongside Lake as song of the year winners for “Hard Fought Hallelujah.” “This is a real thing for me….I was thinking about Matthew, when he talks about ‘the least,’ when he said, ‘When I was hungry, you fed me, when I was thirsty you gave me water, when I was in jail you came and visited me and I realized I am standing here because people took the time with the least. I want to give this message as clear as I can…the world is hearing about Jesus like they haven’t in decades right now. There is a revival happening in the United States of America, where you can’t go on a corner and not hear about Jesus right now,” he said, encouraging those listening, “They’ve heard of Jesus, now go show them Jesus.”

The DOVE Awards on October 7, 2025.

Leanna Crawford at the GMA Dove Awards. Photo: Tessa Voccola

@tessavoccola

Hulvey accepted the rap/hip-hop album of the year accolade for his project Cry, saying, “Glory to the father. And GMA, thank y’all for doing things spirit-filled, for showing the world that we can love Him through our music.”

Carrie Underwood joined Ben Fuller on a rendition of their collaboration “If It Was Up to Me.” To commemorate the Opry 100 celebration happening this year as the Grand Ole Opry celebrates its centennial anniversary, Opry members Steven Curtis Chapman, Vince Gill and Lady A highlighted the longstanding ties between country music and faith-filled messages, performing a version of Hank Williams Sr.’s “I Saw the Light,” as well as Lady A’s “I Run to You,” Gill’s “Go Rest High on That Mountain” and the country classic “Will The Circle Be Unbroken.”

CeCe Winans won two honors during the evening, including Christmas recorded song of the year, for “Joy to The World.” In winning Gospel worship recorded song of the year for “Come Jesus Come” with Shirley Caesar, Winans thanked Caesar, telling the crowd, “I love her, I grew up listening to her, so to be able to sing with her was just amazing..I’m honored to do what we all get a chance to do,” adding, “God is faithful…we have an awesome responsibility and that is to bring as many people as we can…Let’s remember why we do what we do, so God would be glorified, and so that as many souls as possible would come to know who Jesus is.” Winans also sang “Come Jesus Come” during the evening, turning in one of the most inspired, powerful performances.

The evening closed with another surprise, as Jon Batiste joined Jelly Roll and Brandon Lake to perform “Hard Fought Hallelujah.” They performed on the main stage at Bridgestone, as rain poured down over the performers onstage.

The DOVE Awards on October 7, 2025.

CeCe Winans at the GMA Dove Awards. Photo: Tessa Voccola

@tessavoccola

See the list of winners in select categories below:

Artist of the year

Brandon Lake
CeCe Winans
WINNER: Forrest Frank
Josiah Queen
Lauren Daigle
Phil Wickham

Song of the year

“Counting My Blessings” (Writers) Seph Schlueter, Jordan Sapp, Jonathan Gamble
“Good Day” (Writer) Forrest Frank
“Goodbye Yesterday” (Writers) Gracie Binion, Steven Furtick, Mitch Wong, Josh Holiday
WINNER: “Hard Fought Hallelujah” (Writers) Brandon Lake, Jelly Roll, Steven Furtick, Chris Brown, Benjamin William Hastings
“Still Waters (Psalm 23)” (Writers) Leanna Crawford, Jonathan Gamble, Justin Mark Richards
“That’s My King” (Writers) Kellie Gamble, Jess Russ, Lloyd Nicks, Taylor Agan
“That’s Who I Praise” (Writers) Brandon Lake, Steven Furtick, Benjamin William Hastings, Zac Lawson, Micah Nichols
“The Prodigal” (Writers) Josiah Queen, Jared Marc
“The Truth” (Writers) Megan Woods, Matthew West, Jeff Pardo
“Up!” (Writers) Forrest Frank, Connor Price

New artist of the year

Abbie Gamboa
Caleb Gordon
WINNER: Leanna Crawford
Patrick Mayberry
Strings and Heart

Worship recorded song of the year

“At The Altar” – ELEVATION RHYTHM, Tiffany Hudson, Abbie Gamboa
WINNER: “I Know A Name” – Elevation Worship, Chris Brown, Brandon Lake
“Mighty Name Of Jesus (Live)” – Hope Darst, The Belonging Co.
“The King Is In The Room” – Phil Wickham
“What A God (Live)” – SEU Worship, ONE HOUSE, Kenzie Walker, Chelsea Plank, Roosevelt Stewart

Pop/contemporary recorded song of the year

“Desperate” – Jamie MacDonald
“GOODBYE YESTERDAY” – ELEVATION RHYTHM, Grace Binion
“Still Waters (Psalm 23)” – Leanna Crawford
“That’s Who I Praise” – Brandon Lake
WINNER: “YOUR WAY’S BETTER” – Forrest Frank

Gospel worship recorded song of the year

WINNER: “Come Jesus Come” – CeCe Winans, Shirley Caesar
“God Is In Control” – DOE
“One Hallelujah” – Tasha Cobbs Leonard, Erica Campbell, Israel Houghton (ft. Jonathan McReynolds, Jekalyn Carr)
“Rest On Us (Flow) [Live]” – Naomi Raine
“Yahweh” – Jason Nelson (ft. Melvin Crispell III)

Spanish language recorded song of the year

“Al Estar Aquí” – Marcos Witt, TAYA
“ALGORITMO” – Gabriel EMC, Alex Zurdo
WINNER: “Coritos de Fuego” – Israel & New Breed, Unified Sound (ft. Adrienne Bailon-Houghton, Nate Diaz, Aaron Moses, Lucia Parker)
“Sigue Caminando” – Sarai Rivera
“Worthy” – Blanca (ft. Yandel)

Rap/hip-hop album of the year

Anike – Anike
Christlike, California – Mile Minnick
WINNER: CRY – Hulvey
SORRY, I CHANGED (AGAIN) – Aaron Cole
The People We Became – nobigdyl.

Southern gospel recorded song of the year

“If Not For Christ” – The Whisnants
“Love ‘Em Where They Are” – Gaither Vocal Band
“Man On The Middle Cross” – Scotty Inman (ft. Jason Crabb, Charlotte Ritchie)
WINNER: “That’s What Faith Looks Like” – Karen Peck & New River
“You’ll Find Him There (Live)” – Ernie Haase & Signature Sound

Bluegrass/country/roots recorded song of the year

“(More Than A) Hollow Hallelujah” – The Isaacs
WINNER: “Hard Fought Hallelujah” – Brandon Lake, Jelly Roll
“If It Was Up To Me” – Ben Fuller, Carrie Underwood
“There’s a Hole in the Heart” – The Nelons
“There’s a River” – High Road (ft. Jaelee Roberts)

Feature film of the year

For the One
Reagan
The Best Christmas Pageant Ever
The Forge
WINNER: The King of Kings

Television series of the year

God. Family. Football.
House of David
Jesus: Refugee, Renegade, Redeemer with Bear Grylls
WINNER: The Chosen
When Hope Calls

October 11, 2025 0 comments
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Miles Davis' Kind of Blue and Nickel 1965 Receive Special Reissues
Music

Miles Davis’ Kind of Blue and Nickel 1965 Receive Special Reissues

by jummy84 October 11, 2025
written by jummy84

A pair of classic Miles Davis releases are set for the reissue treatment.

Davis’ iconic 1959 album, Kind of Blue, will be issued by Analogue Productions as a 180-gram double LP 33 1/3 edition, with Side 4 cut at 45 RPM, on October 31st. The pressing is sourced from the original Classic Records parts mastered by Bernie Grundman directly from the original master tape.

Davis aficionados will be keen to know that long-standing speed issues caused by the motor on Columbia’s 3-track master recorder running slow that affected the first three tracks on the original recording (“So What,” “Freddie Freeloader,” and “Blue in Green”), have been corrected on this edition.

The album is packaged in a heavyweight Stoughton Printing “tip-on” gatefold jacket with a scuff-resistant matte finish, completed by a four-panel insert featuring speed-correction details and liner notes by the late music critic, Robert Palmer.

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Pressed on standard black vinyl, there will also be a limited-edition blue vinyl version, limited to just 1,500 copies, available exclusively through Acoustic Sounds. In addition to the speed-corrected main program, Side 4 features an alternate take of “Flamenco Sketches” cut at 45 RPM for maximum fidelity. Pre-orders are ongoing.

Then, on January 30th, 2026, Columbia/Legacy Recordings will release Miles Davis – The Complete Live at the Plugged Nickel 1965 on vinyl and CD for the first time in 30 years.

The recordings feature Davis’s Second Great Quintet, which consisted of Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams. Captured over two nights in a small Chicago club, the band was inspired by drummer Williams to play “anti-music,” culminating in their well-honed setlist being turned “inside out.” “We found ways to make the old music sound as new as the new music we were recording,” is how Davis described the results.

Originally released in 1995 as a Mosaic Records limited-edition LP box set, The Complete Live at the Plugged Nickel has been out of print every since. The 10xLP reissue edition comes in a newly designed slipcase with 10 individual jackets, along with a 40-page booklet. It will also be available in an 8xCD edition. Both will feature over seven hours of music, new liner notes by Syd Schwartz, and classic material by jazz historian Bob Blumenthal. Pre-orders are ongoing.

As a preview of the larger collection, a special standalone 2LP set, Live At The Plugged Nickel: December 23, 1965 – Second Set, will be released for RSD Black Friday on November 28th.

Kind of Blue Vinyl Artwork:

Kind of Blue Vinyl Tracklist:
Side 1 (Corrected Speed) – 33-1/3 RPM
01. So What (9:22)
02. Freddie Freeloader (9:46)
03. Blue In Green (5:27)

Side 2 – 33-1/3 RPM
01. All Blues (11:33)
02. Flamenco Sketches (9:26)

Side 3 (Original Speed) – 33-1/3 RPM
01. So What (9:22)
02. Freddie Freeloader (9:46)
03. Blue In Green (5:27)

Side 4 – 45 RPM
01. Flamenco Sketches (alternate take) (9:32)

Miles Davis' Kind of Blue and The Complete Live at the Plugged Nickel 1965 Set for Reissue Editions

The Complete Live at the Plugged Nickel Vinyl Tracklist:
LP1 – December 22, 1965 – 1st Set
Side A
01. If I Were A Bell 16:42

Side B
01. Stella By Starlight 13:09
02. Walkin’ 11:01

LP2 – December 22, 1965 – 1st Set (cont’d)
Side C
01. I Fall In Love Too Easily 11:43
02. The Theme 10:19

Side D – December 22, 1965 – 2nd Set
01. My Funny Valentine 16:33

LP3 – December 22, 1965 – 2nd Set (cont’d)
Side E
01. Four 15:05
02. When I Fall In Love 10:44

Side F
01. Agitation 13:13
02. ‘Round Midnight 8:42

LP4 – December 22, 1965 – 2nd Set (cont’d) & 3rd Set
Side G
01. Milestones 14:04
02. The Theme 0:38
03. I Fall In Love Too Easily 11:53

Side H
01. All Of You 14:38
02. Oleo 6:05

LP5 – December 22, 1965 – 3rd Set (cont’d)
Side I
01. No Blues 17:35

Side J
01. I Thought About You 11:03
02. The Theme 8:05

LP6 – December 23, 1965 – 1st Set
Side K
01. If I Were A Bell 13:29
02. Stella By Starlight 13:09

Side L
01. Walkin’ 11:01
02. I Fall In Love Too Easily 12:07
03. The Theme 2:50

LP7 – December 23, 1965 – 2nd Set
Side M
01. All Of You 10:39
02. Agitation 10:48

Side N
01. My Funny Valentine 13:52
02. On Green Dolphin Street 12:48

LP8 – December 23, 1965 – 2nd Set (cont’d) & 3rd Set
Side O
01. So What 13:36
02. The Theme 3:28

Side P
01. When I Fall In Love 13:39
02. Milestones 11:49

LP9 – December 23, 1965 – 3rd Set (cont’d)
Side Q
01. Autumn Leaves 11:56
02. I Fall In Love Too Easily 11:43

Side R
01. No Blues 20:06
02. The Theme 0:22

LP10 – December 23, 1965 – 4th Set
Side S
01. Stella By Starlight 14:16
02. All Blues 12:18

Side T
01. Yesterdays 15:00
02. The Theme 4:51

Miles Davis' Kind of Blue and The Complete Live at the Plugged Nickel 1965 Set for Reissue Editions

CD Tracklist
CD1 – December 22, 1965 – 1st Set
01. If I Were A Bell 16:42
02. Stella By Starlight 13:09
03. Walkin’ 11:01
04. I Fall In Love Too Easily 11:43
05. The Theme 10:19

CD2 – December 22, 1965 – 2nd Set
01. My Funny Valentine 16:33
02. Four 15:05
03. When I Fall In Love 10:44

CD3 – December 22, 1965 – 2nd Set (cont’d)
01. Agitation 13:03
02. ‘Round Midnight 8:42
03. Milestones 14:04
04. The Theme 0:38

CD4 – December 22, 1965 – 3rd Set
01. All Of You 14:38
02. Oleo 6:05
03. I Fall In Love Too Easily 11:53
04. No Blues 17:35
05. I Thought About You 11:03
06. The Theme 8:05

CD5 – December 23, 1965 – 1st Set
01. If I Were A Bell 13:29
02. Stella By Starlight 13:09
03. Walkin’ 11:01
04. I Fall In Love Too Easily 12:07
05. The Theme 2:50

CD6 – December 23, 1965 – 2nd Set
01. All Of You 10:39
02. Agitation 10:48
03. My Funny Valentine 13:52
04. On Green Dolphin Street 12:48
05. So What 13:36
06. The Theme 3:28

CD7 – December 23, 1965 – 3rd Set
01. When I Fall In Love 13:39
02. Milestones 11:49
03. Autumn Leaves 11:56
04. I Fall In Love Too Easily 11:43
05. No Blues 20:06
06. The Theme 0:22

CD8 – December 23, 1965 – 4th Set
01. Stella By Starlight 14:16
02. All Blues 12:18
03. Yesterdays 15:00
04. The Theme 4:51

October 11, 2025 0 comments
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Taylor Momsen of the Pretty Reckless performs during AC/DC's Power Up Tour at Nissan Stadium on May 21, 2025 in Nashville, Tennessee. (Credit: Tibrina Hobson/Getty Images)
Music

Magic, Music, and Movies: Taylor Momsen Is Seeing Things ‘in a New Light’

by jummy84 October 11, 2025
written by jummy84

Taylor Momsen sits at a desk in her New York City apartment, the place she’s called home since she was 12, a sign hangs just beyond her right shoulder: “love” written in cursive pink neon. “Welcome to my home,” she says, fresh faced and smiling, a natural beauty in black wide-rimmed glasses. In August, her band the Pretty Reckless released their newest single “For I Am Death,” and in the video Taylor personifies death itself, morphing into a slithering Middle-earth-esque manifestation, slick in all-over black body makeup.

When Taylor and I talked last year for the 10th anniversary of Going to Hell, we discussed the original art applied to her back for the iconic album cover. “There’s something very freeing and pure about being as vulnerable and as exposed as possible,” she says, because actual nudity is often a non-option. “I use paint in different forms to cover up. I think that’s why it’s a recurring theme as we keep making music.”

The paradox of power and vulnerability may just define Taylor in many ways. On October 10th, she’s re-releasing the sweet song she sang as Cindy Lou Who for 2000’s How the Grinch Stole Christmas, “Where Are You Christmas?.” The fact that it’s the film’s silver anniversary is a complete coincidence, but rather a result of—in addition to finally acquiescing to pleading fans—a storied journey that brought her to revisiting and embracing her past. 

Taylor with Jim Carrey in a scene from ‘How The Grinch Stole Christmas,’ 2000. (Credit: Universal/Getty Images)

While Jim Carrey played the title character, it was 6-year-old Taylor, with a wigged blonde basilica on her head, who is the beating heart of the film. The Grinch is highly stylized and vividly fantastic, but little Taylor, who’d started acting when she was 2, shines with genuine hope and fortitude, purity and joy. 

In a Grinch promo interview for WFAA, Taylor, who’d tuned 7 by the time the film was released, stated: “I love fantasy no matter what story it is.” 

“I stand by that,” Taylor says, not recalling the interview. “I stand by that statement today. It’s just proof that you never really change as a person. You’re born the way you are, and you grow and you evolve, but you’re that same person for the rest of your life. At least that’s true with me. I think you’re born with certain instincts and values. I guess values are taught, but inherently, you’re born with some kind of center. I think that’s the key to life. 

“If you can manage to not lose that as you get older, that’s everything. Especially as a musician, as an artist, I spend a lot of time trying to maintain my childlike mind to a degree, because it’s so important and so necessary for writing, and yet still be an adult with responsibilities and bills and all the things that come with being a grown-up. I think that’s the key. I think that’s the key that everyone forgets. You’ve got to remember who you were as a kid, and if you can hold on to that, you’ll always be good.”

Despite audience requests, she resisted the idea of reviving “Where Are You Christmas?” since starting the Pretty Reckless at 14; the initiative, for her, had to come with a purpose. It wasn’t until 2020, going through a time she describes as “a very difficult period…with a lot of loss. COVID had just hit. We were in lockdown, and it’s the holidays again.” And she was with her band, hanging out, and the requests for a rock version of the song she sang 20 years earlier kept coming in. So, they (probably, somewhat begrudgingly) played through the song. “By the end of [“Where Are You Christmas?], these four miserable, jaded, pissed-off, depressed people had giant grins on our faces. Just undeniable, couldn’t help it, huge smiles, laughing, having the best time. We all turned to each other and we went, ‘Was that just great? I think that was just magic. I think there was something really special about what just happened, and I think we have to do this now.’ That was the jumping-off point with COVID, of going back to my childhood and realizing, after having been through such a hard time, wanting things to be simple again and wanting things to be joyful. This song and this memory of filming this movie and being a part of this, I never had a tainted memory about it. The Grinch was something that I hold very dearly and have very fond memories of.” 

The experience inspired Taylor to write an entire Christmas record. “It’s this little coming-of-age story and this full circle moment of me accepting my past and embracing it and realizing that you never really do change, with the intent of just wanting to purely spread joy to everyone. It’s a very hard time for everyone right now if we’re being real about it, and I just wanted to bring happiness. I wanted to bring joy to the world, to quote another Christmas song.”

The new version of “Where Are You Christmas?” “morphs” childhood Taylor’s original vocals into her own now, a concept she says exemplifies the magic of one’s childhood self. “To be a part of something that is so universally loved feels surreal, now, 25 years later, and also has been very cool. I wanted to continue that joy and bring fresh life to it from my own perspective as a grown-up Cindy Lou Who.”

But music, she says, was always her everything—not acting—knowing from a very young age she wanted to write songs, something she did while filming The Grinch. (Young Taylor was clearly an avid animal lover, as one song was about her father’s dead dog, and another was called “Rescue a Pet.”) With all the fluctuation from her early childhood acting career, songwriting provided an all-important grounding. “Writing was this place where I could truly be me without any affect, without having to be this version of me, or this version of me. It was the purest form of myself because it wasn’t for anyone. It was just for myself, and it still remains that. My notebook was my best friend.”

(Credit: Steph Gomez)

The Grinch also provided Taylor with her first experience in a professional recording studio, with none other than legendary film composer James Horner (Titanic, Braveheart). The entire experience, she says, changed her life. “I left that experience going, ‘That’s what I want to do.’ That was magic. That was everything. There’s a really great photo of me, holding a stuffed animal, sitting at the console with my chin on my fist listening to the song with James Horner sitting next to me. Fast forward years later, there’s another photo of me and our producer, Kato, sitting at the console, and I’m doing the exact same thing. It’s a mirrored image, except I’m now 20-something. It just reassured me that all my crazy decisions in life of quitting a career [in acting] and pivoting and joining a rock band to go on the road and grind it out, and all those things, that was my path. That was the path that I always wanted. I fought for it and went for it, and now I’m doing that.” 

There’s a scene in The Grinch where little Cindy Lou Who is walking up a mountain to the Grinch’s nefarious lair. Director Ron Howard later told her the story. “It was a big mountain. I actually am walking up the mountain, so it was a very long shoot, but there was no dialogue or anything. I was miked. I shoot the scene. I come down, and everyone’s laughing, and I don’t understand why everyone’s laughing.

“I’m going, ‘Why is everyone laughing? What’s so funny?’ Turns out I was humming the entire time up the mountain, not knowing it because I was always singing. I was always humming. I was always writing songs. I always had music in me, which I feel very blessed about because it’s just something that came really naturally to me.” 

Taylor in a scene from ‘The Grinch.’ (Credit: Getty Images)

Today, she says she’s in a good place, well-earned after some dark and difficult years, the same that inspired the Pretty Reckless’s fourth studio album, 2021’s Death by Rock and Roll. “Living in that space, I had to make a very conscious decision at one point of I was on a very bad path, and I was going to die. I had to choose if I was going to live or die, and I made a very conscious decision to move forward.”

That was the beginning of Taylor looking back at her childhood in an attempt to rediscover her true self. “When I lost some of those people, I couldn’t listen to music anymore. It brought me so much pain I couldn’t deal. To lose an outlet like that, where this music has been such a solace for me, to not have that anymore was terrifying. I felt like I really lost myself.” She says she began almost in chronological succession identifying and reintroducing the things that brought her joy in her early years, starting with the first band she fell in love with: the Beatles. 

And part of this process included going back into her past film and TV work, “accepting them and seeing them in a new light.” 

She says she’s comfortable now, stronger. 

“I was always very me, but…you go through phases. I had my rebellious youth, where I was extra angsty. I wanted to be something and was fighting for that, and now I just kind of am, and that’s just a really nice place to be. I just feel very comfortable in my own skin and all aspects of myself, and I’m not living in a place where I’m shutting off any part of me. I’m firing on all cylinders, and it’s good.

“I’m still that little girl humming, walking up the mountain. I really am.”

October 11, 2025 0 comments
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Mobb Deep, A Boogie Wit Da Hoodie, Kodak Black
Music

Mobb Deep, A Boogie Wit Da Hoodie, Kodak Black

by jummy84 October 11, 2025
written by jummy84

Dave East, G Herbo, Boldy James, PLUTO, Lola Brooke, and more artists also dropped new music.

℗ 2025 Mass Appeal under exclusive license from Mobb Deep; Atlantic Records / Highbridge The Label, LLC, © 2025 Quado, Inc. under exclusive license to 300 Entertainment LLC; Vulture Love/Capitol Records

Today is Friday, which means there are a ton of new releases to look forward to from some of your favorite Hip-Hop artists. To help you unwind and enjoy the weekend, check out VIBE’s picks of songs and albums you should hear and add to your soundtrack of weekend festivities.

  • Mobb Deep – ‘Infinite’

    Mobb Deep - 'Infinite' Cover ArtMobb Deep - 'Infinite' Cover Art
    Image Credit: ℗ 2025 Mass Appeal under exclusive license from Mobb Deep

    Mobb Deep’s Infinite feels less like a final album and more like a farewell letter—etched in grit, soul, and legacy.

    Their ninth and final studio effort, it’s a fitting capstone to a career defined by uncompromising realism and raw lyricism. Spearheaded by Havoc, who masterfully assembled unreleased verses from Prodigy alongside trusted collaborators, the album bridges past and present without losing its edge.

    Standouts like “Look At Me” (with Clipse) and “Clear Black Nights” (featuring Raekwon and Ghostface Killah) are lyrical summits, while tracks like “My Era” and “Discontinued” echo vintage Mobb in tone and menace.

    Nas adds depth across three appearances, and polished cuts like “Easy Bruh” offer balance without softening the impact. With additional production by The Alchemist, Infinite is more than nostalgia—it’s a powerful, dignified closing chapter that honors the duo’s legacy without overstaying its welcome.

    Mobb Deep didn’t just sign off—they sealed their name into hip-hop history with reverence and precision. – Preezy Brown

  • A Boogie Wit Da Hoodie – “Part Of Me”

    A Boogie Wit Da Hoodie “Part Of Me” cover artA Boogie Wit Da Hoodie “Part Of Me” cover art
    Image Credit: Atlantic Records / Highbridge The Label, LLC, © 2025 Quado, Inc. under exclusive license to 300 Entertainment LLC

    A Boogie Wit Da Hoodie reminded people why he is one of the most enduring acts of the last decade, and a true R&B aficionado on “Part Of Me.”

    He put his melodic, hood love song spin on Mariah Carey’s classic “We Belong Together” and it hit the mark with flying colors. Boogie may not be the white hot act he was from 2016-2020, but a song like this is the ideal launchpad to roll out a forthcoming LP and get right back into the conversation.

    This is perfect as the temperature drops and the desire for that old thing back increases. This song link will be sent to many men and women over the next few months. – Armon Sadler

  • Kodak Black Featuring Chance The Rapper – “Still Got Chanel”

    Kodak Black Featuring Chance The Rapper - "Still Got Chanel" Cover ArtKodak Black Featuring Chance The Rapper - "Still Got Chanel" Cover Art
    Image Credit: Vulture Love/Capitol Records

    Kodak Black and Chance The Rapper want their women to understand that they may not get everything they want, but they will “Still Get Chanel” in their new record.

    The beat is smooth, blending hard drums and hi-hats with a scintillating synth. Yak floats over the beat, continuing his trend of opening up rather than leaning into his hardened demeanor.

    As for Chance, this falls right in his bag as the previous “wife guy” rapper. There’s few things men love more than spending money on their women, so this felt like an easy effort for the guys.

    One special gem of this song is the duo harmonizing on the hook at the end; they are far from powerhouse vocalists, but the emoting lands well. – AS

  • Dave East Featuring Jeremih – “Stand On That”

    Dave East 'Karma 4' Cover ArtDave East 'Karma 4' Cover Art
    Image Credit: ℗ 2025 FTD

    Dave East continues to build momentum for Karma 4 with “Stand On That,” a smooth, radio-ready selection that leans into his more romantic side.

    Featuring a silky hook from Jeremih, the track lets East blend street sensibilities with sentimental finesse, delivering lines like “Like Whitney and Bobby, we pull up lifted” with equal parts charm and edge.

    It’s a confident shift in tone—and a strong teaser for what’s next. – PB

  • G Herbo Featuring Jeremih – Whatever U Want

    G Herbo Feat. Jeremih “Whatever U Want” cover artG Herbo Feat. Jeremih “Whatever U Want” cover art
    Image Credit: 2025 Machine Entertainment Group LLC, under exclusive license to Republic Records, a division of UMG Recordings, Inc

    G Herbo may be known for his drill raps and aggressive bars, but he has a knack for matters of the heart. “Whatever U Want” is an endearing offering, and he taps Jeremih to soar over this hook in the same way he has for his entire career.

    The Chicago duo covers issues of mistrust, contentment, tricking, and fulfilling needs. This is a smooth joint that can ring off in various environments, and also fitting for the fall weather change.

    There is something to Herbo maintaining his gritty voice on the piano and synth-laden beat; he isn’t changing, but rather just exposing more of his emotions in an authentic way. – AS

  • PLUTO Featuring NBA Youngboy – “2 Crash Outs”

    PLUTO ‘PLUTO WORLD’ cover artPLUTO ‘PLUTO WORLD’ cover art
    Image Credit: 2025 UMG Recordings, Inc

    PLUTO showed why she is one of the most talked about upcoming acts in Atlanta. PLUTO WORLD, her second album in four months, is truly her own universe of flexes and brings a star-studded tracklist to build it out.

    YoungBoy Never Broke Again fits “2 Crash Outs” like a glove, Sexyy Red and NaNaski deliver the perfectly rationed dose of attitude on “Motion,” and Quavo drops another vintage 30-point game on “Show Haters.”

    Atlanta’s strength has always been churning out elite male acts, but PLUTO is one of the new crop of women who have confirmed that the ladies will always have something to say. – AS

  • Boldy James, Nicholas Craven – “No Blemishes”

    Boldy James, Nicholas Craven - "No Blemishes" Cover ArtBoldy James, Nicholas Craven - "No Blemishes" Cover Art
    Image Credit: Roc Nation Distribution

    With “No Blemishes,” Boldy James and Nicholas Craven deliver one of the week’s standout drops—a cold slice of soul-soaked street poetry that feels both lived-in and cinematic.

    Built around haunting vocal wails and Craven’s signature minimalist touch, the track is a potent reminder of the duo’s rare chemistry. It’s a strong teaser for their upcoming tape Criminally Attached, their fourth project together following a quietly consistent run.

    If “No Blemishes” is any indication of what’s to come, Criminally Attached should be a bar-heavy collection with the replay value to hold listeners captive for repeated spins. – PB

  • Reuben Vincent – Dre & Sidney 

    Reuben Vincent & 9th Wonder Feat. Raheem Devaughn & SWEATA “Dre & Sidney” cover artReuben Vincent & 9th Wonder Feat. Raheem Devaughn & SWEATA “Dre & Sidney” cover art
    Image Credit: 2025 JAMLA RECORDS, UNDER EXCLUSIVE LICENSE TO ROC NATION DISTRIBUTION

    Reuben Vincent’s “Dre & Sidney” is quite literally a movie in song form. There’s the 9th Wonder production, bringing together a classic backpack rap beat as fresh as a new loaf of bread.

    Then you sprinkle in Raheem Devaughn and rising act SWEATA, both of whom ascend with ease. However, the backbone of the record is Vincent, one of the most impressive rappers of the last few years.

    And as much as this plays like a love song for another human, it is a powerful love letter to Hip-Hop. His music has always shown how deep his feelings for the genre are, but a full tribute song puts it over the edge. – AS

  • Lola Brooke – “WASSUP WIT IT”

    Lola Brooke - "WASSUP WIT IT" Cover ArtLola Brooke - "WASSUP WIT IT" Cover Art
    Image Credit: Arista Records
  • Fetty P Franklin – ‘FRANK’

    Fetty P Franklin - 'FRANK' Cover ArtFetty P Franklin - 'FRANK' Cover Art
    Image Credit: © 2025 GroundHawg Entertainment

  • 1900Rugrat Featuring BabyTron – “Chicken Member”

    1900Rugrat, BabyTron - "Chicken Member" Cover Art1900Rugrat, BabyTron - "Chicken Member" Cover Art
    Image Credit: © A Remain Solid / 300 Entertainment release, © 2025 1900Rugrat, under exclusive license to 300 Entertainment LLC

  • BabyChiefDoit – “Fried Chicken”

    BabyChiefDoit - "Fried Chicken" Cover ArtBabyChiefDoit - "Fried Chicken" Cover Art
    Image Credit: ℗ 2025 BabyChiefDoit under exclusive license to Artist Partner Group, Inc.

  • BAK Jay – ‘Letters I Never Sent’

    BAK Jay - 'Letters I Never Sent' Cover ArtBAK Jay - 'Letters I Never Sent' Cover Art
    Image Credit: © 2025 10K Projects

  • Skepta Featuring Finessekid – “Sirens (From Ireland)”

    Skepta Featuring Finessekid - "Sirens (From Ireland)" Cover ArtSkepta Featuring Finessekid - "Sirens (From Ireland)" Cover Art
    Image Credit: ℗ 2025 Big Smoke Records under exclusive licence to Epic Records, a division of Sony Music Entertainment UK Limited
  • Ashwin Gane Featuring Babyface Ray – “Flip Dat”

    Ashwin Gane Featuring Babyface Ray - "Flip Dat" Cover ArtAshwin Gane Featuring Babyface Ray - "Flip Dat" Cover Art
    Image Credit: Kyyba Music
  • Rocklife Zho – ‘Z5’

    Rocklife Zho - 'Z5' Cover ArtRocklife Zho - 'Z5' Cover Art
    Image Credit: © 2025 LLC4 Records

  • Big Boogie – “Toot It Up”

    Big Boogie - "Toot It Up" Cover ArtBig Boogie - "Toot It Up" Cover Art
    Image Credit: ℗ 2025 CMG

  • Niko Is – “Queima”

    Niko Is - “Queima”Niko Is - “Queima”
    Image Credit: YouTube
  • Spiffy The Goat – ‘Anthems For You 2’

    Spiffy The Goat - 'Anthems For You 2' Cover ArtSpiffy The Goat - 'Anthems For You 2' Cover Art
    Image Credit: © 2025 Hitmaker Music Group

  • OsamaSon – ‘Psykotic’

    Osamason - 'Psykotic'  Cover ArtOsamason - 'Psykotic'  Cover Art
    Image Credit: ℗ Motion Music / Atlantic Records, ℗ 2025 OsamaSon under exclusive license to Motion Music, LLC and Atlantic Recording Corporation
  • YBN Lil Bro – “Ain’t Me”

    YBN Lil Bro - "Ain't Me" Cover ArtYBN Lil Bro - "Ain't Me" Cover Art
    Image Credit: ℗ 2025 99 OVR / Hitmaker Music Group/ Hitmaker Distro

  • HeadHuncho Amir – “You The Biggest”

    HeadHuncho Amir - "You The Biggest" Cover ArtHeadHuncho Amir - "You The Biggest" Cover Art
    Image Credit: ℗ 2025 Only Sun Music Group LLC, under exclusive license to 300 Entertainment LLC.

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John Lennon / Yoko Ono / Yoko Ono Plastic Ono Band / Elephant’s Memory: Power to the People (The Ultimate Collection) Album Review
Music

John Lennon / Yoko Ono / Yoko Ono Plastic Ono Band / Elephant’s Memory: Power to the People (The Ultimate Collection) Album Review

by jummy84 October 11, 2025
written by jummy84

At the One To One concerts, Lennon displayed a certain nervous energy, which pairs well with the sleazeball boogie of Elephant’s Memory, a local NYC band best known for its contributions to the soundtrack of Midnight Cowboy. Elephant’s Memory served as the backing band for Some Time, but were too slack and lackadaisical to get through the One To One concerts without the reinforcement of drummer Jim Keltner, who helps give the performance a serious, heavy swing.

Frontloading Power to the People with the One To One performances—the two sets are here, along with a hybrid highlights disc—illustrates how Lennon spent the early ’70s wallowing in the pleasures of old-time rock’n’roll. Even when he and Ono are having an improvisatory freak-out with Frank Zappa & the Mothers of Invention, it’s rooted in basic three-chord changes. Almost all of the songs John and Yoko wrote during this period are deliberately simple: “Sisters, O Sisters” is a revved-up girl group number, “Attica State” and “John Sinclair” are straightforward blues, “The Luck of the Irish” is a folk ballad, ”New York City” is high-octane Chuck Berry boogie.

The exception to the rule is the one song of the period that isn’t here: “Woman is the N***** of the World,” an overblown wall-of-sound homage intended as an anthem of feminist solidarity, inspired by a slogan Yoko Ono likely adapted from a line in Zora Neale Hurston’s Their Eyes Were Watching God. The box set ignores that track (despite the fact that Lennon chose it as Some Time’s single), cutting it out of the new mixes of the album and the accompanying concerts. Its absence helps shift the story towards Lennon’s continued return to the big bang of 1950s rock’n’roll during this volatile period. Left to his own devices, he sings oldies: the last song disc here is a “Home Jam,” where he’s sitting around the house strumming Everly Brothers and Buddy Holly tunes. On its cousin “Studio Jam” disc, Lennon leads his band through Jerry Lee Lewis and Elvis Presley rockers. These passages are loose, maybe even to a fault, but they’re charming, capturing one of the greatest rock vocalists singing unencumbered by an audience.

These two discs of informal jams are the ideal coda to Power to the People, which chronicles the era when Lennon was keenly aware that he was performing at all times. It wasn’t just that he was playing his first live shows since the breakup of the Beatles. Lennon and Ono were omnipresent in 1971 and 1972, heading off to Ann Arbor to play a rally to free John Sinclair, strumming songs with Phil Ochs in a hotel room, accepting seemingly any offer to appear on TV, as evidenced by their appearance on the Jerry Lewis Muscular Dystrophy telethon. A rousing reggae-fied version of “Give Peace a Chance,” plucked from the telethon, features Lewis himself as part of the onstage chorus; his appearance crystallizes the essential oddness of this period. Even as he got his hands grimy in the leftist underground, Lennon remained one of the most famous men in the world, using mainstream platforms to preach politics to the masses. The dissonance of this intersection remains intriguing, long after the headlines have faded away.

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John Lennon, Yoko Ono, The Plastic Ono Band & Elephant’s Memory: Power to the People (The Ultimate Collection)

October 11, 2025 0 comments
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The Darkness’ Justin Hawkins never “intended to incite a feud” with Yungblud: “It’s OK to be a bit skeptical”
Music

The Darkness’ Justin Hawkins never “intended to incite a feud” with Yungblud: “It’s OK to be a bit skeptical”

by jummy84 October 11, 2025
written by jummy84

The Darkness frontman Justin Hawkins has clarified his comments about Yungblud‘s authenticity as a rock star, saying he never “intended to incite a feud” and emphasised that “it’s OK to be a bit sceptical.”

The fracas began after the band’s guitarist Dan Hawkins called the artist – real name Dom Harrison’s – performance paying tribute to Ozzy Osbourne with Steven Tyler, Joe Perry, and Extreme’s Nuno Bettencourt at the MTV VMAs “another nail in the coffin of rock n roll”. He also called Harrison, as well as his fellow performers “a bunch of bellends”.

Justin Hawkins  would later expand on Dan’s comments on his YouTube channel, describing the performance as “rock n’ roll seen through an Instagram filter of some sort” and adding: “Yungblud seems to have positioned himself as a natural heir to the Ozzy legacy, having nothing to do with the really important stuff.”

In response, Harrison described his critics as “bitter and jealous”, explaining: “They are doing the things they say we are doing – they’re trying to insert themselves into a conversation to obtain some kind of relevancy, on the back of us honouring one of the greatest rock stars that ever lived – and then they talk about authenticity and stuff like that.”

Hawkins has now posted a video through his YouTube channel Justin Hawkins Rides Again titled ‘Yungblud And The Cost of Having An Opinion’. In it, he admitted that he was surprised when it was suggested to him in an interview that he and Harrison were ‘feuding’ because, by running a reaction channel, he is giving his opinion on a performance.

“There’s nothing ‘feudy about it,” he said, “especially when it comes to my reactions to the VMAs performance. None of that was intended to incite a feud. I think that Yungblud is a very well-connected and, as such, dangerous artist. He’s an individual who is not the sort of bear you’d go round poking.

“But I think that when there’s real-time pitch correction happening [referring to his criticism of Harrison’s use of autotune] and stuff like that, and the other observations I made about the overall delivery of it… you’re talking about somebody that came from musical theatre via Disney and is now being lauded as the future of rock. And if they have real-time pitch correction and that kind of background, I think it’s OK to be a bit skeptical about it.”

He continued: “I know that’s not a very popular opinion but from the reaction community if you can’t say something negative about something that leaves you only one opinion available to you and that’s not how life works. Everybody’s allowed to say whatever they want.”

Hawkins then cuts to Harrison’s interview on Jack Osbourne’s podcast when he talks about the comments.

“I’m not slagging him off because… I don’t even think I’m slagging it off actually,” he continued. “I think I’m making a point that if the future of rock requires real-time pitch correction in a live environment rock is pretty fucked, isn’t it?”

Earlier this summer, the singer announced he will be embarking on a one-man tour for his podcast, which will take place in the UK next year. Get your tickets to the ‘Justin Hawkins Rides Again… Again!’ tour here.

The post The Darkness’ Justin Hawkins never “intended to incite a feud” with Yungblud: “It’s OK to be a bit skeptical” appeared first on NME.

October 11, 2025 0 comments
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Cardi B Passed on BIA Diss Video to Not ‘Bully’ on Her Album Day
Music

Cardi B Passed on BIA Diss Video to Not ‘Bully’ on Her Album Day

by jummy84 October 11, 2025
written by jummy84

Cardi B might be pretty and petty — but she wants to be clear that she is not a bully. During an Instagram Live video Thursday night, the Am I The Drama? rapper revealed she passed on releasing a video for “Pretty & Petty,” her BIA diss track, on the day of her foe’s album release day.

“This is how I work: I know how stressful it is to put an album out. And I know how fucked up you be in the mind when you put an album out. I feel like if I do a video to ‘Pretty and Petty’ this week, or today… I feel like I would be bullying,” Cardi explained on her Live. “And I don’t want to feel like a bully.”

The Instagram Live came as BIA — who’s Cardi’s direct target on “Pretty and Petty” — released her own album, titled Bianca. The album included a collaboration with Becky G, “Hard Way,” which sampled Shakira’s “Hips Don’t Lie,” and featured collabs with Young Miko and Ty Dolla $ign.

Cardi B revealed on her latest IG Live that she initially planned to make a video for “Pretty & Petty,” but changed her mind because she didn’t want to stress BIA on her album release day.

“I don’t wanna appear like a bully cuz I understand the stress of releasing an album” pic.twitter.com/R2XgJQSzkE

— Red Media (@RedMedia_us) October 10, 2025

“When I bully, God takes from me. If the bitch ain’t messing with me, and didn’t sub me in her dusty ass album, I’m not gonna do a video reciting her diss track and shit like that on a day I know she stressed,” Cardi said. “Because then, I know God will punish me.”

Cardi added that she’ll instead choose to make a video for “Pretty and Petty” next week, and select a different video to her songs to post on Friday. “I’mma be nice to you because it’s your album day,” Cardi said. “I don’t want to add to your stress. I’m not that bad person that people think I am.”

On the BIA diss track, Cardi named the singer directly, rapping “Name five BIA songs, gun pointin’ to your head,” “It’s been two years since you put a number on the board,” and “They only book you when they can’t afford Coi [Leray].”

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Cardi previously told The Breakfast Club that their beef started when BIA accused Cardi of copying her style. The Grammy-winning rapper said she decided to fire back at BIA because she mentioned her kids.

“She did her little diss and it was trash… I could’ve [left] it at that, but everything on social media is gonna be seen,” Cardi said. “When my kids grow up one day and they see that you mentioned them, they’re gonna ask me, ‘So what you said? What you did [in response]?’ I’m not gonna tell my kids, ‘I felt like she took the high road cause she lost, cause people wasn’t on her side.’ Naw, I’m not sayin’ that to my kids. I’m [gonna be] like, ‘You see how I violated?”

October 11, 2025 0 comments
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Neil Young to Remove Music From Amazon as Singer Slams Jeff Bezos
Music

Neil Young to Remove Music From Amazon as Singer Slams Jeff Bezos

by jummy84 October 11, 2025
written by jummy84

Neil Young is pulling his music from Amazon, the legendary singer-songwriter revealed in a blog post published on his personal website on Wednesday (Oct. 8).

In an apparent protest against the Trump administration, Young wrote, “The time is here. FORGET AMAZON,” under a header that includes the words, “BEZOS SUPPORTS THIS GOVERNMENT,” a reference to Amazon founder Jeff Bezos.

Related

“Soon my music will not be there,” Young continued of Amazon. “It is easy to buy local. Support your community. Go to the local store. Don’t go back to the big corporations who have sold out America.”

The revelation came in a post that included a larger call by Young for people to discontinue shopping at Amazon and the upscale grocery chain Whole Foods, which the online retail giant acquired in 2017. He also seemed to call for a boycott of Facebook, writing “FORGET FACEBOOK” under a logo of the social media platform’s parent company, Meta. In August, Young left Facebook after a Reuters report claimed Meta had allowed AI chatbots to communicate with minors using “romantic or sensual” language.

“We all have to give up something to save America from the Corporate Control Age it is entering,” Young continued. “They need you to buy from them. Don’t.”

Related

Neil Young and the Chrome Hearts, "Big Crime"

The singer also referenced the current shutdown of the U.S. government, writing, “They shut down our government your income your safety your family’s health security. Take America Back together, stop buying from the big corporations support local business. Do the right thing. Show who you are.”

Young has been openly critical of President Trump over the years. Last month, he released the song “Big Crime” with his band Chrome Hearts that railed against recent actions by the president — who is never mentioned by name — with lyrics like, “No more money to the fascists/ The billionaire fascists/ Time to blackout the system/ No more great again.”

Young’s music remained available on Amazon Music at the time of publishing. Representatives for Amazon Music and Young’s label, Warner Music/Reprise, did not immediately return requests for comment.

Related

Neil Young performs onstage at Light Up the Blues 7 Concert Celebrating Autism Speaks' 20th Anniversary at The Greek Theatre on April 26, 2025 in Los Angeles, California.

This isn’t the first time Young has boycotted a digital music provider. In January 2022, the star pulled his catalog from Spotify over its lucrative deal with Joe Rogan, through which it retained exclusive rights to, but not ownership of, the host’s wildly popular Joe Rogan Experience podcast. In a post on his website at the time, Young accused Rogan of spreading “misinformation” about the COVID vaccine on the podcast. “They can have Rogan or Young. Not both,” he wrote.

Young’s stance inspired several other artists to remove their catalogs from the service, including Joni Mitchell and Young’s Crosby, Stills, Nash & Young bandmates David Crosby, Graham Nash and Stephen Stills. Young restored his music to the streaming giant in March 2024 following the expiration of its exclusive deal with Rogan. The previous September, Billboard estimated that Young’s decision to remove his catalog from Spotify cost him roughly $300,000 in lost recorded music and publishing royalties up to that point.

More recently, artists including Massive Attack, King Gizzard & the Lizard Wizard, Deerhoof and Sylvan Esso have pulled their catalogs from Spotify over founder Daniel Ek‘s reported $1 billion investment into defense company Helsing, which sells AI software to inform military decisions.

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October 11, 2025 0 comments
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Katy Pinke Creates a Gorgeous Covers LP » PopMatters
Music

Katy Pinke Creates a Gorgeous Covers LP » PopMatters

by jummy84 October 11, 2025
written by jummy84

Patterns

Katy Pinke and Will Graefe

Glamour Gowns

29 August 2025

Good cover albums should always adhere to two basic principles. First, try to pick at least a few relatively obscure songs. Second, always put a unique stamp on your version whenever possible. Weezer mercilessly broke both rules in 2019 with their awful Teal Album. Who wants to hear anyone play note-for-note renditions of instantly recognizable songs? That’s not art, it’s karaoke. Fortunately, Katy Pinke and Will Graefe have selected an interesting and unique batch of songs from a diverse group of songwriters for their beautiful, intimate covers album, Patterns.

Pinke – whose sophomore album, Strange Behavior, was released earlier this year, and Graefe – a highly skilled guitarist who’s worked with Okkervil River, Kesha, Orville Peck, Sam Wilkes and more – conceived the idea of a covers project during a series of duo gigs before recording a series of songs live to tape “in a single-day burst of inspiration”, according to the press notes. The result is refreshingly simple: Pinke on vocals and Graefe on guitar.

While Pinke’s first two records showed a gifted songwriter at work, she’s also known as a tremendous interpreter of other people’s songs: Strange Behavior included a breathtaking cover of Blossom Dearie’s “You Are There”, which stopped me dead in my tracks when I heard her perform it in a tiny Boston-area club a few months ago. She and Graefe do not disappoint here.

Bobbie Gentry‘s “Courtyard” opens the record with gentle confidence and even provides the album’s title in the chorus (“Patterns on a courtyard floor / Illusions of all I’m living for”). While Gentry is best known for her monster 1967 smash hit “Ode to Billie Joe”, choosing a lesser-known song is a brilliant move. The song selection takes an even more interesting turn with SZA‘s “Good Days”. While retrofitting the neo-soul single for an indie-folk template seems unusual on the surface, Pinke’s exquisite vocals, alongside Graefe’s sympathetic accompaniment, showcase the song’s tenderness and beautifully simple melodies.

Frank Ocean and Swedish rapper Yung Lean are among the additional contemporary artists covered on Patterns. The shimmering balladry of Ocean’s “Dear April” is given an achingly heartfelt, almost minimalist treatment here, while Lean’s “Agony”, full of fragile experimental touches in its original form, is transformed by Pinke and Graefe into a long-lost pop-folk classic. It’s essential to note that none of this resembles any genre parody. When, for example, the Gourds released their hillbilly take on Snoop Dogg‘s “Gin and Juice”, it was likely for a cheap laugh. Pinke and Graefe appreciate the artistry in all the songs they’ve chosen to cover here, regardless of format or the song’s original style.

Elsewhere, Paul Simon‘s “Night Game” (from Still Crazy After All These Years) is covered with the record’s one guest appearance. Jake Sherman provides a beautiful chromatic harmonica solo. While it’s not exactly a deep cut, the Beach Boys‘ “Don’t Talk (Put Your Head on My Shoulder)” is a pleasant surprise, combining uncomplicated romantic sentiment with the harmonic touches that are so prevalent on the Pet Sounds album. Elliott Smith has been covered numerous times before and since his untimely passing, receiving two songs on Patterns, “Clementine” and “Everything Means Nothing to Me”, which excel in his typical confessional, storytelling style of writing and are treated with grace and eloquence.  

The record’s high point is the cover of Jeff Buckley‘s “Lover, You Should’ve Come Over”. Pink and Graefe don’t reinvent the wheel here; the song is a masterpiece of tender, aching passion, and making large-scale changes to it would be unwise. They stick to a simple, unadorned, acoustic rendition, and Pinke’s voice is an astonishing gift, from gentle murmurs to sweet falsetto to heartfelt soaring; never grandstanding or attempting to outshine Buckley’s classic rendition. The late singer/songwriter’s music has never been in better hands than it is here.

Katy Pinke and Will Graefe are exceptional artists in their own right when performing their own compositions, but as they prove here, they’re also master interpreters with seemingly unlimited gifts. Patterns deserves a seat at the table alongside classic covers albums such as Bryan Ferry‘s These Foolish Things, Willie Nelson‘s Stardust, and Cat Power‘s The Covers Record. It really is that good.

October 11, 2025 0 comments
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