Tag: Carly Rae Jepsen

Monthly Mixtape: Feb ’24

MarcyB0yLeave a comment

Reading Time: 6 minutes

Another month, another mixtape! It feels like a second ago since I posted the last one, but I was late with January’s.

I really, really love this collection of songs and am excited to share them. My hope is always that you will find something new, whether you read the whole blog, scan read or just listen to previews.

I know we are all short on time, therefore I’m going to star including my Essential 3 picks at the top for those wanting to read a bitesize edition.

So with no further ado, let’s dive in!

Read More »

September Mixtape

MarcyB0yLeave a comment

It’s September which means it’s time for the September mixtape!

We’d have loved to have included some material from Frank Ocean’s ‘Blonde’ album but unfortunately it is not available to share. Still, here’s twenty tracks we have been loving listening to in this past month.

Music Monday – Volume Ninety Nine

MarcyB0yLeave a comment

1) TIEKS & Dan Harkna – Sunshine (Acoustic Version)

Gorgeous acoustic guitar version of the smash summer dance hit which almost surpasses the original.

2) Carly Rae Jepsen – Roses

Sweet Pop ballad with jittery synthesizers, thunderous percussion and Jepsen’s syrupy vocals. Taken from her new EP comprised of eight outtakes from her brilliant album ‘Emotion’.

3) Mac Miller & Anderson Paak – Dang!

American rapper Mac Miller teams up with Anderson . Paak on this subtle, chilled-out tropical-house influenced hip hop track. Buoyant yet laid back, this is a huge record.

4) Tom Chaplin – Quicksand

Keane frontman Tom Chaplin goes it alone on this fantastic pop debut. Co-written by Matt Hales (better known as Aqualung), this triumphant pop track is the lead single from Tom’s forthcoming debut album ‘The Wave’. It doesn’t stray far from Keane’s sound (in fact, it is essentially a Keane song) but it works in Tom’s favour.

5) John Legend – Start

John Legend does what he does best on this schmaltzy piano ballad. A stunning love song, ‘Start’ is taken from the soundtrack of ‘Southside With You’ which utilises nothing but John’s gorgeous falsetto and tender piano chords.

 

 

 

Music Monday – Volume Seventy Eight

MarcyB0yLeave a comment

1) George Michael – Edith & The King Pin

Gorgeous jazz cover of Joni Mitchell’s 1975 ‘The Hissing of Summer Lawns’ album. George has always produced wonderful covers and this is no exception.

2) Anastacia – Left Outside Alone

Killer pop-rock track released eleven years ago (I know, I can’t quite believe it either!) Co-written by Anastacia with hit songwriters Dallas Austin and Glen Ballard, this was a huge pop hit upon release and remains a brilliant song.

3) Anastacia – You’ll Never Be Alone

Lovely, if slightly slushy, pop ballad by Anastacia. She truly is one of the most underrated pop acts in the world. What a voice!

4) Anastacia – Take This Chance

Uplifting and inspiring new track from Anastacia’s Greatest Hits compilation album. She’s still got it! Awesome song.

5) Carly Rae Jepsen – Tell Me

Carly Rae Jepsen’s debut album did not receive much attention upon release. I only came across it this week and fell in love. It’s different to the stuff she’s become well-known but each song is hugely enjoyable. This is a great acoustic-based ballad.

6) Carly Rae Jepsen – Sunshine on my shoulders

Lovely and relaxing cover of the John Denver track.

7) Carly Rae Jepsen – Worldly Matters

Another acoustic based pop track. The entire album is a hugely enjoyable listen – full of sunny & chirpy pop tracks.

8) Coldplay – Everglow

Classic Coldplay ballad but with greater electro elements. This is a promotional track for the band’s upcoming ‘A Head Full of Dreams’ album.

9) The 1975 – The Sound (Live)

MY GOD THIS IS GOOD.

Catchy as hell. I am SO ready for this next album.

10) The 1975 – Somebody Else (Live)

Cartchy 80’s-esque indie-pop track comprised of broken vocal samples, funky bass lines and slamming percussion. The 1975 at their best and a teasing insight into how the new album is going to sound.

Music Monday – Volume Seventy

MarcyB0yLeave a comment

1) One Direction – Infinity

This week, One Direction announced their fifth album ‘Made in the AM’ in addition to the release of this new track. An emotive pop-rock ballad featuring weeping guitars, reverberating vocals and syrupy sweet harmonies, the song features an epic climax.

2) Carly Rae Jepsen- Let’s Get Lost

Funky track in a similar vein to The 1975 featured on Jepsen’s new album ‘Emotion’. An effervescent affair featuring funky guitar riffs, clinking synthesisers, gorgeous layered harmonies and a rogue saxophone solo, it’s a piece of pop perfection.

3) Carly Rae Jepsen – All That

Jepsen continues her 80’s synthpop vibe on this gorgeous slushy ballad. Giggly synthesisers and whimpering bass lines lead the track whilst Carly’s seductive vocals trickle gently atop. The climax is rather powerful too.

4) Ryan Adams – I Wish You Would

Whilst Ryan Adams and Taylor Swift share a musical background which covers country music, the concept of indie singer-songwriter Adams covering Swift’s entire synthpop ‘1989’ album sounded like an awful idea on paper. Amazingly, however, it works beautifully. Adams turns this into a moody acoustic ballad with wailing guitars and his heavy vocals endlessly reverberating.

5) Ryan Adams – Bad Blood

Adams somehow produces a cover better than the original. This alternative rock interpretation works perfectly, rife with various guitars.

6) Dimitri Vegas, Like Mike & Ne-Yo – Higher Place

Moody club track built around gentle piano riffs and the gorgeous contrast between Dimitri Vegas & Like Mike’s bass, low registered vocals and Ne-Yo’s gorgeous higher-toned vocals.

7) Mariah Carey – Dreamlover

Catchy Pop-R&B track which enabled Carey to break into the pop market. It’s all very ’90’s with its fierce drum machine and glittery piano riffs but it’s impossibly catchy and a lovely feel-good track.

8) REM – Man on the Moon

One of alternative-rock band REM’s biggest hits, this track is lyrically a tribute to performer Andy Kaufman.

9) Mumford and Sons – Believe

Upon release, ‘Believe’ marked a musical departure for the band. Best known for their organic, acoustic instrumentation, ‘Believe’ enters a more electric and alternative territory. A gentle, eerie opening develops into a powerful and energetic stadium-rock anthem.

10) Duke Dumont – Ocean Drive

Duke Dumont demonstrates a different side to him as ‘Ocean Drive’ enters a more funky, electropop territory compared to the usual deep-house tracks he produces.

Carly Rae Jepsen – Emotion Album Review

MarcyB0yLeave a comment

carly-rae-jepsen-ec2b7moc2b7tion-2015-deluxe-1500x1500

The sophomore album is always a challenging feat. Ask any artist and they will affirm that the second album is always the most testing. How do you follow up a successful début album, an introductory statement without recovering old ground or losing your audience altogether? Carly Rae Jepsen launched onto the music scene springier than a space hopper back in 2012 with huge guilty-pleasure ‘Call Me Maybe’ which remained in the charts (and our minds) for what felt like a lifetime. Whilst eventually a vexatious presence it was unarguably a slice of pop perfection and a triumphant launch onto the global music scene. Supporting album ‘Kiss’ was an enjoyable dance-pop album but one which failed to capture the enchantment ‘Call Me Maybe’ contained. Nevertheless, it was a commercial and critical success and one which secured Jepsen as the latest pop princess.

‘Emotion’ largely follows the same formula as ‘Kiss’; the focus is placed upon alluring hooks and uptempo dance-pop tracks which document escapades of puppy love. The primary difference however, is that Jepsen’s new material contains far greater substance. As is the latest trend, ‘Emotion’ draws heavily on 1980’s synthpop, Sia Furler’s writing credentials and a team of Swedish pop writers to formulate the perfect pop album. What ‘Emotion’ may lack in individuality, however, it makes up for in spirit and conviviality. Every track is meticulously programmed by some of pop music’s biggest producers (Greg Kurstin, Mattman and Robin and Shellback to name but a few) whilst Jepsen’s breathy and sultry vocals drift sedately atop. Every effect imaginable is tossed into the concoction – distortion, autotune, excessive reverb – but every ounce of effort is worthwhile; Jepsen has delivered an effervescent album abundant with catchy guitar riffs, breezy sound effects, and irresistible pop melodies.

Album opener ‘Run Away With Me’ is a model of things yet to come, plastered with detuned saxophone riffs, tight production, shuffling percussion, repetition and infectious melodies.  It’s a fitting introduction; another teeny-bopper but its taut production gives it far greater substantiality. Lead single ‘I Really Like You’ remains as charming as on first listen whilst funky ‘Emotion’ comes dangerously close to becoming a direct rip-off of Haim’s ‘If I Could Change Your Mind’.

As is the case on all contemporary pop albums, Sia Furler is enlisted as songwriter on two tracks. The first, ‘Boy Problems’ is a fizzy affair, carrying levels of buoyancy Nile Rodgers would be proud of as Jepsen boasts that she ‘broke up with my boyfriend today and I don’t really care’. It shamelessly enters teeny-bopper territory again and is rife with sneering teenage girl ‘nah nah nah nah nah’s’. ‘Making The Most of the Night’ is a slightly darker effort in a similar vein to Sia’s own material, built around a tribal-influenced rhythm. Both tracks form just a handful of the album’s high points.

The 1975-esque ‘Let’s Get Lost’ is another of the album’s highlights, utilising funky guitar riffs, clinking synthesisers, and a feral saxophone appearance. Breezy harmonies are gorgeously layered, evolving into an exceptionally melodious chorus. It’s more infectious than than anything Jepsen has produced prior to this album and is crying out for a single release.

Elsewhere, ‘Emotion’ attempts to strike forward with a little more ferocity and variation. ‘LA Hallucinations’ explores hip-hop in a similar fashion to Taylor Swift’s ‘Bad Blood’ whilst ‘Warm Blood’ uses stomping percussion and fuzzy bass lines to great effect. Finale ‘When I Need You’, the most 1980’s influenced track by far with spaced percussion and shimmering bells could have easily been featured on the soundtrack to a classic ’80’s movie, following a similar suit to ‘I’ve Had The Time of My Life’.

In an album so sharply focussed on tight production and frolicking with various effects, the Mattman and Robin produced ‘Gimmie Love’ adopts a more simplistic touch through utilising Jepsen’s angelic vocals beautifully over minimalistic over reverberated percussion and metallic guitar riffs. Then there is sole conventional ballad ‘All That’ – a slow schmaltzy number rife with twinkling keys and giggling synthesisers, lavishly drizzled with Jepsen’s syrupy sweet vocals. The end of the middle eight hits a colossal climax which completes the track nicely.

Whilst Jepsen doesn’t necessarily demonstrate the greatest vocal range, this is greatly compensated for by the compelling melodies that stick in the mind long after the album’s final track. Every track is solid enough to be a single and this engenders a flawless album of pop gold.

‘Emotion’ is a glitzy album bursting with vibrancy; forty five minutes in which the listener is permitted to re-enter the comfort of a convivial, juvenile world free of the stresses of life. A perfect pop album.

Rating: 5/5.

‘Emotion’ is out now on Interscope/School Boy Records.

Carly Rae Jepsen – Understated and Underrated Pop Princess.

MarcyB0yLeave a comment


11986857-standard

The rise of Carly Rae Jepsen has been somewhat remarkable. The Canadian sweetheart first came to prominence on Canadian Idol back in 2007, finishing a respectable third. Of course over the years, the Pop Idol has become largely overshadowed by Simon Cowell’s replacement international franchise X Factor which currently runs in thirty four countries over the world. Despite this, the ‘Idol’ franchise continues to run in some countries simultaneously. Whilst such programmes often produce successful acts, they rarely become superstars in anywhere else but their home country (though Leona Lewis & Kelly Clarkson have both proved to be an exception to the norm.) So when Rae-Jepsen placed third in 2007’s Canadian Idol, chances of worldwide success appeared slim. After all, when has a winner of Canadian Idol ever become the next big thing over here in the UK? Exactly. But somehow, gentle and unassuming Carly cracked the big time.

carly 3As is often the case, success was not immediate; début album ‘Tug of War’ was released on a tiny independent label with no mainstream release until three years later when she began working on her follow-up album. It was the writing of one song that changed everything. That song is of course ‘Call Me Maybe’. Perhaps somewhat surprisingly, ‘Call Me Maybe’ was written by Jepsen with Tavish Crowe as a folk song until Josh Ramsay transformed it into a teen dance-pop track. The song’s eventual success was largely the responsibility of Justin Bieber who tweeted the song to his millions of Twitter followers before increasing its popularity even further a month later when appearing in a viral video in which he lip-synced the track along with Selena Gomez and Ashley Tisdale. Perhaps this isn’t surprising when Bieber himself is considered a teen-bopper by many and isn’t exactly swimming in credibility. Nevertheless, Bieber’s assistance resulted in the snowball effect in which the song was picked up by radio stations and music channels worldwide, on heavy rotation which resulted in it becoming a Number One hit in eighteen countries; an impressive feat. It was nominated for two grammy awards and won MTV’s ‘Song of the Year’ award in 2012. Rae-Jepsen’s grip on the world was only reinforced later that same year upon the release of her second album ‘Kiss’, released to overall positive response.

This year, Jepsen returned triumphantly with the exceptionally catchy ‘I Really Like You’, accompanied by a comical music video starring Tom Hanks. It became another hit in Jepsen’s back catalogue and follow up ‘Run Away With Me’ has also been soaring high into the music charts in multiple countries. Both singles, whilst remaining faithful to Jepsen’s signature pop-sound, have hinted at a more 1980’s synthpop sound, adding an extra layer of depth. No wonder then, that forthcoming album ‘E-M-O-T-I-O-N’ (released in the UK on the 18th of September) is one of the most highly anticipated albums of the year. The pop world is all about 1980’s synth/electro-pop so the release of ‘E-M-O-T-I-O-N’ has been impeccably timed.
carlyraejepsen5Whilst Jepsen’s commercial performance has been hugely successful, she remains a greatly overshadowed artist in the fickle world of pop music. In an industry that increasingly objectifies women and removes the focus from vocal and artistry talent, placing it on personality, controversy and appearance, many women become lost in the haze of the music industry. Rhianna, Beyonce and Taylor Swift tend to dominate for their colourful personal lives and vibrant fashion sense. Indeed, they each also have extensive collections of hits and are largely talented but the emphasis is equally placed on matters other than the music. It is somewhat refreshing then, that Rae Jepsen seemingly avoids association with controversy is also refreshing in an age where disputation is the main attraction in pop careers. No matter the opinion of the most cynical music fans, her talent to write catchy and memorable pop hits cannot be denied. ‘Call Me Maybe’ undoubtedly became bloody irritating after a few weeks but it remains one of the best hits in Pop History. Furthermore, her sultry, squeaky and quirky vocals make her refreshing to listen to in an industry dominated by auto-tune and instinctive vocals.

The longevity of a pop career can never be guaranteed in a rapidly changing industry. Nevertheless, if her musical output remains as strong as is currently the case, understated and underrated pop princess Carly Rae Jepsen can expect a very long and fruitful music career.

8b2538984230c17e71c0b3defd0055bf.600x600x1

Music Monday – Volume Sixty Two

MarcyB0yLeave a comment

1) Adam Lambert – The Original High

Impossibly catchy synthpop title track of Adam Lambert’s latest album. Full of thumping beats, squealing synths and a flawless vocal from Lambert, it’s a perfect summer track.

2) Disclosure & Sam Smith – Omen

Disclosure & Sam Smith already proved to be a dream formula with 2013 house hit ‘Latch’, both catapulting each other to fame. As Disclosure prepare to release their sophomore album later this year, second single ‘Omen’ attempts to regain some of the magic ‘Latch’ contained and it doesn’t do a bad job in the slightest. Smith’s vocals are raw with sincerity as always, crooning over Disclosure’s usual scatty production. Not quite as good as ‘Latch’ but a fine follow-up nonetheless.

3) Nicki Minaj – The Night Is Still Young

Nicki Minaj’s musical and artist output is certainly intriguing. Hits such as ‘Superbass’, ‘Fly’ and ‘Pound The Alarm’ were tolerable catchy music hits whereas ‘Anaconda’ slipped into the ‘utter garbage’ category. Still, she is a highly successful and interesting artist who clearly has a strong following. ‘The Night is Still Young’ is her latest release and whilst described by many as a dance-pop song, it borders on becoming a ballad with it’s relatively slow tempo. It’s a great song, however, more so musically than lyrically but certainly one of Minaj’s better efforts.

4) Carly Rae Jepsen – Run Away With Me

One of the most underrated females in Pop, Carly Rae Jepsen has a unique talent in being able to co-write effortlessly catchy and clean pop hits, suitable for audiences of all ages. With her seductive, airy vocals and synthpop hits, Rae Jepsen has carved herself a sucessful global career yet still seems to be largely ignored compared to other female artists such as Taylor Swift and Beyonce. ‘Run Away With Me’ is the follow-up to awesome lead single ‘I Really Like You’. Both singles are from Carly’s forthcoming album ‘Emotion’ and is produced by Shellback with assistance from Mattman & Robin (the producers of ‘Higher than Higher’ by Take That and Adam Lambert’s ‘The Original High’. It’s another fun synthpop track, a little bit 80’s with squeaky synths with shuffling percussion and powerful vocals from Rae Jepsen. One of the best songs around at the moment.

5) John Newman – Come and Get It

The British northern-soul crooner is back with massive hit ‘Come and Get It’, a catchy soul-funk track co-written by John himself with pop pioneer Greg Kurstin. It’s a huge song with powerful vocals from Newman.

6) Jessica Simpson – With You

It may be incredibly cheesy and lack credibility but ‘With You’ is pop music at its best. Pretty pop track.

7) Tame Impala – Cause I’m a Man

Gentle, dreamy psychedelic summer track by Australian band Tame Impala. Reminiscent of slow-disco hits from the 1970’s, this is a breath of fresh air in the current state of the music industry. One of my absolute favourite songs currently around.

8) Blonde ft Alex Newell – All Cried Out

Awesome track of the deep house genre with 90’s house piano riffs and incredible powerhouse vocals from American singer/actor Alex Newell.

9) George Ezra – Barcelona

Soft f0lk-styled track; the latest single from George Ezra’s incredible album ‘Wanted on Voyage’. Ezra’s rich, wise-beyond-his-years vocals really are distinctively beautiful.

10) One Direction – Drag Me Down

The killer new single from the much-loved Boyband; the first without Zayn Malik who departed the band earlier this year. It’s not as good as ‘Steal My Girl’ (lead single from the band’s last album ‘Four’) but it proves the continuity of the band’s maturer sound.