Paloma Faith feels jealous in 'Can't Rely On You'

Only a year and a half after the release of her sophomore album "Fall to Grace," Paloma Faith has come back swinging with funky new single "Can't Rely On You," serves as the lead single off the English soul siren's upcoming third studio album "A Perfect Contradiction," due out on March 3. As is always the case with the 'New York' maestra, she puts the music at the forefront of cause with the release of "Can't Rely on You," which is intriguing both musically and visually. The accompanying video is as visually sumptuous as we've come to expect from Faith.
Produced and co-written with former N.E.R.D.-boy Pharrell Williams, "Can't Rely On You" is funky pop jam and swings with a funky fresh groove that throws back to the '70s and filled with references to classic soul that effortlessly mixes Williams's trademark beats with Faith's always soulful distinctive vocals. It's a striking departure from the big, sweeping ballads of her last album, but a welcomed one as well. The song serves major throwback vibes, yet sounds undeniably fresh - A bold comeback! Top that with Faith's soul-shouter vocals and you've got a winner.
The 32-year-old Londoner laments feeling jealous of her lover in the funk-soul track "Can't Rely On You." The beat is so similar melody to Robin Thicke's ubiquitous "Blurred Lines." Williams clearly tried to disguise it all that he could, but in the end, it was inevitable for the "Blurred Lines" sound to surface. The intro in particular makes you think you've played Thicke's song by mistake. The accompanying "Blurred Lines"-esque video video, directed by Paul Gore, is a dazzlingly weird and left-of-center period piece that executes its high concept with impeccable attention to detail, contrasting the retro flavor of the song with lushly anachronistic visuals.
The clip begins with a French female voiceover about moving on from the end of a relationship, and the fiery red-headed, lingerie-clad Faith in bed with a lover. From there, Gore takes us on a bizarro-world ride filled with images of milk baths, a topless Faith wearing a white mask, women in religious-looking gowns, a stunned mustachioed gent, a black horse, and a chauffeured-driven vintage Mercedes that becomes driverless when he bails, leaving Faith in the backseat to fend for herself. It ends with the French narrator returning to inform us that "This is just a beginning." You've been warned.

Kristina Train doesn't want to 'Lose You Tonight'

Kristina Train has released a brand new video for her latest single, "Lose you Tonight," the third single taken from American pop/soul singer/songwriter's her long-awaited follow-up, "Dark Black" and the stylish video was shot in New York from where she hails. When it comes to Train's album "Dark Blue," it was love at first listen for us. The dark haired beauty's collection of instant pop classics has placed high on our list of the best releases of 2012.
Back in 2009, Train's debut album "Spilt Milk" came and went without leaving much in the way of a trace. Part the new Norah Jones, part the latest Amy Winehouse clone, the 30-year-old New Yorker, who has lived in London since 2011, eclipsed neither and that very much seemed to be that. But it turns out she's made of stronger stuff. Others in her position may have decided that a lifetime of asking customers what topping they'd like on their pizza beckoned. Instead, in the three years Train took to lick her wounds, she switched labels, she ditched anything resembling jazz and she developed songwriting relationships with Ed Harcourt, Cherry Ghost's Simon Aldred and, most significantly Martin "M. Craft" Craft. The results are startling.
The Jazz influenced sound of her debut isn't all that apparent on "Dark Black" with Train opting instead for a more soulful pop sound. Blessed with a crystal-clear voice which exudes addictive grief, Train coats her despair in twinkling, edgy tunes. The combination makes her not just a voice of real, believable depth, but a genuine contender, too. Her sounds battered by life at every turn. The sound may be 21st century - she's certainly not retro - but while her multi-layered richness takes her beyond genre, her emotion and that believability indicate soul at its deepest and most timeless.
"Dark Black," is a grower and the more you listen to it, the more rewarding you'll find the record. An extraordinary record. The mid-tempo and echo-laden "Lose You Tonight" seems to be propelled by a melancholy harp, which finds the singer lamenting 'we always try, never seem to get it right, running out of time, I don't want to lose you tonight' as she clings on to a relationship that doesn't seem to be working. Enjoy the black and white video for "Lose You Tonight" below.

Joss Stone Gets Us So High In "The High Road"

The British neo-soul singer Joss Stone released the music video for "The High Road," the first U.S. single and a stone-cold soul makeover of the Broken Bells' cult hit, taken from UK songstress' latest sixth disc "The Soul Sessions, Vol. 2," a sultry, sexy covers-only affair. The resulting album showcases a young woman at the height of her vocal powers. The 25-year-old Grammy award winner's return to the soul basics that made her first album such a breakout hit fits cozily into my headphones as she breathes new life into old songs.
And as the name implies, "The Soul Sessions Vol. 2," follows in the footsteps of her 2003 debut album in that all the songs are cover versions of Soul classics, most of which were recorded in the 1960s and '70s. Or actually, make that most of the songs covered are Soul classics. One very notable exception is Stone' version of "The High Road," a song that was the first-ever single by electro-indie duo Broken Bells in 2009. The song juxtaposes an uplifting melodic chorus with a depressing lyric about not knowing if the dead can talk, or even not knowing if you're alive.
"The High Road" isn't that old but is something that Stone decided to put a soulful spin on with stellar results. And like all good remakes, Stone' version reshapes the original song into something that sounds fresh and new, but also has a familiar quality to it at the same time. This new smooth, spine-tingly tune replacing the original bluesy number's Danger Mouse-produced sheen with electric guitars, piano and her signature vocals, Stone unearths two Chi-Lites chestnuts and gives Broken Bells' "The High Road" a psychedelic-soul makeover. But her musical instincts are off, and she steamrolls nearly every song with her bombastic blues growl.
The psychedelic video features Stone taking a train ride to a very special station. She exits the subway and slap us with some melting Dali clocks and lead us through the enchanted forest on all sorts of magical adventures with all sorts of fantastical things surrounding her including an elephant that provides her next mode of transport. Stone then happens upon a hooded stranger who entices her into a game of chess, and how the game ends shouldn't really come as a surprise. Watch below to take "The High Road" with Stone into her dreamland of make believe.

Fiona Apple Is Flight "Every Single Night"

Fiona Apple is making her triumphant return to the world of music videos after more than 6 years away with "Every Single Night," the lead single off her forthcoming album, "The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do," The brilliantly bizarre clip, seems to be obsessed with wildlife, especially creatures with no spines, makes its official debut on the Sundance Channel Sunday night, and the album hits stores on June 19th, the kickoff day for Apple's North American tour.
"Every Single Night," her first single in y years, is a tortured tale but the lyrics aren't the only aspect of the sparse song that feels bipolar: There's a prominent toy piano riff that makes Apple sound like a ballerina spinning out of control. Apple describes what she's trying to capture as "the flight of little-wings of white-flamed butterflies in my brain" - a striking image that turns disturbing when you think about what it's like to be enveloped by trapped, flapping tiny insects. Apple uses her piano as a percussive instrument that also makes melodies. She bangs at it, slapping out chords that sometimes feel like marching orders and sometimes act as interruptions, enhancing the stop-start nature of her internal monologues.
Emotions are so darn beautiful - that's the message of music, much of the time. Apple's music does something different. A classically lovely woman whose gorgeous, sultry alto once led her toward alt-divadom, she has always dared herself to be and do something else: to say no to simple beauty and instead express the urges and insecurities that more accommodating artists tend to avoid. Combined with some her unique vocals and some truly unique imagery, "Every Single Night" is a triumphant comeback by being exactly what Apple's cult of devotees has been yearning for.
The 34-year-old songstress and pianist gave director Joseph Cahill pretty simple instructions: "do things to me and put me in situations and surprise me." The end result certainly is surprising. The very strange, sci-fi-tinged clip features unsettling water imagery, an octopus worn as a hat, and a minotaur in Apple's bed and dances down the street while surrounded by people with lightbulb-sticks. As we see Apple lying in a field, while an electric-blue sky floats above her, upside-down swimming above water and walking through the streets of Paris while a giant squid attacks the Eiffel Tower. It's strange, it's oddly beautiful. And it's far more haunting and for more beautiful than what we could have ever anticipated!

Norah Jones Gets Revenge In "Happy Pills"

Alt-jazz songstress Norah Jones has released a video for "Happy Pills," the chugging first single off her forthcoming fifth Danger Mouse-produced breakup LP, "...Little Broken Hearts," is due for a May 1st release. Featuring Jones singing in various '50s-themed outfits and surroundings, the video tracks the middle and seemingly infidelity-induced end of a relationship. It's the perfect backdrop for Jones's retro, pleading croon, "Will you please just let me go now?"
"Happy Pills" depicts a relationship gone wrong, and it shows off what might be an unexpected side of the soft-spoken singer-songwriter. The '50s-influenced breakup track features Jones doing what she does best—musing with a sensual vocal performance, and deals conclusively with a philandering boyfriend. The song hints at the breadth of new sounds that Jones and producer Mouse (real name: Brian Burton) conjured for "...Little Broken Hearts," with the pair handling the majority of the instrumentals.
The 33-year-old Grammy-winning singer teamed up with the producer after she contributed vocals to his Rome project with Daniele Luppi. The song surprised Jones and Burton from the moment they wrote it. "We both were like 'Oh my God, this is awesome' at first and then went away and listened over the weekend, explained Jones. "We didn't know if it fit on the record. But I couldn't stop singing it, and neither could Brian. Eventually we decided it was too much fun, it had to be there." Jones looks absolutely luminescent throughout the video. She's downright dewy as her younger self and aging does nothing to dim her radiant beauty.
Jones isn't kidding when she says she wants you out of her life in the video for "Happy Pills." The Isaiah Seret-directed clip starts in the past - the late '50s or early '60s, and goes forward and back in time as she lives out a revenge fantasy against her cheating beau. She has it out for both the boyfriend and his girlfriend in the Hitchcockian tale, although, the video is a little hard to follow at times as various scenarios play out and time moves ahead. However, the ending is crystal clear as a cold, blue lake as an older Jones rides her horse through the woods back to the scene of the crime that she has kept secret for decades or not.

Katie Melua Debuts "The Bit That I Don't Get"

Katie Melua has debuted a music video in support of her latest offering "The Bit That I Don't Get," from British singer's upcoming fifth studio album "Secret Symphony," will be released in the U.K. on March 5. The Georgian-born singer/songwriter's new album is an exquisite collection of songs that perfectly showcases the unique, instantly recognizable voice. The record allows Melua's distinctive voice and the songs to truly shine.
The "Spider's Web" singer was Britain's best-selling female musician just four years ago. But the public hasn't seen much of sultry singer Melua of late. Husky-voiced Melua, 27, takes fans to enjoy her performance at Ronnie Scott's before giving them a quick look at her when she's not on stage. It's fair to suggest that she's ever-so-slightly moved back into her comfort zone with "The Bit That I Don't Get."
"There is a simplicity to the album that I love," Melua told about "Secret Symphony" in an interview recently. "The last album was quite a challenge and there was a lot of soul-searching. This time, I just wanted to sing. On this record I simply wanted to find beautiful songs and to really sing my heart out. This album was going to be my 'singer's album.' I had always wanted to do this one day; singing other people's songs brings something out of you and your voice that isn't perhaps where you would have gone vocally with your own material."
Prior to the release of "Secret Symphony," Melua has performed two nights at Ronnie Scott's in London on February 6th & 7th. These shows given fans a rare opportunity to see her beautiful songs and unique voice which have touched millions and she is one of Britain's most successful artists of the last decade, in such an intimate setting. The clip combines footage from her performance at Ronnie Scott's with montage which shows a closer look at her from behind the scene.

Amy Winehouse/Tony Bennett: "Body and Soul"

Nearly two months after her shocking death on July 23, the final video and song recorded by late British soul revivalist Amy Winehouse dropped on Wednesday, her 28th birthday, and it shows off her overwhelming talent in fine form. The duet with jazz icon Tony Bennett on the standard "Body and Soul" video features the footage of her last recording session this March at the famed Abbey Road Studios in London.
The pop-jazz standard song, features the unlikely pair in a tender and often playful mood in the studio, will appear on Bennett's "Duets II" project, which is due out on next Tuesday, and Proceeds from the track's sales will go toward the Amy Winehouse Foundation, and the charity will benefit children. In the video she's clearly nervous, shuffling about but gazing admiringly at Bennett, and her voice is still a thing of wonder when it arrives for the second verse, the jazzy inflection pulling at the melody and working as the perfect counterpoint to Bennett's velvet croon.
In an interview with MTV, Bennettt said, "We had a beautiful time recording together in the studio, and I knew that Amy was very happy with how she performed that day, I thought she was absolutely brilliant." The jazz legend also praised Winehouse, saying she was "someone who knows how to intuitively improvise and make it believable and sing with humanity and soul and honesty, no compromising. Amy had that gift. She was the only one of all of the contemporary artists that I've met through the years. She's the only one that was able to do it."
The stripped-down clip opens with Bennett taking the lead as Winehouse looks on coquettishly, and then it's Winehouse's turn, as the singer known for her often shambolic live performances is seen on her best behavior. The video footage of the two singing together is bittersweet, with Winehouse looking healthy and alert, twirling her hair flirtatiously as she matches Bennett note for note on the standard. Throughout the clip, Winehouse flashes bedroom eyes at the 85-year-old crooner and patiently awaits her verses, with both singers reading their lines expertly off the sheet music. When the two vocalists embrace at the end, it's both heartwarming and bittersweet.

Sade Showcases Live Dance In "Love Is Found"

Adding some smoothness to the sweaty summer heat, English soul/R&B band Sade issues the music video for "Love Is Found," one of four previously unreleased tracks featured on her new two-disc project, "The Ultimate Collection," which is in stores now. The clip features footage of Sade and the band on stage from their current "Soldier of Love" international tour, and it's a sleek and sexy clip shot during one of the band's live shows. After all, as choreographed silhouettes dance across a screen in the background.
The band is named after their British Nigerian lead vocalist, Sade Adu, who has been in the game for over two decades and she still keeps the quality music coming. Her unreleased new tune, "Love Is Found," is a mid-tempo electronic number with a slight air of menace about it. "Love is Found" takes its time to build as R&B songstress Sade coos over rising strings for the first minute or so. It then launches into a huge tune that revolves around snarling guitars, a thick bass line, and her vocal changes. If you were looking for a reason to pick up "The Ultimate Collection," this is it.
"Love is Found" isn't merely one of four previously unreleased cuts that made Sade's recently released album. The track also happens to be the best unreleased cut that made the compilation. Frontwoman Sade's vocals are, as always, intoxicating as she drifts above the surging sound of strings and bass, all of which erupt once the track hits its stride. And instead of going over the top with the visual accompaniment, which could have easily happened given the soundtrack-ready composition, Sade keeps its relatively simple here.
Presented in black and white, the Sophie Mueller-directed live performance video showcases Sade and her full band in action as shadow-like figures dance on the screen behind them like faceless giants, as the band tears up the stage with some help from an interpretive dance team, who keep the visual element engaging but never to the point of absurdity. Sade strikes quite the gamine pose and is dressed head to toe in black with flats, and while the fashion may have changed, she retains her aura of regality, somehow existing in a place slightly elevated from the rest of us mere mortals. Glamorous frontwoman proves she is indeed a smooth operator and even does some fancy foot-shuffling of her own at the end.

Dionne Bromfield 'Yeah Right' Ft. Diggy Simmons

Signed to her Godmother Amy Winehouse's label Lioness records, London-born soul singer Dionne Bromfield has premiered the official promo video for "Yeah Right," which features the teenage American rapper Diggy Simmons. The first single, which is set to be released on March 6, is promoting her sophomore album "Good for the Soul." Bromfield finally seems to be coming into her own. Her debut album was an album of covers, but this is set to be her first public venture into original material. "It couldn't feel further away from the first one, which I love and I loved making. But this is next level and it had to be," comments Bromfield.
It's not very often that a singer gives us actual real-life spine tingles when we hear their music, so you'll have to excuse me if I spend the next story totally gushing about Bromfield and all that she is. So as you might already know, 15-year-old Bromfield is Winehouse's goddaughter and Winehouse has totally taken her under her wing to make sure the world knows how her immense talent, and says of her protégée, "She's so much better than I was at her age." This is a principle that Bromfield is applying to her own songwriting, although she is saving her original songs for the future.
Bromfield has an equally brilliant soulful, 60's throwback type of voice but with a lot more charm and attractiveness. I can definitely hear some Winehouse influence in Bromfield's voice and Simmons does his thing on the track "Yeah Right." The song is very soulful, actually pretty catchy and upbeat and although Bromfield has previously had a lot of press coverage, this could really propel her into the mainstream and turn some heads, making people take her a lot more seriously as an artist, rather than just being Winehouse's cute little god daughter. It is amazing how the voice of a 15-year-old can make us feel like a child of the 1950s, and we love it!
Shot all the way in London town a few weeks ago, the dark yet intriguing music video for "Yeah Right" was directed by Emil Nava, who you may remember as the director of Jessie J's "Price Tag" video which premiered several days ago. The music video is well shot, and has a story line, which I could of sworn didn't happen anymore these days. Loved the chemistry between these two in a new Victorian style video which gives her new single a really classy feel. Now at 15, Bromfield is sure to be the next big thing to come out of Great Britain.

Rumer Interweaves With Her Mother In "Aretha"

I have always secretly loved soulful relaxing music, especially when you need to wind down after a hard and stressful day, so to come across Sarah Joyce, takes the stage name Rumer, was a real treat. Now honestly, I don't tend to follow this kind of music or keep up to date with the latest newcomers unless they're played constantly everywhere I go but this one got my attention. Going from undiscovered musician to one of the most critically acclaimed artists on the music scene 2010 is definitely Rumer's year and she is the one of the most lushious voice's to grace the charts of late has to be one of our one's to watch.
With the follow up the huge success of her debut single "Slow," British newcomer Rumer is causing quite a stir in the UK with a new video for her the bittersweet and deeply soulful follow up single "Aretha," the second single from jazz-pop singer-songwriter Rumer's debut album, "Seasons of My Soul." Behind Rumer's great voice is a significant amount of emotional depth. Lyrically, the album resonates with several key moments from her life: from her parents' painful separation to the time Rumer spent living in a caravan to be near her dying mother, via a decade spent slogging away on the acoustic scene, working as everything from a pot-washer to a popcorn-seller.
"Aretha" is very light and melodic and the lyrics are truly inspiring. It showcases Rumer's extraordinary vocal capabilities far better than the previous single, which is quite a feat. The classic, soulful pop tune is Rumer's cry for help from the one of her musical hero's Aretha Franklin, who she felt was the only person she could turn to when she wrote this song and her mother was going through her own hard times at home. It finds the singer interweaves her relationship with her mother into the tale of a girl seeking solace in Aretha Franklin. As chilled and mellow as "Slow" with a lighter more bouncy feel about it, we think that "Aretha" feels like the musical equivalent of a good old hug. Rumer's debut, then, is a sometimes dark but ultimately uplifting record, made around the time that her luck began to turn.
The Anglo-Pakistani singer was asked to what extent her songs are autobiographical. She replied: "Oh, I think they all are. Sometimes fiction tells a story better than the truth. So a lot of them are stories, but they're stories that are embedded in the truth. 'Aretha,' for example, is a story, but there are loads of true elements in it. And I think it tells a lot of people's stories." Rumer explained why she chose to sing about Aretha Franklin: "She's the Queen of Soul! If you're going to write about somebody who embodies the spirit of music itself you go to the top of the list - and there she is! Her voice is probably the closest you get to God. There's an incredible amount of passion and heartbreak in her voice as she's lost a lot of family members. She's just got something in her voice that puts her at the top of the tree and there's no negotiation."

Adele's Mega-Angry In "Rolling in the Deep" Clip

Adele, the UK songstress who successfully crossed the pond with her 2008 critically acclaimed debut album "19" is gearing up for "21," her highly anticipated new sophomore release. After winning the Grammy for Best New Artist last year, it seemed she took a break from the music scene in the states. Her official video for her amazing lead single, "Rolling In The Deep" has premiered on iTunes yesterday and it is breathtaking in its simplicity. Adele sits alone in a stark room belting out the song amidst scenes of destruction.
It's been a while since we've heard from the two-time Grammy Award winner songstress whose hit song "Hometown Glory" has been everywhere. She's still got that powerful, soulful voice and you can hear that influence in the stomping "Rolling in the Deep," which was written quickly and in the heat of the moment. "I was so angry that I finished 'Rolling in the Deep' in about an hour," the 22-year-old , tells PEOPLE of the witty revenge tune. Sometimes anger can produce something beautiful. On this revenge song, Adele lays into a former boyfriend. "It's me making a bit of a statement," she told Q Magazine.
The soulful Adele describes the revenge tune as a "dark bluesy gospel disco tune." it's a sweet mix of soul, blues and folk with a bit of an indie rock feel on top. Adele's vocals are as powerful as they ever were. "We were kind of expecting to come up with another 'Chasing Pavements,'" says Adele of another track on the album, "but we ended up with this beautiful gospel piano tune, and it's lovely." Yes, Adele is done chasing pavements on "Rolling in the Deep," which is sung from the perspective of a scorned lover, who is finally able to see the light, but despite regretful sentiments, reconciliation is not an option here.
Like "19," the "21" title refers to Adele's age at the time the songs were written. The British singer explained on her website that the album "knocked me for six when writing it." As for the themes of her new album, Adele explains, "I've grown up. I can deal with rejection better and I'm not as serious in my normal life as I was in my music." The video directed by Sam Brown featuring "strong images of a female warrior performing a contemporary dance." If any other artist said they could film an entire music video sitting in a chair and singing, while the world fell apart around them, I would laugh and say, "nice try Susan Boyle." But when Adele does it, the result is a magical and emotional mini-movie that tells a story just as heart wrenching as the song itself. Enjoy!

Nikki Yanofsky Shares Dream "For Another Day"

Canadian jazz-pop singer Nikki Yanofsky just dropped a new video for her latest stunning original compositions "For Another Day" off her new self-titled debut album "Nikki," which was produced by the Grammy-winning pair of Phil Ramone and Jesse Harris, Yanofsky puts her own spin on newly-arranged standards and includes sophisticated originals reflecting her passion for jazz, blues, R&B, soul, and traditional pop.
Montreal-born Yanofsky is a 16-year-old musical prodigy with an extraordinary gift - a magical voice and velvety tone. Singing since she could speak, and as her passion for music grew, so did her voice. Full of pep, playful enthusiasm and an inability to contain herself since her debut at the 2006 Montreal International Jazz Festival, where she won the hearts of the 100,000+ audience, Yanofsky has never looked back. She made a name for herself at the young age of 12, earning her first No.1 hit single in Canada with "I Believe." The hit making her the youngest Canadian artist to achieve that level of success.
Yanofsky stepped on center stage to perform at the 2010 Winter Olympics, her nerves did a curious thing: They vanished. She gave the audience chills with the caliber of her voice. "I never get nervous and I was so nervous for that one," she says. "But I walked out and all my nerves went away. That's how I knew that [performing] is really what I'm supposed to be doing." Sure, not every burgeoning singer gets the chance to gauge whether she's chosen the right career path by belting out a number in front of a captive worldwide audience. But this jazz-inspired Quebec native has never had a problem with shooting for the moon.
Yanofsky co-wrote the languid acoustic ballad "For Another Day," and she shared about the video: "We wanted to tell a story with the video. The song has to deal with dreaming so the whole idea was that I'm in a dream. All these strange things are happening. There's a guy that appears and disappears. He hands me a flower and then I wake up and the flower is actually there."
Her new album "Nikki" pursues a similar agenda of maximum exposure, and all feature Yanofsky's mature and versatile vocals, which seem to channel jazz greats like Ella Fitzgerald through a pop/R&B sensibility. her relationship to jazz is at once evocative and evasive. She says. "Jazz is definitely my first love and I will always want to sing it, but I also love to sing pop, R&B, blues, and everything else, and 'Nikki' definitely reflects that." The music industry is buzzing, to say the least. There is already intense international interest. Her calendar is filling up rapidly and more great things are on the horizon. We all look forward to watching Yanofsky's growth, both as a burgeoning talent, and as a young woman with a radiating, warm and infectious personality.

Katie Melua Finds "A Happy Place" In New Video

British-Georgian singer Katie Melua is out with the new video to her new single "A Happy Place," the second release off her latest Chart Topping fourth album "The House," which is a real leap forward lyrically, musically and vocally. With lyrics expressing her dismay at the overwhelming pressures of 21st century life over strident strings and military percussion, The single "A Happy Place" is perfect evidence of the more mature Melua who is now, it sees Melua push on from her familiar sound to establish herself as an intelligent pop chanteuse. The new album "The House," is also adding plenty of stylistic strings to her bow.
"A Happy Place," isn't quite the modern masterpiece its predecessor "The Flood" was but the William Orbit produced track is definitely much better than "Nine Million Bicycles." What also stands out is the track's wonderful video. The bright and attention-grabbing outfit works wonderfully well with the dark undertones of the song. The video itself was filmed in a paternoster lift, which is constantly moving and as there are no doors, you just walk in and hop off when you want. The constant movement and one's inability to actually stop it represents the constant flow of life, don'tchaknow. Melua explains to the Sun: "It was about finding peace within yourself no matter how much life is flowing in the right or wrong direction." Melua definitely uses her creative juices for her music videos these days.
Plucked from music school obscurity by songwriter/producer Mike Batt, who'd been looking for a vocalist capable in both jazz and blues styles, Melua is already a hit in UK, and she's also made a dent in the European and Australian record charts, but hasn't yet had much of an impact in America. She hasn't yet felt the need to exploit her youth by showing off her lean and healthy frame. The sexiest thing about this young lady is still her smooth, sultry voice, and we don't expect to be seeing her writhing around in a music video displaying fresh breast implants any time soon. What I like most about Melua's new style is that she has simply evolved her music into something more grand and less irritating, not changing it and abandoning her old fans. And also she manages the all important feat of doing it while keeping her clothes on.
Dark, beautiful and grown-up it's the moment Melua starts being taken seriously. In what has to be one of the biggest musical turnarounds in recent history, Melua has quickly gone from being a snooze-worthy, low-key singer songwriter with vaguely annoying, sleepy songs to one of the most arty, interesting popstars of 2010. Whether the 25-year-old has finally grasped creative control of her work or her record company have realized quirky is really in these days, I'm certainly loving the new direction she's taken with album "The House."

Fyfe Dangerfield Debuts "She's Always A Woman"

Fyfe Dangerfield, front-man for the indie rock band Guillemots, brings us a stunning cover song of the Billy Joel classic "She's Always A Woman," from recently released his debut solo album "Fly Yellow Moon." The song, a marginal improvement from the first single to be taken from the album, has been kicking around for a couple of months now, but my local radio station are pushing it hard so I thought why not share seeing as it's a great wee tune. I think I can say, without any fear of contradiction, this is the dullest video I've ever screen-grabbed.
Dangerfield may well feel like King Midas at the moment, everything musical he touches seems to be golden. As the driving force behind Guillemots, he had a Mercury nominated album in 2006, and a top ten follow-up with the second, "Red." With self-proclaimed celebrity fans spanning from the likes of Keith Flint to Paul McCartney, this classically trained musician gives eclecticism an extremely broad appeal.
The front-man released his more stripped back solo debut "Fly Yellow Moon" earlier this year and was once again met with critical acclaim. Due to its impact, a re-release is out now containing bonus material including today's track "She's Always A Woman." The song was originally from Billy Joel's 1977 best-selling album "The Stranger." Lyrically, many people misinterpreted the words as being misogynistic or sarcastic, but it is a ballad, a love song about a modern woman, whom he falls in love with and then wife, Elizabeth for her quirks as well as her flaws.
"She's Always A Woman" provides the background music to one of the year's most pervasive advertising campaigns for the department store chain John Lewis, showing moments throughout a woman's life, with over half a million views on Youtube alone, Dangerfield has struck lucky again. The Dangerfield version, a beautifully song cover is now a top 10 hit adding further to his successful repertoire and no doubt earning him some gold in the process. It'll be interesting to see what the Guillemots do next, in the meantime here's that video for song without the ad.

Kelly Sweet's Music Video For Her "We Are One"

21-year-old soft-voiced pop vocalist Kelly Sweet was born into a creative and musical family, and she eventually met Grammy-nominated producer, arranger and songwriter Mark Portmann in the summer of 2004. The two began working together shortly thereafter, resulting in the turning point of her career into a professional musician, and makes her something of a rare new pop star. She brings a wide range of influences together from pop to jazz to classical and back on her debut album entitled "We Are One" via Razor and Tie Records in March 2007. Now her label is trying to score her some club cred by supplying remixes of the absolutely stunning title track to her debut CD. The Dave Aude Club Mix is a chugging house mix that manages to keep her vocals above board and the star of the show. Kelly's voice is very similar to Sarah McLachlan, so dance remixes can be tricky, but these mixers seem to pull it off with ease. It's a great dance debut.
Not your typical pop record in any way, shape or form, "We Are One" has a much more ambitious sensibility than those being heard on Top 40 radio today. With the multilingual skills to match, and melodies that partake of both jazz and classical influences, "We Are One" conveys a sense of depth, intimacy and sophistication not often heard in today's pop landscape. "We Are One." then, is that rarest of musical experiences, a seamless emotional journey that deeply touches listeners of all ages with its beauty, grace, individuality, and courage. "This music is not about me," she says. "It's about the soul in all of us. I'm just happy to have a voice to convey these things to the world." And the world is certainly a better place because of it.
Kelly came to me as a totally unexpected and I was deeply touched by this fresh and unadulterated voice. This is a beautiful album of angelic music, which makes believers of us all, the album so well performed with songs so well crafted and produced so well that it transcends genre. This is the album us rockers can bring to your loved one to prove that we, too, have hearts, in spite of the music we force feed them at other times. Blessed with a beautiful voice made for soft emotional ballads, Kelly takes us on an emotional ride right up there with the best. She has already made a name for herself on the Adult Contemporary scene with classical and jazz styles, and is now aiming to conquer clubland with the mixes to "We Are One." She actually lets the song build momentum and emotion, with a strong satisfying center. Her thoughtful lyrics, amazing soft angelic voice and beauty seem exceptionally pure in this era. Great mix!

Norah Jones Premiered "Chasing Pirates" Video

VH1 presented the world premiere of the new music video for the multiple Grammy Award-winning singer Norah Jones' "Chasing Pirates" on Tuesday, and will air on VH1 Top 20 Video Countdown at 9AM ET on Saturday, October 31. "Chasing Pirates" is the lead single from Jones' highly anticipated upcoming fourth album "The Fall" LP, which is her biggest step away from triple-A banality yet and will be released by EMI's Blue Note Records on November 17.
Norah Jones, the Dallas native, Anglo-American and Indian-Bengali descent' career began with her 2002 debut album "Come Away with Me," an adult contemporary vocal jazz album with a soul/folk/country tinge, that received five Grammy Awards. She has sold more than 16 million albums in the US and over 36 million records worldwide. "I've always written more on guitar than on piano," she says, "The thing that's really different this time is that I drove the rhythm more, because what I play on the guitar are rhythm parts. When I play the piano, I don’t really play rhythm, I just sort of sprinkle over the top."
Jones has taken a new direction on her latest album "The Fall," experimenting with different sounds and a new set of collaborators, including Jacquire King, Tom Waits, and Modest Mouse among others. Jones explained how "Chasing Pirates" came to be, "About a year ago, I did some demos in my home studio," she says. "I had some friends come in and we figured out a cool arrangement for 'Chasing Pirates,' with a cool drum part. It went somewhere I didn't expect it to go, and that became a direction to look in. For this record, I just had a sound in my head," says Jones. "I wanted the grooves to be more present and heavy. And I also just wanted to do something different I've been hanging with the same group of musicians for a long time, and I thought it was a good time for me to work with different people and experiment a little."
The video for "Chasing Pirates" makes Jones a sailor actually chasing pirates down the avenues of New York City, her hometown, by consulting centuries old maritime maps, plots her course with a periscope, strapping on pirate boots and a era-appropriate skirt, and steering her charming apartment building through downtown traffic. It was directed by Rich Lee, who was fitting for the video as he worked on the stunning visual effects for all three of the Pirates of the Caribbean movies. "My mind is racing from "chasing pirates" and I don't know how to slow it down," she croons. "Chasing Pirates," which was featured on Rolling Stone's "Hot List," immediately announces a new direction for Jones. Entertainment Weekly wrote that "'Chasing Pirates' is a bluesy surprise and welcome change of pace," adding that "Jones' voice remains as lovely as ever."