By mixing the old in with the new, we’ve compiled a playlist of some of the best workout songs of all time. Whether you’re going in for spin class or out for a run, whether you’re lifting weights or taking an aerobics class, these tunes will get you moving and grooving!
The Rocky III theme song is a classic! Released in 1982, the track went Platinum, gaining major MTV and radio airplay, holding #1 on Billboard Hot 100 chart for 6 weeks straight and #2 for best single. This song was made for you to box ’til you drop!
Released in 2005 on the album Confessions On A Dancefloor, the dance-pop disco song became the album’s lead single and was featured on Madonna’s 2009 greatest hits album Celebration. With a heavy 1980’s pop influence, the track features a sample of ABBA’s unforgettable hit single “Gimme, Gimme, Gimme! (A Man After Midnight!)”.
Released in 2012, the Swedish synthpop duo peaked at #2 on the digital download single charts in Sweden and at #7 on Billboard Hot 100. A year later it charted at #1 on the UK singles charts. The song certified double-platinum and has sold over 2.6 million downloads. What a great beat to kick-ass too!
Swedish DJ and music producer Avicii released the “Summer Anthem” of 2013. It was the hit single from his full-length debut studio album True, with Aloe Blacc on vocals, who later went on to release an acoustic version of the song due to its high success.
From his 2002 album Hypnotica, the Italian DJ’s debut single “Satisfaction” peaked at #2 in the UK charts. The music video is quite the eye-catcher, if the track itself isn’t already one to remember. The song’s constant and heavy beat will definitely keep you running steady on your feet!
Released in 2012, the track became the “highlight” on their debut studio album Night Visions. Peaking at #3 on Billboard Hot 100, it holds the record for the most time spent on Billboard, dominating for a ground-breaking 86 weeks. It was the third best selling song of 2013, after “Thrift Shop” and “Blurred Lines”. The song was nominated for Record of the Year at the 56th Grammy Awards and won Best Rock Performance.
Co-written by the French house music duo Daft Punk, Pharrell Williams and Nile Rodgers, the single reached top 10 in over 32 countries and has sold over 7.3 million copies. At the 56th Annual Grammy Awards, the single won awards for Record of the Year and Best Pop Duo/Group Performance. What an awesome song!
This “dark blues-y gospel disco tune” is one in a million. With its emotional and honest lyrics, its brilliantly catchy melody and its outstanding vocal, the song became the largest crossover hit to reach the US in 25 years. Adele gained international success, reaching #1 in 11 countries, peaking on Billboard Hot 100 for 7 weeks, becoming the best-selling digital song by a female artist in the US. In 2012, the song won Grammy Awards for Record of the Year, Song of the Year, and Best Short Form Music Video.
Swedish DJ/producer Eric Prydz is famous for his unforgettable sexual music video for “Call On Me”. The track reached #1 in the UK Singles Chart and stayed there for five weeks. It was the longest running single in the UK in 2004.
Female pop legend P!nk released “U & Ur Hand” on her fourth studio album I’m Not Dead (2006). The song was ranked #9 on Billboard Year-End Hot 100 Singles of 2007 and peaked at #9 on the Hot 100… re-launching P!nk’s career. The rock n’ roll diva definitely knows how to throw a party, with great style and energy!
When it comes to Antigua, it’s not the size but the heart that counts. There’s a reason the island plays holiday home to everyone from Oprah to Giorgio Armani. A haven for elite tourists despite its expanse (only 108 sq. miles), this tropical paradise has been the West Indies’ prime docking bay over its famed Antigua Sailing Week, which starts on the last Sunday of every April for the last 45 years.
Catch a glimpse of what it’s like to be at one of the most exciting yachting events in the Caribbean:
The popular regatta will take place between the 26th of this month and the 2nd of May and besides the thrill of the race, it features excitement in some of our favourite venues –Antigua Yacht Clubhas daily prize ceremonies amongst other activities, Shirley Heights is another popular spot – hosting tempting events and parties throughout the event (including Shaggy’s live performance on 29 April, with Antigua’s very own Tian Winter opening), as well as opportunities to chase the regatta as it actually happens (with Wadadli Cats).
Needless to say, sailing week is renowned for its festivities (what with the legendary Sir Richard Branson hosting massive bashes here in years past!) and this year promises to amp the fun up – Lay Day falls right after the Shaggy concert, a great way to unwind Caribbean style with copious amounts of music, rum and sunshine. To kick things off, Nonsuch Bay seems the place to be if you don’t want to miss the RS Elite Challenge.
With an array of bands and DJs (including DJ Undercover and DJ Tanny) on hand to entertain, the week promises to be a memorable one for music enthusiasts whatever venue your pit-stop of choice may be.
The Caribbean has traditionally been the home of several seminal music styles, from the Belafonte-popularized calypso to the ever-loved reggae. Antigua in particular is known for its contributions to benna and soca, genres in the same family as calypso, characterized by energetic performances and stark vocals. Here, in an example, is local singer Claudette Peters performing at the Antigua Carnival in ’12:
None of these can claim to have done as much to put the Caribbean on the musical map, however, as reggae has. In terms of sheer variety and reach, Bob Marley or Sly & Robbie have penetrated the mainstream conscious and captured its imagination more completely in the last century than any others from the archipelago. Grooving to some true classics is a global phenomenon:
A trip through the right beats could never be complete without a shout-out to the dancehall that injected novelty into the islanders’ music in the seventies:
“In music, it only takes 3 and a half minutes to potentially change the rest of your life”. The wonderfully talented and beautifully graceful Maltese singer/songwriter, Chess, was nominated for Best Solo Artist at the Malta Music Awards 2014 earlier this year. With an innate passion and love for music, thick skin and unparalleled dedication, this young and independent woman is taking her future into her own hands, without the backing of a label.
Chess has invested all her time, money and strength into making her dreams come true. While her debut EP Baby Girl was produced and released by Chess herself, she kick-started her way forward to funding her second EP Tuxedo – selected for Best of British Unsigned and received instant airplay on BBC Introducing for her Carly Simons-inspired-track Vanity. Chess is a pop diva in the making… If she isn’t one already!
When did you first get involved in music and when did you start writing songs? My mum filled my world with music from before I was born – she is a great musician and I have loved music all my life. I began writing songs at about 7 years old, writing lyrics and making up dances for whoever had the patience to watch and listen!
What made you make the move from Malta to the UK? I always wanted to take music as far as I could go. My mentor, Joshua Alamu, gave me the courage to move and attend the Academy of Contemporary Music (ACM) in Guilford. If I didn’t do it then, I probably wouldn’t be here today.
How would you describe your experience at ACM and in what ways did it influence your career choices as an artist? The ACM brings one to realise how much competition there really is out there. Although it also brings to light that not everyone has what it takes. I learnt to be more business minded, to be as versatile as possible and to create good relationships with peers. At times, knowing how much competition is out there discouraged me, but knowing I had the tools to succeed kept me on my path to pursue what I really love.
You funded and produced your debut solo EP Baby Girl in 2013, yourself. With the help of crowd funding, you released your music video Storm (from the Baby Girl EP) and, later on, you used it to fund the production of your second EP Tuxedo. How did that help “kick-start” your career? Kickstarter gives you a really good opportunity to showcase your ideas and be discovered by people who are interested in new things.
Would you recommend Kick-Starter projects to other up and coming artists seeking to eventually be backed by a label? Sure, a successful Kickstarter campaign shows that you have good managerial skills, boosts credibility and shows determination to make something happen. It also helps you gain more fans, and that’s always wonderful!
You were nominated for Best Solo Artists at the Malta Music Awards 2014. How did it feel to be nominated, knowing that you did it all on your own? It felt so good to know that my efforts have been recognized. A lot of hard work has been put in and it is important for me to know that my country knows that I am doing my best to create substantial Maltese Music History.
You released your Tuxedo EP mid-January this year and your Tuxedo music video came out on March 28th. What has been the response so far? People have responded so well to Tuxedo as an EP. I think this is because it has more of a universal commercial sound. Vanity instantly got airplay on BBC Introducing and along with Tuxedo, got chosen for Best of British Unsigned. I have received very positive comments about the Tuxedo video, with people saying that it is now their favourite song, and video.
What inspires your style, the themes you write about, your ideas for wacky music videos? I follow what’s happening in the fashion world – especially the catwalks and fashion week, to make sure that I am up to date with trends. I then add my own twist and taste. I like to be stylish, and I like to try out new ideas. What’s the worst that could happen?! I find myself writing a lot about issues I have with myself, with those close to me and issues addressing society.
You’re juggling multiple jobs at the same time in order to make your dreams come true. Can you tell us how hard it is to make it in the music industry these days and what it’s really like to follow your heart and take a risk? Anybody who thinks that they can make it without paying their dues is well mistaken. This is a tough industry, which will test you time and time again. It’s scary knowing that you are spending all of your time and money on something that might never come true. I think you have to believe in yourself for things to happen. The really big slap in the face is that no matter how talented you may be, you will not be approached by a label unless you have made a substantial amount of money by yourself. But all you have to think about is that in music, it only takes about 3 and a half minutes to potentially change the rest of your life.
What is your philosophy? “However vast the darkness, we must supply our own light.” – Stanley Kubrick.
What are your plans for the rest of the year? I am in the process of finishing my summer single. Moreover, this year, I promised myself to focus on perfecting my craft and making my voice more acrobatic. I am doing intensive practice everyday, focusing on vocal precision and writing more music. I also hope to perform at a couple of good clubs in London and around the UK.
If you could choose one person to collaborate with, dead or alive, who would it be? Freddie Mercury. The insight to the way he wrote those masterpieces would be priceless.
Since the launch of MTV in the early 80’s music videos have provided a ‘total music experience’ for listeners, not as good as a live performance perhaps, but certainly a ‘deeper’ experience than just listening to a song. When Beyoncé launched her self titled visual album that included 14 new songs and 17 music videos, she described it as a “non-linear journey through the thoughts and visions of Beyoncé.”
Music videos are also an incredible form of marketing for artists – a great way to sell their products. Over the years we’ve seen all sorts innovations in the music video – death defying stunts, really crazy fashion – artists have tried anything and everything in the attempt to express themselves – and sell records. More and more though, the music video is becoming like a mini movie – with higher and higher price tags.
So how much do stars spend on making a perfect music video? Well, Michael Jackson and Madonna who top our list spend millions and millions…here is the top 10 list, cheapest first…
(All these costs have been adjusted for inflation)
Full of special effects – in fact this video holds the Guinness World Record for the most expensive special effects in a music video. For example we see Janet Jackson dancing in shiny liquid rain – but they aren’t just raindrops they are small 3D versions of Busta Rhymes. Directed by Hype Williams the video caused quite a sensation when it was released in 1999.
A 14 minute long video – this really was a mini movie with a huge array of stars playing cameo roles. It was James Brown’s role however that cost a fortune. Brown was in prison at the time so Hammer arranged for a private jet to pick him up from his South Carolina prison. Then, naturally, Brown wanted to spend some time in Las Vegas after the shoot, so add in another 2 days of private jet rental and the cost of production really spiked. Director Rupert Wainwright said: “It was an 18-day shoot, but we didn’t shoot it in 18 days. We shot [it] in 30 days. We would shoot an 18-hour day and take two days off. It was insane. It was the hardest shoot I ever did in my life.”
MJ recruited a true all star team for the production of this music video – or rather short film, the full length version is 18 minutes long (and no longer available on YouTube – except in two parts). Directed by the one and only Martin Scorsese, it took the crew a total of six weeks to shoot! Short version below.
Directed by Andy Morahan the emotional power ballad that is Estranged, needed an equally dramatic video. The budget included the use of the US Coast Guard helicopter and rescue team, an oil tanker and a Antonov An-124 Ruslan aircraft. The almost 10 minute long video is part of a trilogy, also featuring ‘Don’t Cry’ and ’November Rain’. The video starts with the dictionary definition of ‘Illusion’….
Sharks, mannequins that get blown up, a white Lamborghini, epic location changes, an extensive wardrobe, plenty of special effects and the most incredible choreography all added to Britney’s price tag for the production of Work Bitch. Has anyone seen her Las Vegas Residency? It’s equally expensive…
A truly memorable Jackson video and stuffed full of special effects – perhaps the revolutionary effect of ‘morphing’ put the budget sky high – or it could have been Macaulay Culkin, or Tyra Banks? Directed by John Landis, when the video aired for the first time in 1991, 500 million people watched it – a record at that point for Fox.
“Let’s Get Unconscious” is the song’s main line and Director Mark Romanek used revolving sunflowers, Egyptian imagery and references to surrealist paintings to illustrate this line. It worked – as the video has a really trance like feel – creepy in fact. It took 6 days to shoot, but the post production was where the costs escalated. This mini movie was premiered at movie theatres in LA, New York and Chicago.
Directed by Swedish team – Traktor, the intense special effects portray very realistic fighting between a good and evil Madonna – wounds and blood included. According to Traktor: “For various reasons, there are effects in almost every shot. It is a testament to the skills of the merry artisans of MPC that you think there are none.”
Winning awards for Best Direction and Best Cinematography at the 1989 MTV Video Music Awards, this stunning video was modelled after the film ‘Metropolis’. Don’t settle for second best….
Top of our list of the most expensive music video of all time is the brother and sister hit ‘Scream’. With a computer-generated spaceship and 13 pieces to the set, the lighting alone cost $200,000. The dancing is incredible and the video won an award for Best Dance Video at the 1995 MTV Video Music Awards.
10. Busta Rhymes — “What’s It Gonna Be?!” (1999): $4 million. 9. MC Hammer — “Too Legit to Quit” (1991): $4.2 million. 8. Michael Jackson — “Bad” (1987): $4.5 million. 7. Gun N’ Roses — “Estranged” (1993): $6.5 million. 6. Britney Spears — “Work Bitch” (2013): $6.5 million. 5. Michael Jackson — “Black or White” (1991): $6.9 million. 4. Madonna — “Bedtime Story” (1995): $7.7 million. 3. Madonna — “Die Another Day” (2002): $7.9 million. 2. Madonna — “Express Yourself” (1989): $9.4 million. 1. Michael Jackson and Janet Jackson — “Scream” (1995): $10.7 million.
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On Monday March 31st Frankie Knuckles died unexpectedly at home, reportedly due to complications related to his diabetes, he was only 59 years old. #RIPFrankieKnuckles
Frankie was the legendary name that towered over electronic music, past and present. Why is it called ‘House’ music? Because Frankie was the resident DJ in the late 70’s and early 80’s at the Chicago club ‘The Warehouse’ – hence House music.
He then went on to launch his own venue called the Power Plant – it’s still there in Chicago quite close to the site of The Warehouse. There is also a street in Chicago named in his honor, where The Warehouse once stood, on Jefferson Street between Jackson Boulevard and Madison Street.
House music is a style of Chicago dance music that completely revolutionized club culture. Frankie arrived in Chicago, from New York, just when disco was going out of fashion. Frankie would take mixes of soul and R&B music and turn them into dance tracks by extending the songs and incorporating drum machines to emphasize the beat. In fact, Frankie bought his first drum machine from Derrick May, one of the founders of Techno music. Derrick would make the trip form Detroit to Chicago regularly to see Knuckles at The Warehouse.
Knuckles wasn’t the only star in the birth of House – dozens more were influential in it’s rise, like Steve ‘Silk’ Hurley, Farley ‘Jackmaster’ Funk and Marshall Jefferson. By the late 1980’s Knuckles was famous in Europe, yet hardly acknowledged in his hometown. He often joked about the fact that he could walk down the street in Chicago without anyone blinking an eye – but arrive in Europe and he would be greeted by cheering fans at the airport. “I wasn’t frustrated by that, not at all,” he said. “I’m not the kind of person that lives for fame and glory. If I’ve got a nice, clean home and can put a meal on my table and can entertain my friends, I’m fine. I don’t need to see my face plastered everywhere.”
In the early days of House music and The Warehouse Chicago didn’t really recognize the scene but as time passed there was a growing recognition for Chicago as the home of contemporary dance music.
“The people I meet all around the world look at Chicago and the house scene with a new romanticism,” he said. “They recognize more than ever that Chicago is the core of where it all began.”
A lot of the House music that Frankie loved evoked gospel and soul – it wasn’t all about the rhythm, it went deeper than that. “God has a place on the dancefloor,” he once told the Chicago Tribune. “We wouldn’t have all the things we have if it wasn’t for God. We wouldn’t have the one thing that keeps us sane – music. It’s the one thing that calms people down.
“Even when they’re hopping up and down in a frenzy on the dancefloor, it still has their spirits calm because they’re concentrating on having a good time, loving the music, as opposed to thinking about something negative. I think dancing is one of the best things anyone can do for themselves. And it doesn’t cost anything.”
In the late 80’s Kunckles concentrated on producing, and recording. Mixmag recently declared ‘Your Love’, his 1987 classic with singer Jamie Principle, the greatest house record ever made. His first album came out in 1991, ‘Beyond the Mix’ which featured his biggest hit, “The Whistle Song.”
Throughout the ‘90s Frankie remixed tracks for Michael Jackson, Diana Ross, Luther Vandross, Toni Braxton, and Eternal. He won a Grammy Award for Remixer of the Year, Non-Classical in 1997 and in 2005, he was inducted into the Dance Music Hall of Fame for his outstanding career as a DJ.
Frankie Knuckles Keep on Movin’ feat. Nicki Richards Original La Familia Mix from Frankie’s 2002 album, Motivation.(Play this video in Creation 5)
Fader Mix by Frankie Knuckles available for download on SoundCloud.
#RIPFrankieKnuckles. Lost but never forgotten.
Don’t have Creation 5? Download it on the App Store!
iPhone Free
iPhone Pro
iPad Free
iPad Pro
If you are already using Creation 5 Media app, don’t forget that you can expand your music collection, for free, by downloading any of the video clips that appear in the above article.
Here’s how:
Open the video in Creation 5 – we have created links by the side of each song title for this very purpose, so just click on any of these and the video will open inside Creation 5.
Once the video is playing inside the app, press and hold the song title and choose DOWNLOAD from the options. That’s it! You can now find the video in your ‘Favorites’ folder.
Press and hold the song title and choose SHARE. If your friends don’t have Creation 5, they will be directed to the App store where they can download the app for free.
Ola Nils Håkan Svensson, known simply as Ola, is one of Sweden’s biggest acts of recent years with seven number one singles, all of them having gone gold or platinum. Two of his three albums have topped the Swedish album charts, and one reached the top three.
After being signed to Universal Music for many years, Ola founded his own record label Oliniho Records for the Swedish market, keeping distribution arrangements with Sony Music in Europe and internationally. Having his own record company was a conscious effort to move away from the artistic limitations he felt when signed to a major label.
Ola has just released ‘Carelessly Yours’ his fourth studio album – we were stunned when we first listened to it – it’s powerful, beautiful and inspiring! We play it at least once a day.
The first single from the album ‘I’m in Love’ topped the charts in several countries and has to date almost 17 million views on YouTube. In August 2013 Ola received a double platinum record for the song in Italy.
Your new album, ‘Carelessly Yours’, is a ‘repeater’ – something you can have on repeat all day and not get sick of. Makes it hard to pick out our favourite tracks. Do you have a favourite song? If so, why that one?
Happy you feel that way! Every song on this album is really special to me in one way or another. Every song has it’s own story and comes from a different place. It was really important for me to make an album where every song had it’s own place and identity. In the music industry today it’s all about the single song and quick releases and all that, but I wanted to make a solid album where every song was special and had it’s own thing. So it’s really hard for me to pick one song, I guess it’s the same for a mother who should pick her favorite child… maybe a bad comparison, but you get it :).
In the album do the songs come from your current self, or do you extract state-of-minds from your past experiences? If so, do you find it easy going back there and re-creating those emotions in order to create a body of work around them?
I would say the songs come from both my current self and extracted state-of-minds. It’s sometimes hard to go back emotionally for many reasons. It can be a place and experience that you have for some reason been hiding from your self or a place you are afraid of going back to, but when your done it’s a relief and the process has brought you forward. So sometimes I think you have to look back to be able to go forward – even though I’m more into what’s happening right now and the future…
How did the new album title come about?
I started to write this album pretty much 3 years ago and this period has been very interesting for me both emotionally and professionally. I’ve come to terms with why I’m doing what I’m doing and that in the first place I’m doing it for my self and how important it is for my own existence to express myself.
Whilst making this album it was really important for me to try to put myself outside of my comfort zone and try not to let fear be the winning force, I just wanted to be true to my self and not care about what others might think.
I don’t know if that makes any sense and if I answered your question, but without digging too much into it I guess that’s where the title comes from.
Are there going to be music videos for all the new album songs? Your fans for sure would love to see it – we’re captivated by each one.
I’m happy to hear that. I’m not sure… I think I need to sell some more records first :).. I was really broke after the last video… but it was definitely worth it. I have for sure a video in my head for all of the songs that I would love to create but 6 videos out of 11 songs is pretty much I guess.
When creating your new songs, is it a collaboration of writing, sounds and ideas, or do you keep it solo? What’s the usual process, or is each song a different story?
Yeah, each song on the album has come to life in really different ways. Sometimes I have a story, cords or a melody. Sometimes I just have a beat. With ‘Jackie Kennedy’ for example, I had a melody in my head for a couple of weeks that refused to leave me. I was whistling the melody everyday back and forth to the studio. The melody became a part of me, a part of my daily life and a company that I didn’t know if I hated or in fact liked having.
Rich & Young was born after a night out. A guy came up to me and said, “I thought only people with real jobs got in here…” and then he grabbed my jeans-jacket and said “ohhh, second hand”… I wrote that one from this guy’s perspective of life. So it’s really different. Sometimes I keep it solo and sometimes we are four people putting our skills into the songs.
In your song ‘’Human’’ is there a ‘’A Little Drummer Boy’’ mixed in there? Did we detect that correctly? We love it! Any specific reasons to add this to the medley?
Yeah you did, I often feel like a little drummer boy myself, and when we made that ‘mid 8’ it just came naturally and felt obvious to keep it, both story wise and melodically. I’m really thankful that the original songwriters let me use it.
What has been the toughest point in your whole life journey getting to where you are now?
I think to gather energy to break loose, to have the courage to just let everything go and jump – to build my own thing up.
Do you think that going through a major record label helped you become who you are, musically, today?
I would say both, if I had started out with the creative freedom I have today I would maybe be in another place right now (which I think could be both good or bad ), but I don’t know. The ‘major record label thing’ gave me a lot of experience of the whole industry and it led me to a place today where I’m really inspired – I’m really thankful for that.
On the subject of record labels, a lot of artists break free from them for the exact reasons you did. It seems to be an all too repetitive tale amongst musicians. What’s your opinion on this?
I think when creativity meets business it’s obvious that it will create problems in many ways. It doesn’t have to but I guess it’s a healthy reaction in a way.
Which artists, if any, in today’s pop world would you love to collaborate with?
Hard question, it really needs to be a good chemistry, but of course I would love to do something with for example Robyn.
Use three words to describe your current sound:
It’s really hard for me to be objective when it comes to my own stuff… but I hope it sounds experimental, honest and fearless.
You have been touring absolutely everywhere (almost) – how do you find it?
I love it, I love to see new places, experience different cultures and meet people from other parts of the world with different ways of seeing things. It gives me so much inspiration. To perform a long way from home and meet people who listen to my music and show up to my gigs is still so unreal to me.
The platinum eyebrows, the platinum hair. Very fitting. Will you be keeping it that way?
Ahh no, I actually have brown/red hair right now. A PR person would probably say I’m an idiot but I need to be in a constant movement and just go with that energy and inspiration and not work against it. I think I’ll always be in constant movement in both my style, sound and expression, but this album is definitely who I am right now.
Tell us a crazy/funny story from your travels:
Not sure it’s so funny but a couple of weeks ago a flight attendant came up to be before landing with my record in her hand. She told me she always has it on her travels and that she wanted me to sign it with my lips… she was totally serious. So she asked me if I could put her lipstick on and kiss the cover… I have never seen those faces on my band before…It was probably the most weird situation I’ve been in so far in this life 🙂
If you were to do a music video filtered in just one colour, what would it be and why?
Purple. It’s the strongest color if you do light therapy
Ever had difficulties in Spanish speaking countries introducing yourself? “’Hola! Soy Ola.’’ 🙂
Yeah, there’s been a couple of weird situations. As I have understood it’s not a common name in the world. In some countries it’s a girls name and I think it means shit in Turkey! And as you say it means ‘hello’ in Spanish etc. Normally, people pronounce it “ALA” instead of OOla. I also think it means wave in some countries. So shit and wave, it’s a pretty good combo!
Olas fourth studio album ‘Carelessly Yours’ is released on his own label ‘Oliniho Records’ under exclusive license to Sony Music. The album contains 11 tracks which Ola has written and produced together with some of the worlds best songwriters and producers such as Shellback (Maroon 5, Pink, Usher) Klas Åhlund (Robyn, Teddybears Sthlm) and Patrik Berger (Lana del Ray, Icona Pop) Alexander Kronlund (Britney Spears, Robyn).
Carelessly Yours Tracklist: 1. Overture 2. Tonight I´m Yours 3. Maybe 4. Losin’ It 5. Human 6. Jackie Kennedy 7. I´m in Love 8. Loser 9. Rich & Young 10. They Won´t Catch Us Alive 11. One Day
Don’t have Creation 5? Download it on the App Store!
iPhone Free
iPhone Pro
iPad Free
iPad Pro
If you are already using Creation 5 Media app, don’t forget that you can expand your music collection, for free, by downloading any of the video clips that appear in the above article.
Here’s how:
Open the video in Creation 5 – we have created links by the side of each song title for this very purpose, so just click on any of these and the video will open inside Creation 5.
Once the video is playing inside the app, press and hold the song title and choose DOWNLOAD from the options. That’s it! You can now find the video in your ‘Favorites’ folder.
Press and hold the song title and choose SHARE. If your friends don’t have Creation 5, they will be directed to the App store where they can download the app for free.
French electronic music duo, Klingande, have been dominating the charts these past few months. In less than a year, Cédric and Edgar, went from bedroom dj/producers to reaching over a million views on YouTube and to becoming nominees at the 2014 World Music Awards… without even having released an album!
Their single Jubel peaked to number 1 in Austria, Belgium, Germany, Switzerland and Italy and their fans are hungry for the main course! But, although the super-talented Frenchies have an album in mind, they plan on making us wait a little longer.
Musically influenced by Bakermat, their journeys towards a successful musical career are alike. Less than a year ago, Cédric and Edgar were students, making music out of pure love for it, and rose to fame in the blink of an eye. Their music, a hybrid of house and jazz, has been trending in most European countries and has been for a while! What’s that got to say about the current European electronic music scene? I think we’re all enjoying a return to good-spirited and blissful summer beach vibes… which makes a delightful change from the blaring dubstep craze of 2012!
For the 2014 World Music Awards, you’ve been nominated for “World’s Best Group” & “World’s Best Live Act” and your single Jubel has been nominated for “World’s Best Song” & “World’s Best Music Video”. How does it feel to have risen to such a high calibre of success and fame in such a short period of time? Did you ever expect your first two singles Jubel and Punga to become such global hits?
Honestly it’s unbelievable! We wanted to make a song that would please people… a song that people would like and that people would dance to, but we never expected to be N°1 in so many European countries and broadcasted on so many radio stations! We launched Jubel and Punga on the web, and only had 200 fans on Facebook at the time, which were only our friends. It’s crazy. We can thank our team management Unity Group for the amazing work they did this past year.
Jubel can be heard on the radio everywhere at the moment. What were you doing and how did you feel the first time you heard your music play on the radio or on MTV?
Cédric: I was at home just chilling and a friend of mine texted me to tell me that Jubel was on the radio – that was the first time. Then it was less of a surprise as my management filled me in on all the information about broadcasting. But each time I get in my car and put on the radio, I think I will hear my song.
What’s your standpoint on today’s electronic music scene or the music business in general?
Cédric: I don’t know, I don’t know the business very well. We are so young in this so called “music industry”. I’ve just discovered promotion, marketing, and all the things that are put around a band. I think there is music for everyone, and that’s the most important. Electronic music allows people to create so many different things and everybody can find his own style.
Artists like Bakermat and Klangkarussell inspire your house-meets-saxophone sound. Have you met or played with any of these guys? If so, what did you take away from that experience?
Cédric: We played a lot with Bakermat last year, and this year we have some shows lined up with Klangkarussell. It’s great to meet and to be with these artists, they are so creative and we love what they do. I feel really small when I’m with these guys.
Which other artists influence your jazzy-house style?
There are a lot of influences, from old school like Miles Davis or Jeff Brubeck to all the new deep house melodic stuff in the electronic music scene… We’re influenced by everything. We can’t really name everybody here ☺
What do you enjoy the most: producing or djing? Why?
We enjoy both, but now producing is stressful because we can’t make a track and test it out like we did with Jubel and Punga. Everybody wants the new single and we have to do something perfect.
How does the song-writing and production process begin?
Cédric: When I’m in the studio, or on the train, or in the plane… I have an idea, I start it… and sometimes I finish it. I have dozens of unfinished projects in the computer.
What about your live show? What do you tend to do before and after a gig and what can your fans expect to see and hear at the show?
Before the gig, we focus on our dj set and on the sound check of the live sax and flute. At the moment, the live set includes the live sax and flute as well as a dj set. We want to improve it, but if we tell you here, it won’t be a surprise anymore ☺
What’s the most outrageous thing that’s happened to you? Either in a nightclub, a plane, the street, a crazy encounter with a devoted fan?
The worst and most outrageous things are in nightclubs. Sometimes, you arrive in a club that booked you just because you’re a little bit famous, but nobody knows who you are there and you’re standing outside at the front door, explaining to the doorman that you’re here to play. We really don’t like these kinds of moments.
You’re currently recording an album, if I’m correct? Could you please shed some light on the musical direction that you’re taking and when it will be released?
Right now, we’re focusing on the new single but we’re keeping the album in mind. We already have some tracks that we’ve reserved for it. We want to make an album that will be progressive, with a real background and a story behind it. We’re working on it but we want to take our time to work with great musicians and vocalists to bring something, which will really be KLINGANDE 😉
Like I said, the fans are dying for Klingande’s first album to be released! Let’s hope they won’t let us starve to death!
Klingande chose our #SundaySessions this week. Click here to listen to them!
Don’t have Creation 5? Download it on the App Store!
iPhone Free
iPhone Pro
iPad Free
iPad Pro
If you are already using Creation 5 Media app, don’t forget that you can expand your music collection, for free, by downloading any of the video clips that appear in the above article.
Here’s how:
Open the video in Creation 5 – we have created links by the side of each song title for this very purpose, so just click on any of these and the video will open inside Creation 5.
Once the video is playing inside the app, press and hold the song title and choose DOWNLOAD from the options. That’s it! You can now find the video in your ‘Favorites’ folder.
Press and hold the song title and choose SHARE. If your friends don’t have Creation 5, they will be directed to the App store where they can download the app for free.
What a smashing year it’s been for the stars that are rock n’ rolling in gold. The highest paid musicians of 2013 cover all genres, including folk, country, rap, rock and hip-hop. However, the bestsellers are country and rock, which seem to bring in the highest revenues, making up the majority of music’s top 10 money makers. Let’s have a look at the music industry’s 2013 greatest successes.
1. Taylor Swift (2013 Earnings: $39,699,575.60)
23-year-old country music heroine, Miss Taylor Swift, struck a double hat-trick last year in touring, digital and physical sales and in merchandising, branding and sponsorships – hitting a home run and beating high grossing artists like Beyoncé and Justin Timberlake. The singer-songwriter’s 2012 album “Red” hit nº2 in 2013 US Billboard 200 charts and sold out arenas across the world. While her six months US “Red” tour alone brought in revenue of an estimated $30 million, the album hit almost 10 million downloads, topping the country music sales, ranking sixth in digital sales, and fifth in streaming royalties. What’s more, Swift is thought to bring in an additional estimated $10 million thanks to the pandemonium caused by merchandise sales ($17 per head) and to the tour’s three sponsors (Keds, Elizabeth Arden and Diet Coke) whose cash value is estimated to be in the high seven digits.
In 2013, Kenny Chesney released his latest album “Life on a Rock”, topping the charts for the 7th time. Along with the album’s strong digital and physical sales, country music’s “stadium king” exceeded an audience of 1 million. Chesney continues to be one of the most consistent money makers in the music industry.
It’s clear that after a seven-year break from music, Justin Timberlake needed to come back with a bang! “The 20/20 Experience” did anything but disappoint. In fact, it went kaboom! According to Billboard, it sold over 2 million copies and was the biggest selling album of 2013. The royalties for digital albums, tracks and streaming generated $5 million alone. Furthermore, JT grossed $43 million in his solo tour, performing in front of almost 1 million fans over 39 shows, and brought in a gross $60 million across the 12 dates of his “Legends of the Summer” stadium tour with Jay Z. What a rewarding comeback it was for our beloved JT!
Bon Jovi’s “Because We Can Tour” is the top grossing tour of 2013. Bon Jovi’s earnings for their international non-stop stadium tour grossed more than $83 million and their twelfth studio album “What About Now” (released in 2013) peaked Billboard 200. The American rock band churned out a figure of almost $300,000 in royalties, with more than 1 million digital downloads, and $150,000 in streaming royalties. Besides their top-of-the-charts success and ceaseless sell-out-tours, merchandise sales reached the eight-figure range and has collected an estimated $2 million per year in online sales.
5. The Rolling Stones (2013 Earnings: $26,225,121.71)
The legendary English rock band’s 50th anniversary called for a celebration and, in 2013, AEG Live offered them a limited North America tour, with an $80 million guarantee for 15 shows. The Stones sold out every show, grossing an average of $4.7 million. In addition, their greatest hits album “GRRR!” (2012), featuring two new tracks “Doom and Gloom” and “One More Shot”, reached a number of almost 300,000 in physical album sales and 1.5 million in digital track downloads. On top of that, The Stones’ 2012 5 show-tour generated an estimated $15 million in merchandise sales, excluding online and retail sales. According to Billboard sources, “a multifaceted tour partnership with Citi was worth another $5 million to the band”. One thing’s clear, The Rolling Stones definitely haven’t burnt out yet!
Beyoncé’s 2013 surprise itunes album release took the world by storm, kicking off at nº1 on Billboard 200 and earning a total of $1.6 million in album sales. Ranking at nº8 on Billboard’s top 25 tours of 2013, Beyoncé’s 132-date “Mrs. Carter Show World Tour”, including her appearance at the SuperBowl, grossed a fierce $104.4 million, $59 of which accounted for U.S. dates only.
Maroon 5’s “Overexposed” World Tour made over $17.6 million in 2013, landing the group in the ranking of top 10 biggest music money makers of 2013. This included the group’s headlining slot on the 12th run of the annual Honda Civic Tour and an appearance at the Hollywood Bowl. While three of the band’s tracks landed spots on Billboard Hot 100, with “Payphone” at nº2, “Daylight” at nº7 and “One More Night” peaking for nine weeks straight, their track sales hit a total of 7.6 million, almost amounting to what they earned on catalogue album sales royalties.
American pop country singer, Luke Bryan, is the swiftest rising star in country music since Miss Swift herself, selling a total of 23 million albums and 7.6 million digital tracks in 2013, with an additional $15.4 million earned in his fourth studio album, “Crash My Party”, 2013 tour.
Her 2012 album “The Truth About Love” was P!nk’s first nº1 album, accounting for 934,000 of the 1.3 million albums she sold in 2013. “Try” reached nº9 on Billboard’s 2013 Hot 100, while “Just Give Me A Reason” featuring Nate Reuss (performed at the 2013 Grammy Awards) hit nº1, rising to 8 million in digital song sales and earning $1.4 in royalties. She also brought home $15.1 million from the U.S. leg of her world tour, and broke records by selling out 18 consecutive shows in Melbourne, Australia – A highly deserved success for 34-year-old singer-songwriter, A.K.A Billboard’s 2013 Woman of the Year.
The British rock band went home with a total of $17.4 million, after hitting 34 cities in their 2013 World tour. The highest point of the tour consisted of three nights at London’s O2 Arena, where Christine McVie joined the band to perform “Don’t Stop” on their last two nights of glory, plugging her full-time come-back for their 2014 Reunion Tour. What’s more, “Extended Play”, Fleetwood Mac’s first new studio material release in a decade reached nº48 on the Billboard 200.
Top 20 Grossing Artists of 2014 1.Taylor Swift ($39,699,575.60) 2.Kenny Chesney ($32,956,240.70) 3.Justin Timberlake ($31,463,297.03) 4.Bon Jovi ($29,436,801.46) 5.The Rolling Stones ($26,225,121.71) 6.Beyoncé ($24, 429, 176.86) 7.Maroon 5 ($22,284,754.07) 8.Luke Bryan ($22,142,235.98) 9.P!nk ($20,072,072.32) 10.Fleetwood Mac ($19,123,101.98) 11.Justin Bieber ($18,873,458.41) 12.Bruno Mars ($18,839,681) 13.One Direction ($18,041,472.69) 14.Jason Aldean ($17,896,191.98) 15.George Strait ($16,002,761.63) 16.Jay Z ($15,652,428.82) 17.Michael Bublé ($14,478,084) 18.Mumford & Sons ($14,172,940.87) 19.Dave Matthews Band ($13,932,731.14) 20.Rihanna ($13,794,186.16)
To see Billboard’s Top 40 Moneymakers of 2013, click here.
Don’t have Creation 5? Download it on the App Store!
iPhone Free
iPhone Pro
iPad Free
iPad Pro
If you are already using Creation 5 Media app, don’t forget that you can expand your music collection, for free, by downloading any of the video clips that appear in the above article.
Here’s how:
Open the video in Creation 5 – we have created links by the side of each song title for this very purpose, so just click on any of these and the video will open inside Creation 5.
Once the video is playing inside the app, press and hold the song title and choose DOWNLOAD from the options. That’s it! You can now find the video in your ‘Favorites’ folder.
Press and hold the song title and choose SHARE. If your friends don’t have Creation 5, they will be directed to the App store where they can download the app for free.
Released yesterday (March 3) the long awaited new album from the man of the moment has arrived! There are so many fantastic collaborations on the album – Justin Timberlake, Miley Cyrus, Daft Punk, Alicia Keys – it’s too good to be true! Billboard have given the album an 85 rating and Pharrell himself describes it rather succinctly as “festive and urgent”. The album is incredibly positive, packed full of joie de vivre – it’s just the summer album we need.
Pharrell has spoken about it being a “celebration of women”, because we all know how much Pharrell loves women, right? It’s perfect for the helpless romantics amongst us and is loaded with sexual metaphors, but nothing heavy, it’s all about playfulness and joy.
Pharrell’s latest single, Happy, the fifth track on the new album, is Nº1 on the Billboard Hot 100 and Nº1 in the UK – in fact it has broken all records in the UK by becoming the first single in 57 years to reach number 1 three times! It has spawned a plethora of covers and copies and is likely to stay on the radio waves for weeks to come. And why not? What a great song – brilliantly simple and incredibly contagious, just listening to it makes you Happy!
Here’s a track by track review
1- Marilyn Monroe With the strings arrangement by Hans Zimmer, this opening cinematic song is performed by a 30-piece orchestra. You’ll hear plenty of famous women’s names in the chorus and will be exhorted to “dance and elevate each other”.
2- Brand New ft. Justin Timberlake High falsettos and congo rhythms, this song is about the rejuvenating power of love. Certainly one of the stronger candidates for a single. Great to hear Justin and Pharrell together, this partnership just works.
3- Hunter A sexy, heavy breathing number “Hey baby, my love is callin’ / Hey baby, my sex is callin’”. It’s a track straight out of the 70’s.
4- Gush Well, I guess you could say this is the sex song of the album (not surprising with a title like that). The lyrics tell the steamy story “take off your halo and wings” – “light that ass on fire” and “leave those panties in flames.” Well, girls, why not?
6- Come Get it Bae ft. Miley Cyrus Pharrell has been instrumental in helping the singer’s transition from child star to superstar, and in this track they have fun. There’s plenty of clapping and screams – a bit of a party number. Chorus: “You wanna ride it, my motorcycle / You got a license, well you got a right to / wanna pop a wheelie, don’t try too hard to, cuz girl I like you.”
7- Gust of Wind ft. Daft Punk For us this is the stand out track on the album. It’s a strings-and-bass disco jam that will have you wearing out the repeat button. It feels like it could have come from Random Access Memories – but feels completely at home next to tracks like Happy.
Pharrell ft. Daft Punk – Gust of Wind
8- Lost Queen Could be a tribute to women that are out of this world? “What planet are you from, girl?” It’s sort of tribal and does promise “hot sex and gold shiny things”.
9- I Know Who You Are ft. Alicia Keys A bit of sensitivity from Pharrell “I know who you are and I know what you’re feeling” with a taste of ska flavor. Alicia is wonderfully soulful.
10- It Girl It’s all about the sex, basically. The power that women exert over men “your waves wash all over me,”. For sure this album has been inspired by the great time Pharrell has with women.
Don’t have Creation 5? Download it on the App Store!
iPhone Free
iPhone Pro
iPad Free
iPad Pro
If you are already using Creation 5 Media app, don’t forget that you can expand your music collection, for free, by downloading any of the video clips that appear in the above article.
Here’s how:
Open the video in Creation 5 – we have created links by the side of each song title for this very purpose, so just click on any of these and the video will open inside Creation 5.
Once the video is playing inside the app, press and hold the song title and choose DOWNLOAD from the options. That’s it! You can now find the video in your ‘Favorites’ folder.
Press and hold the song title and choose SHARE. If your friends don’t have Creation 5, they will be directed to the App store where they can download the app for free.
How exactly is one to introduce a veritable institution in modern music? The critically acclaimed underground legend Sasu Ripatti (aka Vladislav Delay) has been at the forefront of so many genres and sub-genres of electronic production as to defy expectation.
Over the years after his breakout release (Vocalcity, composed under the moniker Luomo when he was only 25, remains an oft referenced landmark in house music), Ripatti has only gone from strength to strength, mastering house, techno, dub, experimental, ambient, jazz (he’s originally a percussionist) and whatever else he chooses to dabble in – he’s a polyglot with the Midas touch. It’s impossible to condense Sasu Ripatti’s output into this space, so to find out more about the artist, read his biography here.
In this revealing interview, the reclusive genius (he lives in near isolation on an island near the Arctic Circle) behind the many monikers speaks out.
You’ve been putting out music under a different name for nearly every sub-genre you experiment with. Why choose to do this when output from a single pseudonym can be far more recognizable to listeners? Don’t you want a familiarity to exist?
First off, I’m really not about being recognizable or having a brand or any such thing. Overall, it just feels right to give differing names to different projects or concepts. I like to produce and be involved with lots of different kinds of music, and they don’t always go hand in hand. To me, it wouldn’t make sense to put out the material I do as Delay and as Luomo under the same alias, it would be rather confusing for people. What really matters, actually, is that it doesn’t feel right to me. I’m all for confusing people, after all. Often people are only aware of a certain strain of my music, or like a specific project.
Not only do you perform and record as a percussionist in the Moritz von Oswald trio (headed by Moritz von Oswald, one of the fathers of 90s techno), but you also have your own experimental jazz quartet. This is, of course, besides your electronic output as Luomo, Conoco or Sistol – not to mention Vladislav Delay. That’s a mammoth oeuvre. How do you manage it all?
From my perspective it’s the other way around. Had I only been making experimental ambient music for the past ten years, for example, I’d need professional help. I can’t imagine restricting myself like that. Again and again I come back to the analogy of food. There’s no way I would eat any food for more than a week in a row, no matter how good. And the same goes for my favourite albums: there’s a limit after which (the music) just doesn’t work anymore, you need variety. Making music is exactly the same thing. There’s a whole world out there, why would I stick to one genre? It makes no sense to me.
But this also means that you can’t keep doing everything all the time. I’m not working on Luomo/ Conoco/ Sistol nowadays, and I recently stopped playing with the Moritz von Oswald trio as well – it’s time to move on and do other things. There are other collaborations and projects to look forward to. I don’t like to get stuck on a particular thing and, more often than not, things eventually tend to slow down creatively. It’s hard to bring new fire into a project sometimes. In the end, it’s just waveforms that you try to create emotions with. This tempo or that tempo, this mood or that… I’m rather omnivorous.
In 2011, Animal Collective invited you to perform at the All Tomorrow’s Parties that they curated. How was the experience?
It was one of my better shows for sure. A dedicated audience and a massive high quality PA – what more could one ask for? I also enjoyed seeing some bands that I had no idea existed, trendy indie stuff and acts I wasn’t very familiar with.
Vocalcity is my personal favourite Sasu Ripatti album – like all your best work, none of the cinematic tracks dips below ten minutes in length. Do you believe longer, free-flowing compositions afford the artist greater scope?
It’s not that simple. I often seem to just need time to build things, and I don’t really work well with the ‘three minutes thirty seconds’ format (even when it’s something relatively pop-like, such as Luomo). I’m in no rush, I don’t need to shorten tracks for any practical reasons, and I like to take my time. Lots of the music I’m influenced by is also lengthy and developing in structure, although I do enjoy some mainstream forms of music that clock in at 3:30 each and every time – no surprises there. It’s difficult for me personally to make short tracks, let’s put it like that. There’s always too much to say, too much to put into a very short format; but I never try to extend tracks intentionally to make them long. I’ve done smaller pieces, and some of them are my favourites. I have, slowly, also perhaps become slightly better at arranging and composing and need less time to say what I want to say musically.
Where did the ideas for Luomo and Vocalcity come from? What propelled you to try to inject emotion and warmth to the niche sub-genre of micro-house at such a young age? Did it not daunt you, a task that would daunt even a far more experienced and mature artist?
I didn’t care at all, to be honest. I had no idea what house music was, never mind micro-house… it was one of the least interesting forms I could ever imagine listening to. I really hadn’t even heard any actual house music, just the cheap commercial stuff off the radio. For me it was never about house music: it was about pop music. I never wanted to start a band for my pop or vocal music. Electronic backing, however, suits me well when I choose to write pop with vocals. It’s just a vehicle.
Back then I was doing lots of ambient stuff and getting a little bored of it. I was garnering attention for said ambient stuff, and the labels attached to me bothered me to the extent that I decided to do something totally different. I had made strange electronica for years on end and I think I had a little breakdown or something.
I knew a jazz singer from the time I was heavily into the jazz scene and used to play drums. I asked her and a keyboard player to join me. I just got on with it without much planning or thought. I remember the time I sent the first tracks to the label that released Luomo. They said there weren’t enough kick-drums… I remember I tried putting them in – and that’s the house thing I guess. It was a hard period in my life, personally. I was quite a mess and it was somehow therapeutic to write those lyrics and make emotional music.
What are your favourite places in the world to perform at, and why?
I have noticed I’m changing in this respect. It’s partly due to having moved to a remote location (an island in the Baltic Sea, near the Arctic Circle) which makes travelling rather challenging, but beyond that I have realized more and more that my main interest lies in the studio rather than in playing concerts. Don’t get me wrong, I like to play some good shows (and still do every now and then) – but the fact is also that not every show is a good one, and often unrelated to what you’re producing. Those tend to kill me every time a little bit.
Anyway, Tokyo and Kyoto are probably my favourite places followed by random smatterings everywhere. If it’s more dance-oriented music it’s often better the more south you go; for experimental stuff it’s often places where conditions are harsher, or at least less sunny. Still, these are stereotypes and they often fall short. Shows in Japan usually don’t fail, though. People are very considerate and interested in what you’re doing, there’s a certain dedication in Japan that’s more of a norm there than the random, surprise adulation you get elsewhere.
You’re a Pitchfork darling, and arguably one of the most respected producers in the world today. What are your own inspirations? And what new talent have you heard that impresses you?
Am I a Pitchfork darling? I think they’ve routinely ignored everything I have done for years. I’m just not trendy enough. My own inspirations are rather varied. Obviously there’s music, which has been a part of my life non-stop ever since I was a child. My first memories are almost all connected to music or other creative media.
Music in its many forms still inspires me: mainly older jazz, Jamaican, world music, hip-hop, classical. But I must say I’m connecting less and less with most of the music being made today, compared to some music I’ve truly been inspired by in the past. I still look for new stuff, but maybe less than I used to. It’s just that there’s so much, and not all of it is good. My time is limited. The music I listen to is therapeutic above all. I easily spend 10 to 12 hours in the studio every day, listening to stuff I’m working on. After that I really don’t want to challenge my ears, I want to do the opposite. More often than not it’s something like Bill Evans trio or Chet Baker or I-Roy or some entertaining hip-hop, maybe some solo piano music. Not the latest electronic assault, though; it’s too much. I must add that I generally just don’t like the sound of most music made in the past few years. I’m not contesting its musicality – just what it sounds like. I mean it’s fucking loud, and it’s over-processed, -produced, and pushed to its limits – often, nowadays, with cheap digital gear by people who don’t know much about the technical side of things… about the art of recording. There’s not much room for my own creativity to play around there because there’s no space. The music I love always has plenty of room to hang around and add your self to.
Books have also been quite an inspiration, since both my parents are/were authors. Movies to some extent. Food and cooking to a much greater extent. I cook almost every day. My daughter is arguably the biggest inspiration of them all. I’m inspired by interesting people, from farmers and fishermen to artists and criminals and everything in between. I’m inspired by travel, what I see and learn and notice. There’s so much inspiration around, it just flows in…
Vladislav Delay is possibly your most famous and prolific project. Is there an especial stylistic attachment you have to it over your other work?
Somewhat. It’s more of my own thing than anything else I’ve done. Delay’s music is more expressive and true to my self, to the point that I don’t have to work all that much on this project as compared to the sportsman-like feeling I sometimes get when I’m making vocal or club music. There’s no intention or trying, I just let it go where it wants to.
Despite the incredible adulation and critical acclaim most of you projects have received, you have, somehow, remained reluctant to toy with mainstream success. Was it a conscious choice to remain an underground artist?
Don’t have Creation 5? Download it on the App Store!
iPhone Free
iPhone Pro
iPad Free
iPad Pro
If you are already using Creation 5 Media app, don’t forget that you can expand your music collection, for free, by downloading any of the video clips that appear in the above article.
Here’s how:
Open the video in Creation 5 – we have created links by the side of each song title for this very purpose, so just click on any of these and the video will open inside Creation 5.Once the video is playing inside the app, press and hold the song title and choose DOWNLOAD from the options. That’s it! You can now find the video in your ‘Favorites’ folder.Press and hold the song title and choose SHARE. Even if your friends don’t have Creation 5, with the link you send them they will be directed to the App store where they can download the app for free.
