Radio Sydney

2020 has been a tough year in many aspects, but two good things that came out of it was the Danish producer duo LittGloss and Danish pop singer-songwriter BATHSHEBA. The two acts have emerged as some of the most exciting upcoming names in Denmark during 2020, both receiving nominations in the category Best New Danish Artist at The Voice Awards 2020.

Now, LittGloss and BATHSHEBA are joining forces on the disco-pop track ‘Might Be’ to mark 2021 as their year. The song combines a true LittGloss-sounding disco-pop production with BATHSHEBA’s intimate voice and honest lyrics to give the listener something to dance their worries away to in 2021.

The two artists decided to collab out of love and respect for each other’s music. BATHSHEBA tells:

“I’ve always found the guys (LittGloss) insanely talented, and they’ve got a specific sound to their productions that really stands out. I wanted to tap into that!”

LittGloss adds to the conversation:

“We think BATHSHEBA is one of the most exciting names on the Danish music scene right now. And most importantly, we just have a lot of fun when working together!”

When the two artists finally got to team up in the studio, the track came along easily. BATHSHEBA tells:

“LittGloss had this amazing track laying around, and when I heard it, I really couldn’t stop the words and melodies from coming out”, she says.

LittGloss agrees that BATHSHEBA was the perfect match for the track. They explain:

“We first came up with the ideas for the track when we were preparing for a song camp in L.A. in the beginning of 2020. Already back then, we knew that we had started something exciting. We’ve worked on several versions of the track, but it wasn’t until we went into the studio with BATHSHEBA that we felt like we found someone with a topline and lyrics that took the track to the next level.”

For BATHSHEBA, the ideas came easily because they are based on a true feeling and story.

“‘Might Be’ is a true story about me feeling frustrated because a relation didn’t work out as I wanted it to. I was kind of left in the dark”, BATHSEHBA says and adds: “It’s about the feeling of wanting a person – and that person probably wanting you too – but the circumstances make it impossible for the two of you to get together.”

By sharing her personal story, BATHSHEBA hopes that she can make the listeners feel less alone. She says:

“I hope that the listeners will feel, that they are not alone with the feeling of being rejected. And hopefully they will also get a bit of a sassy feeling of “well fuck whoever-is-rejecting-me” when the chorus kicks in.”

The sassy and powerful feeling of the chorus that comes through to the listener despite the heart-breaking lyrics is a result of LittGloss’ tight disco-pop production. The producer-duo tells about the track:

“The production of ‘Might Be’ is quite minimalistic. The sounds will probably make people think of Dua Lipa, SG Lewis and the likes” LittGloss says and adds: “We always try to keep a certain level of consistency in our productions, and we love to use funk guitar, string stabs, and M1 piano.”‘Might Be’ will be released on January 15th 2021.

Colin Wylie is known for his work with Blinker the Star, a Canadian indie band that signed with A&M (USA) and then DreamWorks barely out of their teens. Then came the ‘Hinterlandband’ project, whose compositions have been placed in programming for Muchmusic (CAN), NBC (USA), CTV (CAN), MTV (US & UK), Fox (USA), CBC (CAN), The CW Network (USA) and PBS (USA).

What inspired you to record it?

‘The recent ‘six months in quarantine’ and ‘Six Months in a Leaky Boat’ parallel, triggered the idea to finally properly treat & release this recording. Adrian Popovich (Sam Roberts Band) completed the mixing and grammy award winning Phil Bova (Bahamas), the mastering. The song was performed & recorded so well it needed to be properly shared.

This recording is the last recorded performance I had with my friend & bass player Marc Leblanc.

He passed away in 2016 unexpectedly. It is hoped that this serves to commemorate his larger-than-life existence on this planet, and be of consolation to his son Dylan.

Do you have anything you’d like to say about this track?

‘I first heard the original Split Endz version while living in Montreal on the mighty CHOM FM. It made an immediate impression on me and I filed it away in the ‘songs I’d love to cover’ compartment. Time later, we began playing it live and audiences loved hearing it. I decided to commit it to tape.

A lifelong bluegrass and country music fan, legendary singer, songwriter and producer Barry Gibb has long dreamed of a project that would bring him together with some of the artists he admires the most. With the help of Grammy Award-winning producer Dave Cobb, that dream has become a reality with ‘ GREENFIELDS: The Gibb Brothers Songbook, Vol. 1′-out now on Capitol Records.

Across twelve of the Gibb Brothers beloved songs reborn, the album features collaborations with Alison Krauss, Brandi Carlile, David Rawlings, Dolly Parton, Gillian Welch, Jason Isbell, Jay Buchanan, Keith Urban, Little Big Town, Miranda Lambert, Olivia Newton-John, Sheryl Crow and Tommy Emmanuel.

Of the experience, Barry Gibb shares, “From the first day we stepped into RCA Studios in Nashville (the very place where Elvis, Willie, Waylon, Roy, the Everly Brothers and so many other legends made their magic) the album took on a life of its own. I couldn’t be more grateful for the opportunity to work with Dave and all the artists who stopped by. They were all incredibly generous with their time and talent. They inspired me more than words can express. I feel deep down that Maurice and Robin would have loved this album for different reasons. I wish we could have all been together to do it…but I think we were.”

Dave Cobb comments, “It was truly an honor to work with one of my heroes. The Bee Gees’ first album has always been a staple for me and it was surreal to get to witness the genius of Barry Gibb in the studio-he’s one of the greatest of all time!”

Jason Isbell adds, “Barry Gibb is one of the greatest songwriters and singers in popular music history, and I’m happy to say he still has that beautiful voice and that magical sense of melody. Working with him on this project has been one of the great honors of my career. He’s a prince.”

‘GREENFIELDS: THE GIBB BROTHERS SONGBOOK, VOL. 1’ TRACKLIST

1. ‘I’ve Gotta Get A Message To You’ with Keith Urban
2. ‘Words of a Fool’ with Jason Isbell
3. ‘Run to Me’ with Brandi Carlile
4. ‘Too Much Heaven’ with Alison Krauss
5. ‘Lonely Days’ with Little Big Town
6. ‘Words’ with Dolly Parton
7. ‘Jive Talkin” with Miranda Lambert, Jay Buchanan
8. ‘How Deep Is Your Love’ with Tommy Emanuel, Little Big Town
9. ‘How Can You Mend A Broken Heart’ with Sheryl Crow
10. ‘To Love Somebody’ with Jay Buchanan
11. ‘Rest Your Love On Me’ with Olivia Newton-John
12. ‘Butterfly’ with Gillian Welch, David Rawlings

With a career spanning more than five decades, Sir Barry Gibb stands as one of the most renowned and celebrated musicians of the modern era. As co-founder and creative leader of the Brothers Gibb -better known to the world as the Bee Gees- Barry with his brothers, Maurice and Robin, represent one of the most successful vocal groups in rock and roll history, having sold more than 200 million albums to date. With nine US #1 singles as a performer, Barry is also amongst the most successful songwriters of all-time (with sixteen #1 singles) and is seventh on the list of most successful producers (with fourteen #1 singles). He is also tied with John Lennon and Paul McCartney for most US #1 singles in a calendar year with seven. Among his many awards and honours are eight Grammy Awards, the Grammy Legend Award and, most recently, the 2015 Grammy Lifetime Achievement Award. He is also the recipient of the American Music Awards Lifetime Achievement Award, the BMI Icon Award, four BMI Songwriter of the Year Awards, four BMI Song of the Year Awards and is a member of the Rock and Roll Hall of Fame and Songwriters Hall of Fame. In 2004, Barry received one of Britain’s highest honours when the Bee Gees were made Commanders of the British Empire and, in 2018, was Knighted “Sir Barry Gibb” by Prince Charles for his services to music and charity.

Recorded in Muscle Shoals, Alabama, ‘Gasoline’ is the title track off Lucie Tiger’s newest EP – inspired by a love of road trips, muscle cars and the appeal of what’s around the next corner. Brimming with blues-driven verve, it’s a fresh new sound likely to become the soundtrack for your next road trip. The EP was recorded entirely at Fame Studios in Muscle Shoals, Alabama, engineered by Grammy nominated John Gifford III and mastered by Grammy nominated Don Srygley.

The open road is where adventure meets spontaneity. It’s about endless stretches of two-lane blacktops and a brand new feeling around every corner. It’s where the stereo is turned up, the windows are rolled down and songs that don’t have you playing drums on the steering wheel are left by the wayside.

Lucie Tiger is the embodiment of all of the above, as she blazes a trail down the highway with her “Road Trip Americana” style of country. She disregards conventions for a Muscle Shoals rhythm-rooted practicality that pulls together the classic and the contemporary. She’s surprising the industry one song at a time, so it’s time to buckle up and tag along for the ride.

Melbourne-bred hip-hop artist DL is starting to make waves abroad after just dropping the icy, R&B-tinged break-up tune ‘No Time For Love’, featuring the Billboard-charting Sammie.

Already making waves on U.S, Australian & New Zealand radio, and arriving just in time for a long, sunny summer, ‘No Time For Love’ blends DL’s effortlessly cool and lean back delivery with the smooth and sultry vocals of US-based R&B star Sammie. “It’s about an ex-girlfriend, who I fell out of love with” he explains. “It fell apart around us and I wrote it the way I felt about how we had ended up; cold and pretty brutal”.

DL originally wrote the verses for ‘No Time For Love’ to an instrumental he had. He then took it to Melbourne producer SB90, who helped to develop the track. From there, DL reached out to Sammie’s management in the United States. “I’ve been a fan of Sammie since the 2000s. His music is right in the sweet spot of what I love listening to – chilled, sexy R&B,” says DL.

As good fortune would have it, Sammie and his team loved the song and within a week, he’d sent back a demo of the hook and the bridge that he’d written. “His voice is light, and vocals are so clean. It’s exactly what this song needed to smooth out the ice-cold lyrics in my verses. It was a long-shot going for someone like Sammie, but I was stoked that he wanted to be a part of it,” says DL.

With an MO for delivering chilled hip-hop, injected with soulful R&B and a pop lean, DL’s distinctive melodic rasp and playful wordplay has cemented his place as one of Australia’s most exciting emerging artists. Exploring the highs and lows of love and life in his music, DL connects with people through melodic hooks, dynamic vocals, and expressive lyrics.

In the past decade, DL has scooped up awards, including ‘Song of the Year’ in the John Lennon Songwriting Contest (judged by John Legend and Bootsy Collins); supported accomplished R&B stars on tour including Keri Hilson and Bobby Valentino, and worked with established artists like Guy Sebastian (‘Battle Scars’, ‘Gold’), K. Young (‘I Like It’), and now Sammie.

Global superstar Justin Bieber will ring in the New Year with yet another gift for fans across the world. Today, Bieber announces his new single “Anyone” – co-written and produced by Andrew Watt with a visual directed by Colin Tilley – set for release at 12am EST on January 1, 2021. Fans tuned in to Bieber’s livestreamed New Year’s Eve concert presented by T-Mobile will have the chance to hear “Anyone” performed live for the first time, anywhere.

“I can’t think of a better way to close out 2020 and kick off 2021 than celebrating with my fans all over the world and sharing this new music with them,” said Justin. “Music has gotten us all through so much this year, and for me personally it’s been healing and transformative. ‘Anyone’ is such a special, hopeful, anthemic song. It sets the tone for a brighter new year full of hope and possibility.”

Closing out 2020 with three smash singles – “Holy,” “Lonely,” and “Monster” – Justin Bieber reigns as one of the biggest artists in the word: the #1 artist on YouTube with 60mm subscribers, the #2 artist on Spotify globally with over 75mm monthly listeners, over 200mm in combined U.S. radio audience per week, and three Grammy nominations and an American Music Award for his 2020 album Changes.

Changes, the fifth studio album by Grammy Award®-winning global superstar Justin Bieber, debuted at #1 on the U.S. album chart, netting over 1 million in first week global consumption. Bieber’s 7th overall #1 album, Changes also debuted at #1 on the Billboard R&B Albums chart, a career first for him. Underscoring the global dominance of Changes, the album reached #1 in the UK and Canada, and clocked in at #1 iTunes in 85 countries.

Over the course of his career, Justin Bieber has amassed more 50 billion streams and more than 60 million album equivalents worldwide. Justin’s Grammy-winning 2015 album PURPOSE has sold over 21 million copies worldwide.

‘What Kind Of World’ is a soft protest song from Golden Guitar finalists Cornell & Carr questioning what sort of world we have created and are leaving for future generations. This single is the first release from Matt Cornell and Mike Carr since July 2019, and they’ve come out of the blocks with a thought-provoking, ‘FU’ to the year that’s been. It’s not only a look at 2020, but a reflection on everything that’s been happening in the world, and a song of hope, adaptation and optimism.

When two voices, the songwriting talents, and personalities of Matt Cornell and Mike Carr combine, it creates musical magic with these two award-winning artists. Cornell & Carr continue their journey together with the upcoming release of ‘What Kind Of World’, released on January 1. This is the first release under Ian “Dicko” Dickson’s management team and Cornell & Carr are excited to be working with someone they not only respect as a manager, but love as a dear friend.

The Cornell & Carr journey began years ago when they came together for a songwriting session where they discovered a history that went ‘way back’. Both Matt’s musician parents (Wayne Cornell and Cheryl Assange) and Mike’s musician father (Warren Carr) had previously performed together. Matt and Mike later joined Adam Brand and The Outlaws with fellow country music artists Travis Collins and Drew McAlister. This group went on to win the CMC award for ARIA highest selling Australian artist in 2017.

Mike is a two-time ARIA Award winner and a Golden Guitar winner and has written many of Australian country music’s biggest hits including songs for Adam Brand, McAlister Kemp, Adam Harvey, Drew McAlister, Aleyce Simmonds, Kaylee Bell, Kaylens Rain , and Melinda Schneider.

Matt has worked as Adam Brand’s musical director for more than a decade, has opened for international artists including Richard Marx and was a member of iconic rock band The Baby Animals, and has toured and recorded with Richard Clapton, Shannon Noll, Jenny Morris, Damien Leith, Matt Finish and Angry Anderson. He was nominated for two Golden Guitar Awards in 2018, was a 2014 CMC Music Awards New Oz Artist of the Year finalist, and was a finalist again, this time for Male Artist Of The Year at the 2017 CMC Music Awards.

In January 2018, Matt and Mike performed a one-off show together at the Tamworth Country Music Festival and the vibe on stage was such, that they knew they had something musically special between them. Before the year was out, they’d formed Cornell & Carr, and released their debut single, ‘Be In The Band’. They followed this with the album, ‘We Go Way Back’, and have since released two more singles, ‘Town Like This’, and ‘Things I Leave Behind’. ‘We Go Way Back’ garnered the duo two Golden Guitar finalist spots in January 2020.

This is a feel good Christmas song to cheer up the many people who have been effected by the ghastly COVID virus, with my song called “DON’T CANCEL CHRISTMAS!”.

I urge all music supervisors to get this song played on every radio station in the world! It’s a very positive perspective on a very negative situation the world finds itself in!

Written on the back deck of a housetruck on a broken ukulele and recorded during Victoria’s 7-month lockdown, Get Around is a lament that yearns for the open road, at the same time as trying to make peace with staying at home.

Featuring The Waifs’ Ben Franz, Dave Mann, Melanie Robinson (Tim Rogers/You Am I), Tim Bennett, Mal Webb and a bunch of other incredible Australian talent, Not Just Charlie is a new adult contemporary folk-roots project from Formidable Vegetable’s Charlie Mgee (who’s organic family-funk tunes have recently racked up high rotation on global radio behemoth SiriusXM) diving into what it means to be human in a time of unprecedented uncertainty, isolation and disconnection from community and country.

2020 marks 50 years since Paul McCartney released his self-titled first solo album. Featuring Paul playing every instrument and writing and recording every song, McCartney’s effortless charms have only grown in stature and influence over time. The chart-topping album would signify not only a creative rebirth for Paul, but also as a template for generations of indie and lo-fi musicians seeking to emulate its warm homespun vibe and timeless tunes including Maybe I’m Amazed, Every Night and The Lovely Linda.

The 1970s saw Paul forming his second band Wings and dominating the charts, stages and airwaves of the world, with multiple #1 singles, sold-out world tours, multi-million-selling albums including Band on the Run, Venus and Mars, Wings at the Speed of Sound, London Town and more. In 1980, 10 years from the release of McCartney, Paul wrapped up the decade of Wings with the surprise release of his second solo album, the electronic-tinged McCartney II. Once again featuring Paul entirely on his own, McCartney II would come to be regarded as a leftfield classic, with classic cuts such as Coming Up, Temporary Secretary and Waterfalls.

The 1980s saw Paul start again, this time kicking off an unprecedented solo run. The following four decades would see Paul’s iconic and legendary status grow exponentially, with solo masterpieces including Tug of War, Flowers in the Dirt, Pipes of Peace, Flaming Pie, Memory Almost Full and New, and massive live shows the world over – actually setting the World Record for the largest attendance at a concert. In 2018, 54 years since The Beatles first hit #1 on the Billboard Album Charts – Paul’s Egypt Station would be yet another historic #1 McCartney album.

Hard as it is to believe, it’s only been two years since Egypt Station released –and it was only last year that Paul’s Freshen Up tour played its last show before Covid hit pause on live music, a legendary blowout at Dodger Stadium in Los Angeles.

Paul hadn’t planned to release an album in 2020, but in the isolation of “Rockdown,” he soon found himself fleshing out some existing musical sketches and creating even more new ones. Before long an eclectic collection of spontaneous songs would become McCartney III: a stripped back, self-produced and, quite literally, solo work marking the opening of a new decade, in the tradition of 1970’s McCartney and 1980’s McCartney II.

Recorded earlier this year in Sussex, McCartney III is mostly built from live takes of Paul on vocals and guitar or piano, overdubbing his bass playing, drumming, etc. atop that foundation. The process first sparked when Paul returned to an unreleased track from the early 90s, When Winter Comes (co-produced by George Martin). Paul crafted a new passage for the song, giving rise to album opener Long Tailed Winter Bird-while When Winter Comes, featuring its new 2020 intro Winter Bird, became the new album’s grand finale.

Speaking about III, Paul said: “I was living lockdown life on my farm with my family and I would go to my studio every day. I had to do a little bit of work on some film music and that turned into the opening track and then when it was done I thought what will I do next? I had some stuff I’d worked on over the years but sometimes time would run out and it would be left half-finished so I started thinking about what I had. Each day I’d start recording with the instrument I wrote the song on and then gradually layer it all up, it was a lot of fun. It was about making music for yourself rather than making music that has to do a job. So, I just did stuff I fancied doing. I had no idea this would end up as an album.”

Long Tailed Winter Bird and Winter Bird/When Winter Comes bookend McCartney III’s vast and intimate range of modes and moods, from soul searching to wistful, from playful to raucous and all points between – captured with some of the same gear from Paul’s Rude Studio used as far back as 1971 Wings sessions. And Paul’s array of vintage instruments he played on the new album have an even more storied history, including Bill Black of Elvis Presley’s original trio’s double bass alongside Paul’s own iconic Hofner violin bass, and a mellotron from Abbey Road Studios used on Beatles recordings, to name but a few.

In keeping with McCartney & McCartney II’s photography by Linda McCartney, the principal photos for III were shot by Paul’s daughter Mary McCartney-with additional photography by Paul’s nephew Sonny McCartney as well as photos Paul took on his phone (it’s a family affair). The cover art and typography is by celebrated American artist Ed Ruscha.

McCartney and McCartney II each saw Paul open up a new decade with reinvention, both personal and musical. Just as McCartney’s 1970 release marked Paul’s return to basics in the wake of the biggest band break-up in musical history, and the 1980 avant-garde masterpiece McCartney II rose from the ashes of Wings, McCartney III finds Paul back on his own, turning unexpected circumstances into a personal snapshot of a timeless artist at a unique point in history.