#lp: drag race uk

[lovejustforaday]

2023 Year End List - #10

Raven - Kelela

Main genres: Alternative R&B

A decent sampling of: Ambient Pop, UK Bass, IDM, Art Pop, Breakbeat, Downtempo

In the mid-2010s, Kelela burst onto the then-burgeoning alternative R&B scene with a force so powerful that it felt like she was almost certainly going to be the next really big thing.

For those not in-the-know, the artist Kelela a.k.a. ከለላ (as it is written in her ancestral Ethiopian Semetic language Amharic) is an American singer from Washington D.C. who pretty quickly established herself as possibly the most popular and influential female artist in her artistic movement for the brief period that she had previously been active.

Her vocal timbres manifest as cool shades of arctic blues. She channels the smooth, ornamented technical performances that many famous women in late 90s and early 00s R&B really mastered, artists like Ashanti and the members of Destiny's Child. But her full talent is really brought together by the powerful air of sophistication she exudes in the way she carries her voice, establishing her presence essentially as the ruling gentle ice queen sovereign of R&B.

I didn't end up checking out her now certified modern classic 2017 debut LP Take Me Apart until mid-pandemic in 2020, and I kinda felt like I had missed out on something huge. Because just as fast as she took storm of the alternative music world, Kelela all but vanished, maintaining a relatively low profile and sharing almost no new material for the better part of half a decade.

So imagine my excitement when Kelela finally dropped the lead single for her latest project towards the end of 2022. Finally, I would get to experience the roll out as it happened in real time. And what a treat it turned out to be.

Raven is subtle, pristine, sensual, untouchable, and captivating. The album is an R&B enigma, dissolving all of the crucial elements of its genre at the molecular level, and reconstructing those components into a different state of matter - a gaseous fluid of ambient melodies and misty vocals that you can feel breathing down the back of your neck, making the hairs stand on end with the tingling sensation.

I don't know how she managed to do it, but Kelela and her team made a record even more revisionist to R&B than her previous Take Me Apart. This is a definitive benchmark in the evolution of its medium.

The record begins with the ambient dreamscape of vast star-rising horizons on barren planets that is "Washed Away". This could easily represent a sort of baptism or rebirth for the artist - a hell of a way to make a much anticipated comeback after six years between this and her last record. The song introduces the "far away" lyrical motif that will be revisited on later tracks, adding to the album's otherworldly properties.

"Happy Ending" is a robust athletic and deeply sensual breakbeat frenzy, like a kickboxing match that ends in intense oral stimulation with your sparring partner. It's the sound of everything that happens in the dark after you turn the lights off with a fiery passionate lover, giving in to the heightened imagination of the remaining four senses. Also, "Let's play catch babe - I'll throw it back" is absolutely the #1 best sexual lyric of 2023.

"Closure" opens with this really chilly, illusory tinkering bell synth arpeggio that just - UGHHH it's so satisfying. The rest of the track is dungeonesque, dark and icy cold like a warehouse freezer, fusing elements of dubstep, UK bass, and trap into an atmosphere so vivid and dense, I could swear I feel the temperature around me dropping. And guest underground rapper Rahrah Gabor absolutely kills it with her ice cold bars about hot steamy sex (You see what I did there? Yeah I'm pretty clever thank you so much for your validation).

"Contact" incorporates punchy 2-step into it's breakbeats, riding on heart-racing beats drag racing down interstate freeways, before diving into blurry midnight unknowns and landing under velvety bedsheets that transport you to dreamy (wet) fantasy worlds. The production alone could tell the exact same story that the lyrics describe. Never ending city lights and the soft glow of the full moon. This is what every Friday night should feel like.

For the finale, "Far Away" reprises "Washed Away" with an even greater sense of majesty, eschewing the cloudy compression of the original to give way for a much clearer, more organic, and expanded sound. In a way, it feels like the album cover itself - finally peeking your head out from the submerged ocean depths to experience the setting stars with a truly stunning and sublime clarity.

My one misgiving with this album is that I find myself a bit run down and fatigued with its tracklist length and total runtime. I've seen many others share this sentiment - It's a gorgeous record throughout, but there are moments that feel like repeats of others, and some of it really just melts together in a way where half the runtime is significantly less memorable than the other half.

But when it's great, it's goddamn spectacular. I honestly feel like I'm being unfair to this one by having it so low on my list - it's objectively a beautifully conceived project.

Regardless, Kelela has, for the most part, totally delivered on the seemingly impossible task of satisfying the expectations created by her long hiatus. Raven is what every comeback record should be - a reinvention of the artist that stays true to their roots, but breaks new ground and raises the bar.

8/10

Highlights: "Contact", "Far Away", "Washed Away", "Closure", "Bruises", "Happy Ending", "Enough for Love"

#album review #music review #list #aoty #year end list #2023 #aoty2023 #kelela #raven #alternative r&b #r&b

[dailylmgifs]

RuPaul's Drag Race UK

#leigh anne pinnock #lpinnockedit #wocsource #wonderfulwoc #dailywoc #popularcultures #musiciansdaily #femaledaily #chewieblog #blogmusicdaily #bbelcher #ladiesblr #flawlessbeautyqueens #dailywomen #femalepopculture #gifs #2021 #lp: drag race uk

[littlemixnet]

leighannepinnock: What an HONOUR 🥺😍 il be on @dragraceukbbc tomorrow as a guest judge and I'm kinda gagged about it 🤪👏🏽😍

#leigh anne pinnock #lp instagram #lp: drag race uk

[occultationrecordings]

Here’s a rough translation of Francesco’s wonderful review of the Emily Fairlight LP, out via Cargo tomorrow:

“I sometimes feel a thrill caused by the strange, supernatural sensation that I’ve had the same impression on a previous occasion - or in a previous life. I make myself seize and nurture the feeling so that I can predict - or even control - what’s about to happen, or what I’m about to feel, although it usually disappears without anything happening. I wait for it to come, but it doesn’t matter. I’ve always been fascinated by “déjà vu”, that elusive, recurring mixture of illusion and reality which is one of the typical manifestations of paramnesia. It’s a recollection that’s got distorted in my mind; remembering having lived through situations and sensations that I’ve actually never experienced or felt before.I also - albeit less frequently – experience phenomena that are closely connected with paramnesia such as “jamais vu” (never seen before) and “presque vu”, (almost seen before). There are sudden moments (which can be both terrifying and exciting) when sensations, objects, and even people that I’ve known all my life are inexplicably seen in a fresh, unknown light - this is “jamais vu”. Then there are others (which are no less exciting and captivating) when I feel as though I’m grasping an absolute truth in a sudden flash of clarity - this is “presque vu”. On each of my repeated listens to the second album by New Zealander Emily Fairlight I get all three of these sensations in rapid succession - sometimes even at the same time.“Mother of Gloom” was recorded in Austin, Texas, and borrowing its title from a song by Martha Wainwright; it arrives seven years after her eponymous debut album and is being reissued in late spring by two labels, Occultation (UK) and Fishrider (NZ), after Emily put it out as a private pressing last year. It offers a dream-like soundscape, which immediately fills your senses with a passionate, uninhibited voice over a lush bed of acoustic instruments.The album opens with “Body Below” and, all of a sudden, that sense of “déjà vu” (or “déjà entendu”) pervades my senses. Even so, it’s a positive, calming feeling - I’ve been here before, I’ve had these dreams before, they’re already part of my emotional baggage. Even so, after just a moment, nothing really feels familiar to me. Ms Fairlight’s vocal depth and heartfelt tone are both disturbing and exciting; although the songs are performed conventionally, there’s something unusual about them that makes them seem strange, yet suddenly no less dear to me for all that.Then, as the refined sounds and delicate melodies of “Mother Of Gloom” succeed one another, I start to experience little epiphanies, as the reverb of “Water Water” drags me underwater, “The Desert”, which is almost instrumental, dazzles my senses, the trumpet on “Loneliest Race” leads me into a kind of rapture which is mystical yet worldly, with its southern scents and flavours. The desolate-sounding accordion and (even more so) trumpet on “The Bed” are somewhere between Morricone and Belville, while the sweet, melancholic “Sinking Ship” sets me on the road back home.The album is a book of poetry to be browsed, studied and savoured slowly, then assimilated consciously as you give yourself up to it. On “Private Apocalypse” Emily sings, “When no memories or words, pass through your lips/In my own apocalypse”, while the incredible “Time’s Unfaithful Wife” (“I love you like I loved the first ‘til death takes him one day”) deserves to ring on in my ears indefinitely, and the closing “Breathe Baby Breathe”, is airy and simple, with a caressing violin; such a short yet effective track yet what actually happens is that, when it ends, I find myself asking myself who I am, where I am and what I was doing before I immersed myself in such beauty.The pathos and depth of the experience that Emily Fairlight expresses through her unusual vocal performance makes “Mother Of Gloom” a suggestive, melancholic work, heartfelt and sad. This is an album that could be a treaty on paramnesia, where the expressions “déjà vu”, “jamais vu” and “presque vu” take on immediate, positive meanings, coloured with therapeutic intensity and melancholic exultation.“

#EMILY FAIRLIGHT #fishrider

[thesinglesjukebox]

JESSIE WARE - OVERTIME

[7.73]

Yes, Jessie, we like it when you do house music, please keep doing that, yes, thank you.

Thomas Inskeep: Now, this is more like it: Ware gets back on the dancefloor with this heavy house track, co-produced by Bicep and Simian Mobile Disco's James Ford. This isn't of the early '90s house revival so hot in the UK now, though; this goes all the way back to the halcyon days of Frankie Knuckles at the Warehouse in Chicago. Ware lets you know what's gonna happen ("Baby, when we kiss, [it's] gonna tear the roof off"), and is perfectly in sync (in tone and lyrics as much as rhythmically) with the music. [8]

Alfred Soto: Whenever Jessie Ware takes her introspection for a turn on the dance floor, the beats open expressive possibilities (see "Imagine It Was Us," the extra track highlight of Devotion). On this banger it isn't just a lover she gets down with -- it's a shopworn title conceit. Why she didn't continue in the "Imagine It Was Us" or "Confess to Me" direction I'm not sure. Perhaps she thinks "adult" material is progress. [9]

Katherine St Asaph: The obvious comparison is "Imagine It Was Us," Jessie Ware's only great track, but the better comparison is Disclosure collab "Confess to Me" or MNEK's "Tongue": tense yearning, compared to tasteful. "Overtime" isn't as weird as the Disclosure track, but almost monomaniacally straightforward: heavily reverbed percussion, relentless synths, low spoken word, dramatic strings. The track isn't perfect -- "Rhythm is a Dancer" lurks a few steps from the melody, and the chorus ends a little flat -- but unlike 90% of Ware's recent music, this evokes genuine frisson, rather than something that's been air-dried, sprayed with matte paint and pinned to a department store display. [9]

Joshua Minsoo Kim: Really makes you wonder what Jessie Ware could've been had she committed to the dance music route instead of becoming fodder for the hipper post-Adeleian adult contemporary crowd. At this point, listeners have been subjected to her voice for so long that they're familiar with the full scope of its dullness. This is ostensibly why listening to "Overtime" is more tiresome than energizing. But in reality, this isn't too different from her typical work: there's a strong reliance on the instrumentation to transmit any and all emotion, and Ware is sort of just there to play her part. [5]

Julian Axelrod: I'm more sympathetic to Jessie Ware's Ed Sheeran phase than most, but it's a relief to hear her back in her wheelhouse: sweaty, unrelenting R&B-house with a decidedly British frigidity. The busy drums threaten to overpower Ware, but she emerges victorious with the same weapon she uses to wrestle ballads into submission -- her pained, passionate, perfect voice. [7]

Pedro João Santos: "This is no Glasshouse 2," the piercing combo of snares and cymbals announces, and the drilling synth bass accentuates. This is the rare occasion in which working overtime doesn't require union contract agreements (and the title might be more than metaphorical, as she's been touring and podcasting, etc., while the last LP has barely been out for a year). It's something to replenish the mind and ignite a new (artistic) fire. Or put it out, if we consider the aflame evocations of romance in Glasshouse: it produced some career peaks and a seamless listen, but one too many tracks parked at the MOR. From Jessie, who recalls Oh No-era Jessy Lanza on this track, you might expect something more adventurous; that's the accurate result of this superb, unremitting house-pop call-to-arms. [9]

William John: Last year, Jessie Ware began podcasting with her mother, inviting guests around to her house -- the likes of Clara Amfo, Sadiq Khan and Nigella Lawson have made appearances -- for a meal, and recording the ensuing conversation. Listening to the way Ware playfully teases her mother as they talk about desert island meals and culinary propriety has inspired me to throw my own dinner parties, which I find fulfilling and an antidote to the loneliness often involved in "going out." "Dinner party music" is a descriptor that's been attributed to Ware's oeuvre since the beginning of her career, and especially to her most recent record Glasshouse, perhaps her cosiest and most sentimental album, in spite of its severe title. It's a term that suggests something pleasant and non-irritating, but also bland, as if it's only worth hearing in bits, between mouthfuls. It's an unfair term I think, because dinner parties shouldn't be bland -- they should be filled with vibrant laughter, plates of warm vegetables slathered with butter and salt, simple pleasures, invigorating discussion. It sort of makes me think that those that use "dinner party music" as a pejorative just haven't been to any good dinner parties. Certainly they've not been to a dinner party where, once dessert is over, the chairs are shifted aside and the highlights of Overpowered are thrown on at a loud volume. I've no doubt that, on certain occasions, this is precisely what happens chez Ware when the Table Manners microphones are turned off, and "Overtime" and its hollered, dazzling disco chorus seems to confirm my theory. [8]

Ian Mathers: I do like this, a lot, but it's borrowing at least some of my affection for it from the fact that it keeps getting Hot Chip's "Night and Day" (similar burbling background, similar hardworking sentiments) looping through my head instead of "Overtime" itself. I actually had to go play that song again to refocus on this song properly, and sure enough there's more than enough room for both in my listening. [7]

Alex Clifton: I really like this, but I kept wondering what RuPaul would do with this backing track, which ended up being more of a distraction than I wanted it to be. Needless to say, I'd kill for this to be a Lip-Sync For Your Life on Drag Race. [7]

Danilo Bortoli: Jessie Ware is usually at her best when she finally embraces the house vocalist she is destined to be, but "Overtime" succeeds for other reasons. Here, she finally mingles her initial work's penchant for pensive, reflexive, soulful pop -- the musical equivalent to a beautiful yet harmless painting standing over at a museum -- and her most recent output, the cathartic pop whose emotional outpouring needs immediate release (Bicep produced this for a reason). It's the stylistic crossover that feels logical when given thought, yet pleasantly unexpected. For the first time in a while, her whispers are not only romantic suggestions. They come off as a command. [8]

Jacob Sujin Kuppermann: A lesson in the power of vibe and attention to detail -- there's not all that much going on here, and the pre-chorus doesn't hit quite as big as it clearly aspires to, but every little moment of "Overtime" feels perfectly calibrated to conjure up hazy memories of nights out, the best moments rising up like synth pulses and the most vivid sticking like the almost-whispered chorus. [8]

[Read, comment and vote on The Singles Jukebox]

#Jessie Ware #house #pop #electronic #music #music review #writing

[gaymusicchart]

GAY MUSIC CHART - 2018 week 39

 Is Gay Music Chart still alive ? Well, it isn’t totally dead yet… But for how long ? We will make a video which explain with more details the problems we have with the new YouTube copyright robot and the new European legislation.

The edition this week will not have a video, but only a playlist. The ranking was made only with the views of our previous playlist of the previous edition.

 BLOGGER : http://gaymusicchart.blogspot.fr

FACEBOOK : https://www.facebook.com/GayMusicChart/

TWITTER : https://twitter.com/GayMusicChart with #GayMusicChart  

TUMBLR : http://gaymusicchart.tumblr.com  

 Here is the recap for this week :

 OUT : Ryan Dolan - "In My Blood" (LW: 27 / WO: 1 / PEAK: 27)

OUT : Bayli - "Out For Love" (LW: 28 / WO: 1 / PEAK: 28)

OUT : Troye Sivan - "Animal" (live @ The Late Show with Stephen Colbert) (LW: 29 / WO: 4 / PEAK: 13)

OUT : Ben Davidson - "Learning To Let You Go" (LW: 30 / WO: 2 / PEAK: 30)

OUT : Fabich x Jafunk feat FHAT - "Back to Life" (LW: 32 / WO: 1 / PEAK: 32)

OUT : Gia Gunn feat. Alaska Thunderfuck - "La China Mas Latina" (LW: 33 / WO: 1 / PEAK: 33)

OUT : Deitre - "Feeling Good" (LW: 38 / WO: 1 / PEAK: 38)

OUT : Robert O'Connor - "No Second Chances" (LW: 39 / WO: 1 / PEAK: 39)

OUT : Alex Anwandter - "Locura" (Official Lyric Video) (LW: 42 / WO: 1 / PEAK: 42)

OUT : The Struts feat. Kesha - "Body Talks" (LW: 45 / WO: 2 / PEAK: 43)

OUT : Rae Spoon - "Do Whatever The Heck You Want" (LW: 47 / WO: 1 / PEAK: 47)

OUT : 星屑スキャット Hoshikuzu Scat - 「ご乱心 / Go ranshin / Melancholy」(LW: 49 / WO: 1 / PEAK: 49)

OUT : Troye Sivan - "Plum" (live @ The Late Show with Stephen Colbert) (LW: 50 / WO: 1 / PEAK: 50)

  01 (=) : Peter Wilson & Sean Smith - "Verona" (LW: 01 / WO: 6 / PEAK: 01 (x2))

UK - 2018 / from the album "The Passion and The Flame"

This awesome cover of the 2017's Estonian Eurovision track from Koit Toome and Laura is produced by Matt Pop.

 02 (+ 2) : Nacha La Macha - Eres Cobarde (LW: 04 / WO: 10 / PEAK: 03)

Spain - 2018

 03 (+ 5) : Calvin Harris, Sam Smith - "Promises" (LW: 08 / WO: 5 / PEAK: 03)

UK - 2018

 04 (- 2) : Troye Sivan feat. Ariana Grande - Dance To This (LW: 02 / WO: 14 / PEAK: 01 (x1))

Australia / USA – 2018 / from the album 2018 "Bloom"

 05 (- 2) : Allen King feat. Amor Romeira - "My Boy" (LW: 03 / WO: 2 / PEAK: 03)

Spain - 2018

 06 (+ 17) : Panic! At The Disco - "High Hopes" (LW: 23 / WO: 3 / PEAK: 06)

USA - 2018 / from the album "Pray For The Wicked"

 07 (+ 15) : Imagine Dragons - "Natural" (LW: 22 / WO: 4 / PEAK: 07)

USA - 2018

 08 (+ 16) : Cher - "Gimme! Gimme! Gimme! (A Man After Midnight)" [Audio] (LW: 24 / WO: 6 / PEAK: 03)

USA - 2018 / from the album "Dancing Queen"

An ABBA revival, thanks to "Mama Mia 2".

 09 (+ 37) : Cassandre - "Respire" (LW: 46 / WO: 2 / PEAK: 09)

France - 2018 / from the album "Nous"

 10 (+ 3) : Reigen - "Ride" (LW: 13 / WO: 3 / PEAK: 10)

USA - 2018

The clip follows a super-cute couple as they meet for a romantic late-night bicycle rendezvous. "This track is about crushing hard on a friend, wondering if they know or feel the same, asking them silently, do you know that I’m ride or die?", Reigen explains to Billboard."

 11 (- 6) : Sam Bluer - "Body High" (LW: 05 / WO: 7 / PEAK: 03)

Australia - 2018

This is his debut music video. A revelation.

 12 (- 3) : Years & Years - All For You (PSEN Televisual Exclusive) (LW: 09 / WO: 11 / PEAK: 01 (x1))

UK - 2018 / from the album "Palo Santo"

 13 (+ 2) : Tiago Braga - Ilusão (LW: 15 / WO: 18 / PEAK: 06)

Portugal - 2018

A story of infidelity.

 14 (RE-ENTRY) : Man Meadow - "Play It Loud" (LW: - / WO: 4 / PEAK: 14)

Sweden - 2018

 15 (RE-ENTRY) : Chris(tine and the Queens) - "5 dollars" (LW: - / WO: 4 / PEAK: 15)

France - 2018 / from the album "Chris"

 16 (+ 3) : Sandro Cavazza, P3GI-13 - High With Somebody (LW: 19 / WO: 14 / PEAK: 07)

Sweden - 2018

A sweet song and a music video which shows bisexuality.

 17 (- 11) : Laganja Estranja feat. J. Tyler - "Look At Me" (LW: 17 / WO: 2 / PEAK: 06)

USA - 2018

 18 (+ 16) : P!nk - "Secrets" (LW: 34 / WO: 8 / PEAK: 01 (x2))

USA - 2018 / from the album "Beautiful Trauma"

 19 (- 9) : Antonio Navarro - "Karma Dharma" (LW: 10 / WO: 2 / PEAK: 10)

Spain - 2018 / from the album "Punto Zero"

 20 (- 13) : Years & Years - "If You're Over Me" (LW: 07 / WO: 19 / PEAK: 01 (x2))

UK - 2018 / from the album "Palo Santo"

 21 (NEW) : Ryan Dolan « In My Blood » (LW: - / WO: 1 / PEAK: 12)

Ireland - 2018

This is a cover of Shawn Mendes.

 22 (+ 18) : FRANKIE x Scott Hoying feat. One Night - Ghost (LW: 40 / WO: 14 / PEAK: 14)

USA - 2018

The music video is an interesting queer remake of Grease.

 23 (- 9) : Javiera Mena - "Espejo" (LW: 12 / WO: 2 / PEAK: 12)

Chile - 2018

 24 (- 10) : The Internet - "Come Over" (LW: 14 / WO: 2 / PEAK: 14)

USA - 2018 / from the album "Hive Mind"

The track was #1 at the Top 40 LGBT Urban Chart.

 25 (+ 12) : Heidrik - "Island Fever" (LW: 37 / WO: 3 / PEAK: 25)

Faroe islands (Denmark) / 2018

 26 (+ 17) : Blonde feat. Bryn Christopher - Me, Myself & I (LW: 43 / WO: 10 / PEAK: 26)

UK - 2018

 27 (NEW) : Thalles - "Just When We Were High" (LW: - / WO: 1 / PEAK: 11)

Brazil – 2018  - from the album "Utopia"

 28 (- 17) : Kerstin Ott - "Regenbogenfarben" (LW: 11 / WO: 2 / PEAK: 11)

Germany - 2018 / from the album "Mut zur Katastrophe"

 29 (RE-ENTRY) : LP - "Girls Go Wild" (LW: - / WO: 4 / PEAK: 20)

USA - 2018

 30 (+ 1) : Maroon 5 feat. Cardi B - "Girls Like You" (LW: 31 / WO: 2 / PEAK: 30)

USA - 2018

 31 (+ 10) : LSD feat. Sia, Diplo, Labrinth - "Thunderclouds" (LW: 41 / WO: 3 / PEAK: 31)

UK / USA / Australia - 2018

 32 (NEW) : Christophe Willem - "Madame" (LW: - / WO: 1 / PEAK: 17)

France - 2018

 33 (- 17) : Adore Delano - 27 Club (LW: 16 / WO: 12 / PEAK: 01 (x2))

USA - 2018 / from the album "Whatever"

 34 (+ 10) : Greyson Chance - "Good As Gold" (Live at Roland Studios) (LW: 44 / WO: 3 / PEAK: 34)

USA - 2018

 35 (RE-ENTRY) : THE TRIPLETZ - "You Better Fucking Dance" (LW: - / WO: 7 / PEAK: 06)

Spain - 2018

"Better fuck with them boys

Better fuck with them girls

Better fuck with them both

Who fuckin cares?"

 36 (- 9) : Ryan Beatty - "Party's Over" (LW: 17 / WO: 2 / PEAK: 17)

USA - 2018 / from the album "Boy in Jeans"

 37 (NEW) : Achille Lauro feat. Cosmo - "Angelo Blu" (LW: - / WO: 1 / PEAK: 36)

Italy - 2018 / from the album "Pour l'amour"

 38 (- 12) : Panic! At The Disco - Hey Look Ma, I Made It (LW: 48 / WO: 11 / PEAK: 07)

USA - 2018

Brendon Urie comes out as pansexual. The funny music and his puppet illustrates that fact.

 38 (- 20) : Grace Petrie - "Black Tie" (LW: 18 / WO: 2 / PEAK: 18)

UK - 2018 / from the album "Queer as Folk"

 40 (RE-ENTRY) : Steve Grand - Don't Let The Light In (LW: - / WO: 2 / PEAK: 36)

USA - 2018 / from the album "Not The End of Me"

The music video is a collection of his childhood and concerts footage. His second album has just been released.

 41 (- 15) : Big Dipper - "Thiccness" (LW: 26 / WO: 2 / PEAK: 26)

USA - 2018 / from the album "Late Bloomer"

 42 (RE-ENTRY) : Davi - "Tenho Você" (LW: - / WO: 6 / PEAK: 28)

Brazil - 2018

This is the first single in solo of the member of Banda Uó.

 43 (- 23) : Boy George & Culture Club - "Let Somebody Love You" (LW: 21 / WO: 2 / PEAK: 21)

UK - 2018 / from the album "Life"

 44 (RE-ENTRY) : Gargäntua - Mohammed je t'aime (LW: - / WO: 3 / PEAK: 40)

France - 2018

This music video, about love and homophobia in cities suburbs, was put in private mode on YouTube after the flood of hateful comments from people who did not apreciate that it speaks about a gay Arab.

 45 (- 9) : Monét X Change feat. Bob The Drag Queen - Soak It Up (LW: 36 / WO: 16 / PEAK: 08)

USA - 2018

The drag queen was voted Miss Congeniality of the 2018 edition of RuPaul's Drag Race.

 46 (RE-ENTRY) : LVRK - "Heart to Heart" (LW: - / WO: 2 / PEAK: 40)

Sweden - 2018

 47 (RE-ENTRY) : Kylie Minogue - "A Lifetime to Repair" (Lyric Video) (LW: - / WO: 4 / PEAK: 17)

Australia - 2018 / from the album "Golden"

 48 (- 23) : The 1975 - "TOOTIMETOOTIMETOOTIME" (LW: 25 / WO: 2 / PEAK: 25)

UK - 2018

 49 (- 14) : Kiddy Smile - "Be Honest" (LW: 35 / WO: 3 / PEAK: 35)

France - 2018 / from the album "One Trick Pony"

 50 (- 30) : Bright Light Bright Light - "How I Feel" (Official Lyric Video) (LW: 20 / WO: 2 / PEAK: 20)

UK - 2018 / from the EP "Tought Love"

#Gay Music Chart #2018 week 39 #LGBTQ music

[jim-reid]

Midnight Express

Andrew Perry / Select 01.1993

the nocturnal noise-fest that is the Rollercoaster tour rattles into New York. In the front car, The Jesus and Mary Chain, Curve, and Spiritualized... --On the door, it says "Curve--this one's yours." In the four-star dressing room deep in the bowels of New York City's Roseland Ballroom, the five members of the group are draped around with varying degrees of knackeredness, but a shared, if glazed, look of contentment. Surely they're not enjoying life on the road? Maybe it's because, after two long days without, the band's grass consignment has just come in, and boy, it's a whopper. Only enough to see The Orb through a soundcheck maybe, but to most earthlings, they've got a stash the size of Central Park. Each of them is either skinning up, toking or too stoned to do either. And they only started when they came offstage ten minutes ago. Those Hollywood-style bulbs around the mirror are shining much brighter now. "This is the best tour of my life," gushes Toni Halliday from her pew on the floor, as Dean Garcia looks on from the sofa, quiet and alert. "I mean, the Spiritualized LP is my favourite album of the year, and the Mary Chain are my all-time favourite band. It's perfect. I don't want it to end. We're in tour heaven, basically." But what about the technical hitches, the hangovers, the long drives, the hotel reservations that don't exist, the irregular eating and sleeping patterns, the paranoia, the horror, the soul fear? Something must have gone wrong... Oh, there's a weird guy at the door sporting the sort of rough, fashion-free haircut given to hippies on their first day in Vietnam--the degradation crop. But he looks more than happy as well, showing his teeth in a fixed, almost piss-takingly broad smile. Images from Tom & Jerry spring to mind--Tom just before his shattered teeth tinkle to the floor. "Alright?" someone asks. "What are you doing?" "Just been talking to Jim." He pauses. "Jim The Grin." Hearty giggles all round. Jim Reid maybe? "Yeah, Jim The Grin," he continues poetically, "we should put him in the bin." Hysteria. Tears of merriment. But hang on. That t-shirt's familiar. It's grey like the guy's been wearing it for four years, and the big, black letters on it say 'DRUGS NOT JOBS'. It's Jason Pierce of Spiritualized. He's supposed to be a Black Belt in unremitting miserabilism, so what the hell's he got to smile about? This mustbe tour heaven. Welcome aboard Rollercoaster USA. It could be less hairy than expected. Last time around, you'll recall, when Jim and William Reid arranged Rollercoaster Mk1 for the UK last spring, things weren't quite so rosy. The bands didn't know each other too well, and only the Mary Chain had a fixed position on the bill--at the top, with an enviable light show behind them. The other three acts were switched around every night, the first going on at a vibe-unfriendly 7pm. Nobody wanted to follow My Bloody Valentine's nightmare monochord climax, Blur had to deal with being seen as the joker in the packs, and Dinosaur Jr... Well, they probably didn't get it together to cause much hassle, but what started out with the best, four-way, VFM, brain-blowing intentions seemed to result in tension, confusion and (rumour has it) financial loss. Perhaps shrewder, more realistic planning went into the Stateside venture. The running order doesn't change--Spiritualized at eight, Curve at nine, then the Mary Chain--and that's fine by all concerned. As well as Toni Halliday's seal of approval, Spiritualized boast Jim Reid as one their biggest fans. They just failed to make it off the shortlist on to Rollercoaster UK. Curve and the Mary Chain, meanwhile, go back a long way with their shared production assistant, Alan Moulder, who lives with Toni. "It's so cool," Halliday enthuses, "everybody's just doing their thing, going on and playing. There's no egos or bickering at all. Nobody gives a fuck, really." When the doors open at 7:30, mind, it's not looking so cool. There isn't a queue. The huge, absurdly tanned doorman sings the words "Honey's Dead" with mocking atonality. Presumably this means he doesn't approve of musicians who dress in black and have no muscles. You'd think even Jason and his laissez-faire troupe might take umbrage at hitting the stage in the 3,200 capacity all-standing Roseland to a crowd of precisely five people. It's said, too, that when they've seen ad-posters for the tour, the band have often had to add their name in with marker pens. And they've all had the 'flu. New York's lowlife must've had trouble dragging themselves away from the daily hour of Roseanne on Fox 4 between six and seven. They gradually crawl from the woodwork during Spiritualized's 40 minutes, which acts as a low-key overture to their evening--an understated role for a set that's relaxed but relentlessly ambitious. With a six-strong line-up that includes sax-player Will Gregory, Pierce's arrangements are complex and irrepressibly lavish for a beery nocturnal noise-fest. They begin with a new gem, featuring Sean Cook on the bluest harmonica in North America, and soon pump out the fluctuating aural dazzle of 'Medication', 'Angel Sigh' and a cracking version of Spacemen 3's 'Walkin' with Jesus'. Still, it's clouded--and we aren't talking little fluffy ones here--by the fact that they don't have time to kill between numbers to get things right. When Jason straps on a fresh axe for the finale, his amp instantly packs up. Exit Spiritualized, tangibly pissed-off. 'Wouldn't It Be Nice' by The Beach Boys comes over the PA. Even with three bands who are mates instead of four who aren't, and without the chaos of a rotating bill, Rollercoaster's US sibling is proving a bit of problem child. "It's a waste of time comparing the two tours," claims Jim Reid after the show. "This one shouldn't have been called Rollercoaster, it was a misunderstanding." "We didn't want Rollercoaster to become like Lollapalooza--every fuckin' year," adds brother William, heaving a sigh that'd fill a petrol tank. "No thank you. We don't want it to become an international institution. This is just a bunch of bands touring together--that's the way I see it. If we'd called it Shindig, it'd still be the same." The Mary Chain, notoriously road-shy but permanently touring since February, had a pretty bad time on this summer's Lollapalooza. They had little say in the travelling festival's wider aims and had to perform among macho, MTV-hungry stagers like Pearl Jam, Soundgarden and the Chili Peppers--in daylight. Perhaps their idyll has taken a bit of a kicking in '92, but they're clearly trying to offer a better class of tour here, with a crap-support exclusion policy and good music in between (from The Pastels and Pixies to The Rolling Stones and Rod Stewart). Surely they're after a sense of event? "Aye, most gigs are too boring," Jim agrees, warming with anger. "People don't give it any consideration. The band come off, the lights go up and everybody's standing around with pints of beer. Anything to get away from that. We thought of keeping the house lights down, putting coloured strobes in the audience and cranking up the music like it's a club or something." "Did we do that tonight?" William asks. Jim: "No, I was just saying..." William: "No, but you remember we told them..." Jim: "Pfff..." William: "We give people these elaborate instructions, and they ignore them and do what the fuck they want anyway." You wouldn't guess it, but Curve's tour hasn't been blemish-free. Last night Lawrence Taylor, their ligthing man, heard his wife was seriously ill and had to fly home. Without him, their illumination is in some disarray--mid-way through, they're playing under the glare of two hand-held torches. It's rather effective, because as a live combo they're in outrageously fine fettle, blasting off with 'Doppleganger' and 'Die Like A Dog', cooling down on mellower stuff like 'Sandpit' and slamming to the end with 'Coast Is Clear', 'Fait Accompli' and 'Ten Little Girls'. Often regaled as callous and calculated, they have a warm presence that's reciprocated by a now extensive moshpit which incorporates every race, age and sexual denomination. At one point, a ten-year-old black girl surfs overhead. Great, well-received shows like this probably explain best why these bands are so into Rollercoaster USA. Later, the brothers Reid will have to admit, however grudgingly, that they're in shit-hot form too. In England, they have that ancient reputation for riots and shambolic behaviour to live up to, but as anyone who saw their early gigs will testify, they were (very exciting) rubbish in those days. Their streamlined barrage of abandoned riff trash and bloody noise owes its roots to junkpile Americana, so the Yanks are far readier to tip their hat in appreciation. Though Jim has to get quietly plastered every night of the tour, to forget the organisational horrors and erode his stage fright, the Reids swagger with regal arrogance--and when they do 'Gimme Hell' and Bo Diddley's 'Who Do You Love' they're like Louis XIV and Frederick The Great. Blasphemous, evil kings. With a white-noise flurry of televisual litter flickering on the screen behind him, William desecrates the final 'Kill Surf City' with feedback atrocities, and does the same to the unbelievable encore, 'Reverence'. What'll happen when they do all this down South, down in redneck Texas? Jim may get his death wish. Maybe they'll all die in the USA. And so the Rollercoaster roars on to Washington DC, but not before calling in at The Mission, a gothy East Village bar. All three bands continue to knock it back copiously in pals-only surroundings. Toni's especially happy when the Banshees' 'Helter Skelter' gets an airing. Somewhere along the line, she also loses her purse. Curve and the Mary Chain convene in their hotel foyer the next morning--OK, call it 5pm. There are plenty of sorry, whiskey-wounded faces. Not Toni's. "I shouldn't feel like this," she beams from behind circular mirror shades. "We've lost Lawrence, I've lost all my money, cards and everything, but I'm loving every minute of it. We just wanna do a tour as good as this at home."

#interview

[djanemagbr]

Bem a tempo para o Halloween, a dupla revelou um novo vídeo assustador para “Fallen Angel”, uma faixa de seu novo álbum The Neon A faixa serve como o terceiro single do último LP da dupla de synth-pop, ‘The Neon’, lançado em agosto. Dirigido por Brad Hammer – que trabalhou anteriormente no vídeo de “Nerves of Steel” – o clipe é estrelado por Heidi N Closet da 12ª Temporada de RuPaul’s Drag Race e a modelo Alexa Abraxas. Heidi N Closet interpreta uma velha adivinha, lendo cartas de tarô e prevendo o futuro para Abraxas. No dia 4 de dezembro, a banda lançará um single em vinil laranja neon de 12 polegadas de “Fallen Angel”, remixado por Georgia. The Neon Singles também está disponível em uma caixa de três CDs, com remixes de cada um dos singles do álbum, junto com três cartas de arte. Você pode encomendar aqui. O primeiro traz um remix do single indicado pelo Mercury Prize Georgia UK, enquanto o último contém remixes de cada um dos singles do LP, Hey Now (Think I Got A Feeling), Nerves Of Steel e Fallen Angel, incluindo versões inéditas e próximas renovações de Confidence Man e Ben Rainey... ⤵️⤵️⤵️ Assista na íntegra o videoclipe de 'Fallen Angel' e saiba mais acessando o nosso site djanemag.com.br "Link na bio ou nos destaques em nosso stories" . . . . #djanemagnews #erasure #duo #heidincloset #alexaabraxas #videoclipe #lançamento #fallenangel #newalbum #theneon #music #música #lgbt #lgbtqiamais #notícias #news #djanemag #djanemagbr #djanemagbrasil #djanemagbrazil https://www.instagram.com/p/CG8mNnAlrQP/?igshid=18chpg1588rx7

#djanemagnews #erasure #duo #heidincloset #alexaabraxas #videoclipe #lançamento #fallenangel #newalbum #theneon #music #música #lgbt #lgbtqiamais #notícias #news #djanemag #djanemagbr #djanemagbrasil #djanemagbrazil

[blackkudos]

Donald Byrd

Donaldson Toussaint L'Ouverture "Donald" Byrd II (December 9, 1932 – February 4, 2013) was an American jazz and rhythm & blues trumpeter.

A sideman for many other jazz musicians of his generation, Byrd was best known as one of the only bebop jazz musicians who successfully pioneered the funk and soul genres while simultaneously remaining a jazz artist.

As a bandleader, Byrd is also notable for his influential role in the early career of keyboard player and composer Herbie Hancock.

Biography

Early life and career

Byrd attended Cass Technical High School. He performed with Lionel Hampton before finishing high school. After playing in a military band during a term in the United States Air Force, Byrd obtained a bachelor's degree in music from Wayne State University and a master's degree from Manhattan School of Music. While still at the Manhattan School, he joined Art Blakey's Jazz Messengers, as replacement for Clifford Brown. In 1955, he recorded with Gigi Gryce Jackie McLean and Mal Waldron. After leaving the Jazz Messengers in 1956, he performed with many leading jazz musicians of the day, including John Coltrane, Sonny Rollins, Thelonious Monk, and later Herbie Hancock.

Byrd's first regular group was a quintet that he co-led from 1958 to 1961 with baritone saxophonist Pepper Adams, an ensemble whose hard-driving performances are captured "live" on At the Half Note Cafe.

Byrd's 1961 LP Royal Flush marked the Blue Note debut of Hancock, who came to wider attention with Byrd's successful 1962 album Free Form, and these albums also featured the first recordings of Hancock's original compositions. Hancock has credited Byrd as a key influence in his early career, recounting that he took the young pianist "under his wings" when he was a struggling musician newly arrived in New York, even letting him sleep on a hide-a-bed in his Bronx apartment for several years

"He was the first person to let me be a permanent member of an internationally known band. He has always nurtured and encouraged young musicians. He's a born educator, it seems to be in his blood, and he really tried to encourage the development of creativity".

Hancock also recalled that Byrd helped him in many other ways: he encouraged Hancock to make his debut album for Blue Note, connected him with Mongo Santamaria, who turned Hancock's tune "Watermelon Man" into a chart-topping hit, and that Byrd also later urged him to accept Miles Davis' offer to join his quintet.

Hancock also credits Byrd with giving him one of the most important pieces of advice of his career – not to give away his publishing. When Blue Note offered Hancock the chance to record his first solo LP, label executives tried to convince him to relinquish his publishing in exchange for being able to record the album, but he stuck to Byrd's advice and refused, so the meeting came to an impasse. At this point, he stood up to leave and when it became clear that he was about to walk out, the executives relented and allowed him to retain his publishing. Thanks to Santamaria's subsequent hit cover version of "Watermelon Man", Hancock was soon receiving substantial royalties, and he used his first royalty check of $3000 to buy his first car, a 1963 Shelby Cobra (also recommended by Byrd) which Hancock still owns, and which is now the oldest production Cobra still in its original owner's hands.

In June 1964, Byrd played with Eric Dolphy in Paris just two weeks before Dolphy's death from insulin shock.

Electric Byrd

By 1969's Fancy Free, Byrd was moving away from the hard bop jazz idiom and began to record jazz fusion and rhythm and blues. He teamed up with the Mizell Brothers (producer-writers Larry and Fonce) for Black Byrd (1973) which was, for many years, Blue Note's best-selling album. The title track climbed to No. 19 on Billboard′s R&B chart and reached the Hot 100 pop chart, peaking at No. 88. The Mizell brothers' follow-up albums for Byrd, Street Lady, Places and Spaces and Stepping into Tomorrow, were also big sellers, and have subsequently provided a rich source of samples for acid jazz artists such as Us3. Most of the material for the albums was written by Larry Mizell.

In 1973, he helped to establish and co-produce the Blackbyrds, a fusion group consisting of then-student musicians from Howard University, where Byrd taught in the music department and earned his J.D. in 1976. They scored several major hits including "Happy Music" (No. 3 R&B, No. 19 pop), "Walking in Rhythm" (No. 4 R&B, No. 6 pop) and "Rock Creek Park".

During his tenure at North Carolina Central University during the 1980s, he formed a group which included students from the college called the "125th St NYC Band". They recorded the Love Byrd album, which featured Isaac Hayes on drums. "Love Has Come Around" became a disco hit in the UK and reached No. 41 on the charts.

Beginning in the 1960s, Byrd (who eventually gained his PhD in music education from Teachers College, Columbia University in 1982) taught at a variety of postsecondary institutions, including Rutgers University, the Hampton Institute, New York University, Howard University, Queens College, Oberlin College, Cornell University, North Carolina Central University and Delaware State University. Byrd returned to somewhat straight-ahead jazz later in his career, releasing three albums for Orrin Keepnews' Landmark Records, and his final album Touchstone, a quintet.

Byrd died on February 4 2013 in Dover, Delaware. He was 80.

Discography

As leaderTransition Records

Byrd Jazz (1955) – also released as First Flight (Delmark)

Byrd's Eye View (1955)

Byrd Blows on Beacon Hill (1956)

The Transition Sessions (2002 compilation)

Prestige Records

2 Trumpets (1956) – with Art Farmer

The Young Bloods (1956) – with Phil Woods

Verve Records

At Newport (1957) – with Gigi Gryce

Up with Donald Byrd (1964)

Columbia Records

Jazz Lab (1957) – with Gigi Gryce

Modern Jazz Perspective (1957) – with Gigi Gryce and Jackie Paris

Blue Note Records

Off to the Races (1959)

Byrd in Hand (1959)

Fuego (1959)

Byrd in Flight (1960)

At the Half Note Cafe (1960)

Chant (1961)

The Cat Walk (1961)

Royal Flush (1961)

Free Form (1961)

A New Perspective (1963)

I'm Tryin' to Get Home (1964)

Mustang (1966)

Blackjack (1967)

Slow Drag (1967)

The Creeper (1967)

Fancy Free (1969)

Electric Byrd (1969–70)

Kofi (1969)

Ethiopian Knights (1971)

Black Byrd (1973)

Street Lady (1973)

Stepping into Tomorrow (1974)

Places and Spaces (1975)

Caricatures (1976)

Elektra Records

Thank You... for F.U.M.L. (Funking Up My Life) (1978)

Donald Byrd And 125th Street, N.Y.C. (1979)

Love Byrd (1981)

Words, Sounds, Colors and Shapes (1983)

Landmark Records

Harlem Blues (1987)

Getting Down to Business (1989)

A City Called Heaven (1991)

Other labels

Byrd's Word (Savoy, 1955)

Jazz Eyes (Regent, 1957) – with John Jenkins

New Formulas from the Jazz Lab (Vik, 1957) with Gigi Gryce

Jazz in Camera (Sonorama, 1958) with Barney Wilen

Jazz Lab (Jubilee, 1958) with Gigi Gryce

Live Au Chat Qui Peche (Fresh Sound, 1958),

Jazz in Paris: Parisian Thoroughfare (Gitanes, 1958)

Jazz in Paris: Byrd in Paris (Gitanes, 1958)

Motor City Scene (Bethlehem, 1960)

Out of This World (Warwick, 1961)

September Afternoon (Discovery, 1982; rec. 1957) – with Clare Fischer and Strings

Touchstone (2000) Pepper Adams, Herbie Hancock, Teddy Charles, Jimmy Cobb

As sideman

1955 George Wallington Live At The Bohemia (Progressive 1955 Prestige 1970)

1955 Kenny Clarke – Bohemia After Dark (Savoy)

1955 Cannonball Adderley – Discoveries

1955 Oscar Pettiford – Another One

1955 Hank Jones – Quartet-Quintet (Savoy)

1955 Hank Jones – Bluebird – one track only

1955 Ernie Wilkins – Top Brass (Savoy)

1956 George Wallington – Jazz for the Carriage Trade

1956 Jackie McLean – Lights Out! (Prestige)

1956 Hank Mobley – The Jazz Message of Hank Mobley (Prestige)

1956 Kenny Clarke – Klook's Clique (Savoy)

1956 Art Blakey – The Jazz Messengers (Columbia)

1956 Art Blakey – Originally

1956 Rita Reys – The Cool Voice of Rita Reys

1956 Elmo Hope – Informal Jazz (Prestige 1956, Elmo Hope The All Star Sessions - Milestone CD)

1956 Phil Woods – Pairing Off (Prestige)

1956 Jackie McLean – 4, 5 and 6 (Prestige)

1956 Gene Ammons – Jammin' with Gene (Prestige)

1956 Horace Silver – Silver's Blue (Epic)

1956 Hank Mobley – Mobley's Message (Prestige)

1956 Hank Mobley – Jazz Message No. 2 (Savoy)

1956 Art Farmer – 2 Trumpets (Prestige)

1956 Paul Chambers – Whims of Chambers (Blue Note)

1956 Phil Woods/Donald Byrd – The Young Bloods (Prestige)

1956 Horace Silver – 6 Pieces of Silver (Blue Note)

1956 Hank Mobley – Hank Mobley Sextet (Blue Note)

1956 Doug Watkins – Watkins at Large (Transition)

1956 Sonny Rollins – Sonny Rollins, Vol. 1 (Blue Note)

1956 Kenny Burrell – All Night Long (Prestige)

1957 Kenny Burrell – All Day Long (Prestige)

1957 Gigi Gryce/Donald Byrd – Jazz Lab (Jubilee)

1957 Art Farmer/Donald Byrd/Idrees Sulieman – Three Trumpets (Prestige)

1957 Lou Donaldson – Wailing with Lou (Blue Note)

1957 Jimmy Smith – A Date with Jimmy Smith Volume One (Blue Note)

1957 Jimmy Smith - A Date with Jimmy Smith Volume Two (Blue Note)

1957 Art Taylor – Taylor's Wailers (Prestige)

1957 Gigi Gryce – Gigi Gryce and the Jazz Lab Quintet (Riverside)

1957 George Wallington – The New York Scene (Prestige)

1957 Various Artists – American Jazzmen Play Andre Hodeir's Essais

1957 Kenny Burrell/Jimmy Raney – 2 Guitars (Prestige)

1957 Kenny Drew – This Is New (Riverside)

1957 Hank Mobley – Hank (Blue Note)

1957 Paul Chambers – Paul Chambers Quintet (Blue Note)

1957 The Gigi Gryce/Donald Byrd Jazz Lab – At Newport – One side of LP which also features Cecil Taylor (Verve)

1957 Gigi Gryce/Donald Byrd – New Formulas from the Jazz Lab

1957 Gigi Gryce/Donald Byrd – Modern Jazz Perspective (Columbia)

1957 Sonny Clark – Sonny's Crib (Blue Note)

1957 John Jenkins – Jazz Eyes (Savoy)

1957 Oscar Pettiford – Winner's Circle

1957 George Wallington – Jazz at Hotchkiss (Savoy)

1957 Red Garland – All Mornin' Long (Prestige)

1957 Red Garland – Soul Junction (Prestige)

1957 Red Garland – High Pressure (Prestige)

1957 Lou Donaldson – Lou Takes Off (Blue Note)

1957 Art Blakey – Art Blakey Big Band (Bethlehem)

1958 John Coltrane – Lush Life – one track only (Prestige)

1958 John Coltrane – The Believer – two tracks (Prestige)

1958 John Coltrane – The Last Trane – two tracks (Prestige)

1958 Johnny Griffin – Johnny Griffin Sextet (Riverside)

1958 Pepper Adams – 10 to 4 at the 5 Spot (Riverside)

1958 John Coltrane – Black Pearls (Prestige)

1958 Michel Legrand – Legrand Jazz

1958 Dizzy Reece – Blues in Trinity (Blue Note)

1958 Art Blakey – Holiday for Skins (Blue Note)

1958 Jim Timmens – Gilbert and Sullivan Revisited

1959 Mundell Lowe – TV Action Jazz!

1959 Jackie McLean – Jackie's Bag 3 tracks (Blue Note)

1959 Thelonious Monk – The Thelonious Monk Orchestra at Town Hall (Riverside)

1959 Chris Connor – Ballads of the Sad Cafe

1959 Sonny Clark – My Conception (Blue Note)

1959 Manny Albam/Teo Macero – Something New, Something Blue

1959 Jackie McLean – New Soil (Blue Note)

1959 Walter Davis Jr. – Davis Cup (Blue Note)

1962 Duke Pearson – Hush! (Jazztime)

1963 Hank Mobley – No Room for Squares (Blue Note)

1963 Jackie McLean Vertigo - released 1980 (Blue Note)

1963 Hank Mobley – Straight No Filter – released 1986 (Blue Note)

1963 Hank Mobley – The Turnaround (Blue Note)

1963 Jimmy Heath – Swamp Seed (Riverside)

1963 Herbie Hancock – My Point of View (Blue Note)

1964 Eric Dolphy – Naima

1964 Eric Dolphy – Last Recordings / Unrealized Tapes

1964 Dexter Gordon – One Flight Up (Blue Note)

1964 Cal Tjader – Soul Sauce (Verve)

1964 Solomon Ilori – African High Life

1964 Duke Pearson – Wahoo! (Blue Note)

1965 Dexter Gordon – Ladybird (SteepleChase)

1965 Wes Montgomery – Goin' Out of My Head

1967 Stanley Turrentine – A Bluish Bag

1967 Sam Rivers – Dimensions & Extensions

1967 Hank Mobley – Far Away Lands (Blue Note)

1977 Gene Harris – Tone Tantrum

1978 Sonny Rollins – Don't Stop the Carnival (Milestone)

1993 Guru – Jazzmatazz, Vol. 1

1994 Various – Stolen Moments: Red Hot + Cool

1995 Guru – Guru's Jazzmatazz, Vol. 2: The New Reality

1995 Ahmad Jamal – Big Byrd: The Essence Part 2

Wikipedia

#Donald Byrd

[miseensceneofthemind]

The Good, The Bad and The LP: Maestro Morricone

Unpacking the deadly score to THE GOOD, THE BAD AND THE UGLY.

Welcome to The Good, The Bad, and The LP, a column dedicated to the alluring world of film scores and soundtracks on vinyl. Join me, as I take a deep dive between the grooves and look at some of cinema's greatest marriages between sound and vision. As the name of this series suggests, scores and soundtracks of all types are up for discussion; the weird, the wonderful, and even the downright bizarre are on the metaphorical table, or more aptly in this case - turntable.

So without further ado, let's drop the needle and get to spinning...

The subject of this first instalment is one of my absolute favourite film scores and funnily enough the very inspiration for the name of this here column – Ennio Morricone's majestic score to Sergio Leone's 1966 Italian Western, The Good, the Bad and the Ugly. This soundtrack album was a surprise hit and a testament to Morricone's refreshing, unorthodox take on the western score, staying on the charts for over a year following its release and peaking at number 4 on Billboard's pop album chart. Leone's third and final film in what is affectionately know as the “dollars trilogy,” follows Clint Eastwood's enigmatic 'Man With No Name' (the 'Good'), the steely mercenary 'Angel Eyes' played by the inimitable Lee Van Cleef (the 'Bad'), and a charming miscreant on the run by the name of Tuco, played by legendary character actor Eli Wallach (the 'Ugly'), as they form uneasy and shifting alliances in a race across a Civil-War torn America to find a stash of buried Confederate gold. Culminating in one of the most iconic showdowns ever committed to celluloid, The Good, the Bad and the Ugly would not only retroactively stand as one of the pinnacles of the Western genre, but the score would come to typify the sonic palette of the Western in popular culture thanks largely in part to the eclectic, slightly askew and endlessly inventive score by Morricone, the apex of which can be heard in the film's instantly recognisable theme - *WHISTLE* - outside of the terror inducing theme to Jaws, you would be hard pressed to find a more iconic use of two musical notes in the history of cinema.

Here is a little anecdote for you, and full disclosure – I love Westerns something fierce: this album was actually the first film score I ever purchased on vinyl! Not too shabby for a first film record if I do say so myself! In 2012, I went to visit my good friend who was living in Melbourne at the time, James Buttery (a noted vinyl enthusiast who I highly recommend you check out, especially if you want to hear about some fantastic hard to find New Zealand releases). My purpose for visiting (other than to spend some time with one of my pals) was to see Japanese experimental noise rock trio, Boris, and scope the numerous record stores Melbourne has to offer in the hope of unearthing hidden gems I may not have otherwise encountered in little ol' New Zealand.

Unfortunately, things weren't looking too promising on the record pickup front – nothing in particular captured the heart of my music loving soul, let alone the somewhat diminutive but earnest heart of my pocketbook. Don't get me wrong, my enjoyment of the trip did not solely hinge upon successful record store finds, far from it! However, wouldn't it be nice to find treasure? To be the Indiana Jones of vinyl collecting (a 'recordologist' if you will) in the thick of a grand yet complicated adventure, when just as all hope seems lost, an artifact of unspeakable beauty and significance comes into your possession? Well, maybe not as enthralling or roguishly dashing as Mr Jones, but certainly as passionate when it comes to the thrill of the quest. So, you could imagine my heart stopping dead in its tracks upon flicking through a stack to see the faded red frame of an album cover I had coveted since before I had even owned a record. “Surely, it couldn't be,” I said to myself, trembling as my hands lifted this holy grail from its resting place. There, in all its glory, was the record. It was as if time slowed to an incomprehensible haze of euphoria, and strangely, fear; if I didn't get it then, would I ever chance upon a copy again? I don't think I've parted with money faster in my entire life.

For all of the talk given to the reasons why people gravitate towards records in modern times (many of which are highly subjective), one thing that is hard to argue is how the medium lends itself beautifully to artwork; it's just something that you don't truly get with other physical music media such as compact discs or digital releases, and let me tell you – the album art for The Good, the Bad and the Ugly , painted by illustrator and collage artist Fred Otnes is a sight to behold. Laid out with the evocative colour palette of a tequila sunset, the cover is adorned with a painted depiction of the three titular characters of the film above a battle scene from the war; of note, Clint Eastwood's character is literally stepping down into the the battle scene from a position of power, simultaneously foreshadowing the involvement of these characters getting dragged into the conflict, and also suggesting the violent and tumultuous emergence of the new west in the wake of the American Civil War.

Although the original United Artists release doesn't contain the entirety of the score as featured in the film, what is included is a tight representation of its many musical highlights . The two copies I have in my collection (because let's be honest, one is never enough when it comes to holy grails), were released on The United Artists Records label – one is an original 1967 US pressing that I accidentally stumbled across a few years ago in Auckland's Real Groovy in one of those divine moments gifted by the universe; the other is the aforementioned Melbourne discovery, a 1968 UK first pressing. Both pressings sound absolutely fantastic – turning the volume up reveals an energised sonic palette, with the authoritative low end of thunderous percussion and orchestral strings carrying enough power to shake the foundations – let's put it this way – The Man With No Name and Tuco would have had no trouble blowing a bridge up with this record in place of dynamite. The mid range and high-end reveals a raggedly gorgeous bite, particularly evident in the electric guitar sound, with its glassy distorted sting contrasted arrestingly against the background orchestral arrangement.

Much like the film's visuals, so much of the aural charm comes from the imperfections of the medium, recording environment and technology employed, which we'll get to in practical recording terms a bit later. Sergio Leone's use of Techniscope, an inexpensive film stock that exhibits a more pronounced film grain when enlarged to Cinemascope projection size, resulted in a visual image that gave a gritty toughness to the presentation. The uncanny knack Leone had for framing actors with amazing faces attained a whole new level of lived in dirt and grime when coupled with the added grain texture; facial hair stubble on-screen exhibited a coarseness that suddenly gave the illusion that one could light a match when struck against it. This film was mean and dirty visually. Comparatively speaking when compared to what came before, to borrow a parlance, “this ain't your daddy's western.” Similarly, Ennio Morricone's score was unlike any American Western score that had come before it.

As the main title theme to The Good, the Bad and the Ugly, encompasses so much of what makes the entire score unique, I am going to pull apart some of the more idiosyncratic elements that I find to be, well, just darned right clever as a set of spurs that enter through the window instead of the door, to paraphrase a man by the name of Tuco. As is widely noted, Morricone's main musical motif, *WHISTLE,* inspired by the howling sound of a coyote, is a shared theme of sorts for all three main characters, and as such, is wonderfully categorized by three distinct sounds: For Blondie, a.k.a. 'The Man With No Name,' this motif is played by a flute, for Angel Eyes, an ocarina, and for Tuco, by human voice. Now, this is a seemingly simple thing to have in place, but it is what each sound represents and evokes from a character standpoint that makes it brilliant.

Morricone scores the credit sequence instrumentation as such, to get to the core of who each character is immediately before the narrative even begins. With the choice of flute for Blondie, Morricone uses a light timbre, rather chirpy instrument played in a higher register to represent The Man With No Name's inherent goodness. The tail end of this musical phrase, is punctuated by the sound of a harmonica, using traditional western aural iconography to telegraph Clint Eastwood's character as signaling the coming of something familiar, yet somehow different... he is, the new west.

Here is where things start to get rather excellent. For Angel Eyes, Morricone employs the pure and natural sounding tone of an ocarina, an instrument I am sure many of you gaming fans out there are familiar with due to a little known title called The Legend of Zelda. This instrument has a slightly fuller, deeper timbre than a flute and is played an octave lower than what was used for Blondie. The simple act of making Angel Eyes' part of the theme sound deeper than Blondie's, both in terms of instrumentation and register, very clearly and literally delineates Angel Eyes as being lower than Blondie in a moral sense. In the scene that introduces Angel Eyes as 'The Bad' not far into the film, the ocarina motif is  punctuated by the dastardly twang of a low register electric guitar. Angel Eyes becomes a mysterious and elemental force of nature, deadly and not to be trifled with. Already in a short musical space, we can vividly see the characters in our mind's eye.

When it comes to the character of Tuco, Morricone takes a bit of a risk and employs human voices to underscore the fact that Tuco in many ways, is the most human character of the trio – rough around the edges, endlessly fallible, and yet somehow endearing as heck. One can't help but cheer Tuco on – sure, he's a bastard, a scallywag, a good fur-nothin' rapscallion, but there's a complexity to him – a grey area that escapes easy classification, neither good or bad, and harder to pin down – more messy and chaotic. If that's not human, I don't know what is. When one initially listens to the human cries of 'AAAHYEAAAHYEAAA,' it is very tempting to dismiss it as being utterly ridiculous. I mean, it's hilariously startling compared to what precedes it, but that's the point – it's joyous, strange, and replete with a cackling kind of energy, which is most definitely Tuco to a capital 'T.'

Sergio Leone worked very closely with Eli Wallach in the creation of the Tuco persona, suggesting a great affinity for the character. Tuco in fact is the only one of the three leads we get to learn about in more than passing detail. The sequence where Tuco confronts his brother, catholic friar Father Pablo, reveals an underlying sadness and regret. Later in the film in an emotional scene which effectively juxtaposes on screen violence with music (hello there rabid fan of this film, Mr. Quentin Tarantino), Tuco is tortured to the mournful sounds of captured soldiers performing outside the room of interrogation to mask the sounds of abuse within. The coyote howl may be indicative of a wild animal, a potentially dangerous one at that, but beneath the teeth, the snarls and the bravado, remains a painful, plaintive cry.

So, in the main theme, we have our three characters covered, sharing the same motif inspired by the solitary call of a coyote, but represented individually by having different instrumentation. Another central presence in the film, is that of the soldiers of war. Here, Morricone uses trumpets played in rapid, staccato like-fashion to evoke the rousing charge of battle. In an example of Morricone's lateral approach to score, he uses the cacophonous sound of spring reverb to sonically stand in for the conflict of war – the rattling sound that is heard during the trumpet solos of the main theme, is quite literally produced by kicking a reverb tank, a spring loaded contraption used by electric guitarists in the sixties to produce the lush, wet sound of the surf guitar genre. Talk about the old western genre getting a kick or what!

To cap it all off, we have the striking use of electric guitar. Morricone, having come from a background in pop music arranging at RCA records, brought into the score for The Good, the Bad and the Ugly the sound of heavily reverbed electric guitar. This appropriation of a populist instrument into the western genre, an outsider move if ever there was one, is the final piece of what makes this score so memorable. When thinking of Morricone, it's hard for the mind not to jump straight to whistles, human coyote howls, and the twang of a Fender Amplifier cranked all the way up to 10 (eleven being strictly reserved for Marshall amps only – THANKS SPINAL TAP). In Morricone's metaphorical hands, the electric guitar becomes a weapon – sharp, shrill, and bloody deadly. This instrument also becomes the thing that links all men in the film, with its seductive sound cutting though (and ringing out rather obnoxiously over) the orchestra implying the notion, and some may say folly, of power and violence - take the Native American-like chants that are contrasted against guitar in the theme. Leone was explicit in saying that the film was a deconstruction of traditional Western narrative and iconography with its focus on violence and anti-war themes. Morricone seems to have taken Leone's lead in this regard, suggesting an unending cycle of violence in this sonic contrast. The violence of American colonisation that the chants evoke, is challenged by the new emerging sounds of a violent Civil War, represented by the electric guitar. In Leone and Morricone's world of mercenaries, bandits and soldiers, it would seem violence, begets violence.

It would be remiss of me in a discussion of The Good, the Bad and the Ugly, to not mention (in my opinion) one of the greatest pieces of music ever put to screen. Cue, 'The Ecstasy of Gold'

'The Ecstasy of Gold,' marks one of the great turning points in the collaborative relationship between Leone and Morricone. Prior to filming, unlike with what transpired making the other 'Dollars' films, For a Fistful of Dollars and For a Few Dollars More, Morricone actually was asked to compose a few of the tracks for Leone to play on set for inspiration. In fact, this process ended up being so successful that every film Leone worked on with Morricone  post The Good, the Bad and the Ugly utilised this method of preproduction composition prior to filming, which is an uncommon practice even today. One of these such pieces was 'The Ecstasy of Gold,' and it is immediately noticeable how much influence the musicality of the track had on Leone's compositional and pacing decisions in the featured graveyard sequence toward the end of the film. The cyclical, escalating nature of the song is reflected on-screen in the frenetic circular panning of the camera, keeping Tuco in focus with the surrounding graves in the background becoming increasingly visually incomprehensible as the sequence reaches its euphoric climax, when Tuco discovers the grave marked 'Arch Stanton.' (By the way, how great a name is Arch Stanton?!?) Outside of the film, the song has become well known in music circles for its use as the introductory entrance music for Metallica's concert performances – say what you will about the merits of Metallica, but they sure know how to co-opt a hell of an epic song for a prelude.

Not a terrible amount is known of the exact details behind the score's recording sessions – we do know the score was recorded in Rome at International Recording Studio (quaint name, I'm sure you'll agree) in 1966, with fellow composer and conductor Bruno Nicolai conducting Morricone's score with the Unione Musicisti di Roma as his sitting orchestra. Accounts of the sessions being hastily arranged as the film was being edited gain weight when considering Morricone's ridiculous scoring output at the time. Contemplate the following: by the time The Good, the Bad and the Ugly was released in Italy in 1966, Morricone had already scored a dozen other projects that year. That folks, is the creative force of a musical sledgehammer (other than Peter Gabriel of course) obliterating all manner of competition. No wonder the man is rightly regarded as an institution unto himself.

I'm going to get into a bit of recording insider talk here, so bear with me! It'll pay off in just a moment, I promise you. Most orchestral recordings are achieved primarily through a recording technique which was developed in the early 1950's called a Decca Tree, named after the record label the practice originated at, Decca Records. In this method, three microphones are arranged in a 'T' shape to make a figurative tree, usually placed behind and above the conductor – when mixed down, the end result is a natural, well balanced stereo sound that wonderfully captures the nuances  and details of orchestral recordings in large acoustic spaces. Other microphones, termed spot microphones, can be added closer to individual instrument groups in order to fill any sonic gaps so to speak, but the core of the sound comes from this Decca tree arrangement. Based on an interview with Morricone's long collaborative recording engineer, Fabio Venturi, and from what was common practice at the time, it is highly likely that the sessions were recorded in this manner. Okay Dan, pretty standard stuff thus far.

So, imagine this if you will: your typical orchestra is arranged in wait, ready to perform, eagerly anticipating the first graceful flick of the conductor's baton, and yet, something is slightly amiss... Let's say, you were a violinist in this session – the title theme begins – you're there minding you own business, waiting for your turn to shine when seemingly out of no where, someone starts to whistle – intentionally – not some nervous new player getting caught up in the melody of the piece, but a professional who was paid to be there. Odd, to be sure to be sure, but nothing that's going to make the pillars of the earth shake. Composing themselves (and yes, that pun is terrible and yet somehow absolutely necessary, if not for anything other than my own amusement), the violinist focuses once more and the piece starts moving along, when BAM – off to the side, the piercing sound of a vengeful surf guitar makes itself known in all its electrified glory. What on Earth is going on here? By this point, the violinist is breaking into a cold sweat. The guitarist has put in their two cents worth, and the main melodic motif returns. Only this time, it's not flutes or ocarinas playing the melody – it's the startling sound of humans, imitating the howling cries of a coyote. The violinist, being the professional that they are, keeps playing, but their mind is no longer of this world, having been shot through the ether into outerspace from a cannon of unfathomable delights (which is incidentally the first and only time you'll hear a cannon be described in such terms - well, that is until the sad but inevitable Good, The Bad and the Sexy parody is made, but that dear reader is a whole other kettle of kittens).

Anyway, the point of that somewhat wordy diatribe was to get across the idea that this recording ensemble had a quirky edge that most other score recording sessions up to that point did not. Having eclectic and unusual instrumentation, and case in point an electric instrument thrown into the mix, adds an extra set of considerations and side effects to the technical process of sonically capturing Morricone's score. The added volume, or as I like to think of it as, pure gumption, pushes the meters – that is to say, the combined room sound of orchestra plus electric guitar when captured by the Decca Tree and additional spot microphones, hits the recording console harder than usual and subsequently saturates the tracking tape machine (hey, remember those?) in a more exaggerated fashion. This saturation, while technically distortion, is aurally pleasing due to its very analogueness. In fact, the imperfections and quirks that the recording methods and technology of the era afforded – the slight presence of noise; the scrappiness of it all; a certain je ne sais quoi - couldn't be a more apt pairing for Leone's beautifully rugged visual swagger.

“So Dan,” I hear you say, “what can you tell me about where I can track this sucker down?” For the digitally inclined who wish to experience the score's majesty this very instant - perhaps for the first time; maybe you've heard it a gazillion times, and just want to pay a casual visit to the house that Morricone built – you can find a couple of different versions on Spotify. They are more or less identical, save for the tracks 'The Story of a Soldier, ' and 'The Trio,' which are both longer on the Italian soundtrack remaster that clocks in at 59 minutes as opposed to the standard Capitol version which is 55 minutes. Either way you go, you're going to be winning at life so don't fret too much!

On the vinyl front, from what I have heard, the recent Back to Black reissue from 2015 is a bit hit and miss when it comes to sound quality and noisiness, but as it goes with these things, give it a spin and trust your ears before you buy if at all possible. If you do happen to come across a reasonably priced secondhand pressing from the late sixties or early seventies in the wild however, don't stop and think about it – lay that money down and walk out with one of the greatest scores ever cut to tape, and put on wax.

Listen on Spotify:

#ennio morricone #the good the bad and the ugly #film score

[dailylmgifs]

RuPaul's Drag Race UK

#leigh anne pinnock #lpinnockedit #wonderfulwoc #wocsource #dailywoc #femaledaily #femalepopculture #popularcultures #bbelcher #blogmusicdaily #musiciansdaily #dailywomen #dailymusicians #flawlessbeautyqueens #ladiesblr #gifs #2021 #lp: drag race uk

[littlemixnet]

Leigh-Anne will be a guest judge on Drag Race UK this season!

#leigh anne pinnock #lp: drag race uk

[littlemixnet]

dragraceukbbc: From Pick 'N' Mix to @LittleMix, this week Leigh Anne Pinnock is bringing sweet melody to the judging panel 😍

#leigh anne pinnock #video #lp: drag race uk

[littlemixnet]

bbcthree: Leigh-Anne from @LittleMix talking about poo to @rupaul is exactly the energy we needed on #DragRaceUK

#leigh anne pinnock #video #lp: drag race uk

[gaymusicchart]

GAY MUSIC CHART - 2018 week 35

 Thanks to all the candidates to help us to make Gay Music Chart in the futur. We will contact you this week to see if you are still interested  to collaborate with us. We will respond you next your previous message on Gay Music Chart week 28 or by email when we've got it.

 Welcome to the Gay Music Chart, the LGBTQA related music videos TOP 50 actuality and most request.

Vote for your favourite LGBTQA related music videos by leaving a comment for this post on :

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 Here is the recap for this week :

 OUT : Madblush – Homophobic (LW: 16 / WO: 4 / PEAK: 12)

OUT : Troye Sivan - Bloom (LW: 34 / WO: 16 / PEAK: 01 (x5))

OUT : Kim Petras - Heart to Break (LW: 37 / WO: 20 / PEAK: 02)

OUT : Jake Shears - "Big Bushy Mustache" (LW: 39 / WO: 1 / PEAK: 39)

OUT : はるな愛 Ai Haruna -「BONダンス」(LW: 40 / WO: 1 / PEAK: 40)

OUT : Big Freedia feat. Lizzo - "Karaoke" (LW: 41 / WO: 1 / PEAK: 41)

OUT : Hercules & Love Affair feat. Mashrou' Leila - Are You Still Certain (LW: 42 / WO: 3 / PEAK: 38)

OUT : The Aces - "Last One" (LW: 46 / WO: 2 / PEAK: 45)

OUT : Ryan Beatty - "Haircut" (LW: 47 / WO: 2 / PEAK: 47)

OUT : King Princess - "Holy" (LW: 48 / WO: 2 / PEAK: 44)

OUT : Ryan Beatty - "Powerslide" (LW: 49 / WO: 1 / PEAK: 49)

  01 (+ 4) : Years & Years - If You're Over Me (LW: 05 / WO: 15 / PEAK: 01 (x1))

UK - 2018 / from the album "Palo Santo"

 02 (=) : Troye Sivan feat. Ariana Grande - Dance To This (LW: 02 / WO: 10 / PEAK: 02)

Australia / USA – 2018 / from the album 2018 "Bloom"

 03 (+ 5) : Cher - "Gimme! Gimme! Gimme! (A Man After Midnight)" [Audio] (LW: 08 / WO: 2 / PEAK: 03)

USA - 2018 / from the album "Dancing Queen"

An ABBA revival, thanks to "Mama Mia 2".

 04 (- 3) : P!nk - "Secrets" (LW: 01 / WO: 4 / PEAK: 01 (x2))

USA - 2018 / from the album "Beautiful Trauma"

 05 (- 1) : Years & Years - All For You (PSEN Televisual Exclusive) (LW: 04 / WO: 7 / PEAK: 01 (x1))

UK - 2018 / from the album "Palo Santo"

 06 (=) : THE TRIPLETZ - "You Better Fucking Dance" (LW: 06 / WO: 4 / PEAK: 06)

Spain - 2018

"Better fuck with them boys

Better fuck with them girls

Better fuck with them both

Who fuckin cares?"

 07 (+ 3) : Sandro Cavazza, P3GI-13 - High With Somebody (LW: 10 / WO: 10 / PEAK: 07)

Sweden - 2018

A sweet song and a music video which shows bisexuality.

 08 (- 1) : Lizzo - Boys (LW: 07 / WO: 9 / PEAK: 01 (x2))

USA - 2018

 09 (+ 4) : Sam Bluer - "Body High" (LW: 13 / WO: 3 / PEAK: 09)

Australia - 2018

This is his debut music video. A revelation.

 10 (+ 10) : Peter Wilson & Sean Smith - "Verona" (LW: 20 / WO: 2 / PEAK: 10)

UK - 2018 / from the album "The Passion and The Flame"

This awesome cover of the 2017's Estonian Eurovision track from Koit Toome and Laura is produced by Matt Pop.

 11 (- 8) : Adore Delano - 27 Club (LW: 03 / WO: 8 / PEAK: 01 (x2))

USA - 2018 / from the album "Whatever"

 12 (+ 7) : Cheat Codes, Little Mix - Only You (LW: 19 / WO: 6 / PEAK: 12)

USA / UK - 2018

This music video shows a lesbian love at first sight between a mermaid and a woman.

 13 (+ 9) : Troye Sivan - "Animal" (LW: 22 / WO: 2 / PEAK: 13)

Australia - 2018 / from the album "Bloom"

 14 (- 5) : Not.Your.Regular.Boy. - Get Down Make Love (LW: 09 / WO: 10 / PEAK: 09)

The Netherlands - 2018

 15 (+ 3) : Tiago Braga - Ilusão (LW: 18 / WO: 14 / PEAK: 06)

Portugal - 2018

A story of infidelity.

 16 (NEW) : Calvin Harris, Sam Smith - "Promises" (Lyric Video) (LW: - / WO: 1 / PEAK: 16)

UK - 2018

 17 (NEW) : Kylie Minogue - "A Lifetime to Repair" (Lyric Video) (LW: - / WO: 1 / PEAK: 17)

Australia - 2018 / from the album "Golden"

 18 (- 6) : MNEK feat. Hailee Steinfeld - Colour (LW: 12 / WO: 8 / PEAK: 05)

UK - 2018

 19 (- 8) : LOBODA - "SuperSTAR" (LW: 11 / WO: 1 / PEAK: 19)

Ukraine - 2018

The music video is rated 18+ in Ukraine because of the two gay and the lesbian kisses.

 20 (NEW) : Man Meadow - "Play It Loud" (LW: - / WO: 1 / PEAK: 20)

Sweden - 2018

 21 (- 6) : Panic! At The Disco - Hey Look Ma, I Made It (LW: 15 / WO: 7 / PEAK: 07)

USA - 2018

Brendon Urie comes out as pansexual. The funny music and his puppet illustrates that fact.

 22 (+ 3) : Blair St. Clair - Call My Life (LW: 25 / WO: 8 / PEAK: 13)

USA - 2018 / from the album "Call My Life"

 23 (NEW) : Pabllo Vittar - "Problema Seu" (LW: - / WO: 1 / PEAK: 23)

Brazil - 2018

 24 (- 10) : Eureka O'Hara - The Big Girl (LW: 14 / WO: 7 / PEAK: 04)

USA - 2018

This is the first single of the drag queen who was runner up in RuPaul's Drag Race season 10.

 25 (NEW) : Madonna - MET Gala 2018 (LW: - / WO: 1 / PEAK: 25)

USA - 2018

Madonna performs 'Like A Prayer', 'Beautiful Game' and 'Hallelujah' at the 2018 MET Gala in New York.

 26 (+ 6) : Vini Uehara - "Perigo" (LW: 32 / WO: 3 / PEAK: 26)

Brazil - 2018 / from the album "Hear Me Now"

The fashion designer, Youtuber and singer comes out of the closet as gay with this music video.

 27 (NEW) : LP - "Girls Go Wild" (LW: - / WO: 1 / PEAK: 27)

USA - 2018

 28 (NEW) : Chris(tine and the Queens) - "5 dollars" (LW: - / WO: 1 / PEAK: 28)

France - 2018 / from the album "Chris"

 29 (- 1) : Blonde feat. Bryn Christopher - Me, Myself & I (LW: 28 / WO: 6 / PEAK: 27)

UK - 2018

 30 (- 13) : BeBe Zahara Benet - Jungle Kitty (LW: 17 / WO: 12 / PEAK: 07)

USA - 2018

 31 (- 1) : Years & Years - Palo Santo (Live - Vevo x Years & Years) (LW: 30 / WO: 8 / PEAK: 28)

UK - 2018 - from the album "Palo Santo"

 32 (- 6) : CARSON - "Good Love" (LW: 26 / WO: 3 / PEAK: 26)

USA - 2018

The debut music video of Carson Rammelt has been promoted on Billboard Pride's July 2018 Playlist.

 33 (- 2) : Mint Julep - The Promise ("Alex Strangelove" OST) (LW: 31 / WO: 6 / PEAK: 22)

USA - 2018

"Alex Strangelove" is a gay coming of age movie from Nexflix.

 34 (+ 4) : AB Soto - "No More 2 Say" (LW: 38 / WO: 2 / PEAK: 34)

USA - 2018 / from the album "Visibility, Part.1"

 35 (+ 1) : Nacha La Macha - Eres Cobarde (LW: 36 / WO: 6 / PEAK: 11)

Spain - 2018

 36 (- 15) : Smashby - "Someone" (LW: 21 / WO: 2 / PEAK: 21)

UK - 2018 / from the EP "Wild One"

 37 (- 4) : Bruno Gadiol, Gabriel Nandes - Seu Costume (LW: 33 / WO: 8 / PEAK: 17)

Brazil - 2018

The 20 years old singer has been revealed in The Voice Brasil in 2016. He comes out as gay with this music video.

 38 (+ 12) : Davi - "Tenho Você" (LW: 50 / WO: 3 / PEAK: 38)

Brazil - 2018

This is the first single in solo of the member of Banda Uó.

 39 (- 16) : Sharon Needles - "666" (LW: 23 / WO: 4 / PEAK: 17)

USA - 2018 / from the album "Battle Axe"

 40 (NEW) : LVRK - "Heart to Heart" (LW: - / WO: 1 / PEAK: 40)

Sweden - 2018

 41 (NEW) : Kiesza feat. Philippe Sly - "Phantom Of The Dance Floor" (LW: - / WO: 1 / PEAK: 41)

Canada - 2018

 42 (- 15) : Panic! At The Disco - Say Amen (Saturday Night) (LW: 27 / WO: 6 / PEAK: 18)

USA - 2018 / from the album "Pray For The Wicked"

 43 (NEW) : Seeb, Dagny - "Drink About" (LW: - / WO: 1 / PEAK: 43)

Norway - 2018

 44 (- 15) : Not.Your.Regular.Boy. - Crazyland (LW: 29 / WO: 18 / PEAK: 03)

The Netherlands - 2018

Revealed on X-Factor and the Voice, this is his debut single.

 45 (- 10) : Brandon Stansell - "For You" (LW: 35 / WO: 4 / PEAK: 22)

USA - 2018

A sweet love triangle story.

 46 (RE-ENTRY) : Steve Grand - Don't Let The Light In (LW: - / WO: 2 / PEAK: 36)

USA - 2018 / from the album "Not The End of Me"

The music video is a collection of his childhood and concerts footage.

 47 (- 23) : Monét X Change feat. Bob The Drag Queen - Soak It Up (LW: 24 / WO: 12 / PEAK: 08)

USA - 2018

The drag queen was voted Miss Congeniality of the 2018 edition of RuPaul's Drag Race.

 48 (- 5) : 星屑スキャット Hoshikuzu Scat - 「半蔵門シェリ」 "Hanzo Mon Chérie" (LW: 43 / WO: 2 / PEAK: 43)

Japan - 2017 / from the EP "Hanzo Mon Cherie"

We're in love with the first music video of this trio, composed with drag queens Mitz, Meili and Kazue!

 49 (- 5) : Renato - "Cruel Summer" (LW: 44 / WO: 4 / PEAK: 27)

Czech Republic - 2018

 50 (- 5) : FRANKIE x Scott Hoying feat. One Night - Ghost (LW: 45 / WO: 10 / PEAK: 14)

USA - 2018

The music video is an interesting queer remake of Grease.

  ALSO NEW THIS WEEK

 John Duff - "Girly"

USA - 2018

The singer plays Mariah Carey, Madonna, Britney Spears and Beyoncé. Drag queen Bianca Del Rio, Willam Belli and Mariah Balenciaga are also featuring in this music video.

 Josh Wood - "Radio (You and I)"

USA - 2018

 Alaska & Jeremy - "Aliens"

USA - 2018 / from the album "Amethyst Journey"

 Imagine Dragons - "Natural"

USA - 2018

 Cher - "SOS" (Audio)

USA - 2018

 Magnus Carlsson - "Slow Motion"

Sweden - 2018

 Kim Petras - "All The Time" (Audio)

Germany - 2018

 Thalles - "Just When We Were High"

Brazil - 2018 / from the album "Utopia"

 Ivri Lider עברי לידר - "The Prom / הנשף"

Israel - 2018

 ALVIN - "Oui, Papa"

France - 2018

After "Il a dit", this is the new music video of the French singer Alvin Point.

 Villagers - "Fool"

Ireland - 2018 / from the album "The Art of Pretending to Swim"

 HANDSOME - "No Cowards"

Australia - 2018 / from the EP "No Hat No Play"

 Union J feat. Ironik - "Dancing"

UK - 2018

 anaïs feat. Olly Alexander - "No control"

UK - 2018

 NORAZO (노라조) - "CIDER" (사이다)

South Korea - 2018

 Nigel Andrews - "Ik doe mijn eigen ding"

The Netherlands - 2018

  See you next week and don’t forget to vote for your best LGBTQA music videos ! Here are the rules :

1 ) You can vote for many videos as you want under the videos on YouTube in the comment section. It could be recent or past music videos, which must provide at least one among the following conditions:

- the music video has LGBTQA related content, in the lyrics or the music video

- the artist is LGBTQA, an LGBTQA icon or eventually ally

- LGBTQA medias talked about it.

2 ) You can’t vote more than 3 songs of a same artist per week.

3 ) In case of an artist who receive votes mostly by a fan base, we will count only one song, in a limited time of 4 weeks of presence in the top.

4 ) You can vote with only one account.

5 ) If you make 5 votes or less, your first vote will represent 5 points, your second vote 4 points, etc… until your last vote and following 1 point. If you make 6 to 10 votes, your first vote will represent 10 points, your second vote 9 points, etc… If you make more than 10 votes, your first vote will represent 20 points, your second vote 19 points, etc…

6 ) People who make 1 to 5 votes form the amateur ranking, those who make 6 to 10 votes form the fan ranking, those who make more than 10 votes form the expert ranking. We form the jury ranking (but this one is for the moment suspended as experimentation). And we count now the ranking of minutes of views of our weekly playlist of the previous week. The Gay Music Chart is the addition of the five charts. In case of equality, the number of votes and the dates of votes will count.

7 ) The votes will close on Thursday, 8 PM, European time.

#gay music chart #top lbgt #2018 week 35

[gaymusicchart]

Gay Music Chart – 2020 week 28

Welcome to the Gay Music Chart, the LGBTQA related music videos TOP 50 actuality and most request.

 Vote for your favourite LGBTQA related music videos by leaving a comment for this post on :

YOUTUBE (in the comment section of the video of the week) : https://www.youtube.com/channel/UCz7yfp-xq-b08tD6mAWwclA

BLOGGER : http://gaymusicchart.blogspot.fr

FACEBOOK : https://www.facebook.com/GayMusicChart/

TWITTER : https://twitter.com/GayMusicChart  with #GayMusicChart

TUMBLR : http://gaymusicchart.tumblr.com

  OUT : Bilal Hassani - "Roi" (Live @ Eurovision Song Contest 2019)

OUT : Patrick - "Heavenly Bodies"

OUT : 肖戰 Xiao Zhan & 王一博 Wang Yibo -《無羈》("Wu ji") (Chorus version)    

OUT : Tuure Boelius - "1"

OUT : Isaac Dunbar - "comme des garçons (like the boys)"

OUT : ギヴン(Given) / Mafuyu -「冬のはなし」(Fuyu No Hanashi)

OUT : Douwe Bob - "Consider"

OUT : Madox - "S.E.X."

OUT : Miss Caffeina feat. Javiera Mena y La Casa Azul - "Cola de pez (Fuego)"        

OUT : Miley Cyrus - "Slide Away"

OUT : Mashrou’ Leila (مشروع ليلى) - "Radio Romance"          

OUT : Davis Mallory, Deekey - "Downtown"

OUT : Mrs Yéyé feat. THÉA - "Solitaires"        

OUT : Kevin McHale - "Help Me Now"

OUT : Chaz Cardigan - "Not OK!"

OUT : Mike Taveira - "Curious"          

OUT : Đức Phúc - "Hơn Cả Yêu"

OUT : Trúc Nhân - "Sáng Mắt Chưa"

OUT : Will Young - "My Love"

  01 (+20) : Yuma X - "Secret Lover"

LW: 21 / WO: 2 / PEAK: 01 (x1)

Australia - April 2020

The music videos shows a secret relation between two men who have both a girlfriend.

 02 (+ 17) : Christopher Sorensen - "Way. Way. Back"

LW: 19 / WO: 2 / PEAK: 02

USA - November 2019

A sweet music video about two childhood friends at three different moments of their lives, who faced the opposition of the father of one of them when he discovered they were lovers.

 03 (+ 15) : Макс Барских (Max Barskih) - "Лей, не жалей" (Ley, ne zhaley)    

LW: 18 / WO: 2 / PEAK: 03

Ukraine - February 2020

 04 (+ 11) : Melanie C - "Who I Am"      

LW: 15 / WO: 2 / PEAK: 04

UK - March 2020

The ex-Spice Girls member make a queer come back with several songs and music videos with LGBT themes. This one is about self-esteem.

 05 (NEW) : Javiera Mena - "Corazón Astral"

LW: - / WO: 1 / PEAK: 05

Chile - June 2020

 06 (- 1) : Sam Smith - "How Do You Sleep?"

LW: 05 / WO: 2 / PEAK: 05

UK - July 2019

 07 (- 3) : PJ Brennan - "Bones"

LW: 04 / WO: 2 / PEAK: 04

USA - September 2019

 08 (NEW) : Eurovision Song-Along (Official) - Iconic Contestants Join The Party

LW: - / WO: 1 / PEAK: 08

USA / international - June 2020 - from the Netflix movie "Eurovision Song Contest: The Story of Fire Saga" OST

 09 (- 3) : Pierre Lapointe - "Le monarque des Indes"  

LW: 06 / WO: 2 / PEAK: 06

Canada - November 2019 - from the album "Pour déjouer l'ennui"          

 10 (+ 27) : Kim Petras - "Icy"

LW: 37 / WO: 2 / PEAK: 10

Germany - October 2019 - from the album "Clarity"        

 11 (=) : Сергей Лазарев (Sergey Lazarev) - "Я не боюсь" ("Ya ne boyus")    

LW: 11 / WO: 2 / PEAK: 11

Russia - November 2019 - from the EP "Я не боюсь"

With this song called "I'm not afraid", Sergey Lazarev shows subtly that you don't have to be afraid to love who you want.

 12 (- 4) : MIKA - "Sanremo"

LW: 08 / WO: 2 / PEAK: 08

UK / Lebanon - October 2019 - from the album "My Name Is Michael Holbrook"

The music video shows the difficulties to be gay in Italy in the 50's, with a married man cruising in the streets and clandestin bars while avoiding police patrols.

 13 (+ 30) : Hatari feat. Bashar Murad - "Klefi" / "Samed" (صامد)            

LW: 43 / WO: 2 / PEAK: 13

Iceland / Palestine - May 2019 - from the album "Neyslutrans"    

 14 (NEW) : Scott Free - "The Last Revolution"

LW: - / WO: 1 / PEAK: 14

USA - June 2020 - from the album "The Last Revolution"

 15 (- 3) : Will Young - "All The Songs"

LW: 12 / WO: 2 / PEAK: 12

UK - March 2019 - from the album "Lexicon"      

The British singer dares to strip naked in this music video.

 16 (+ 1) : Thibaut Pez - "Que tu meures"

LW: 17 / WO: 2 / PEAK: 16

France - June 2019 - from the EP "Garçon formidable"

 17 (- 3) : Romy, Tanishk Bagchi & Yo Yo Honey Singh - "Pyaar Tenu Karda Gabru"

LW: 14 / WO: 2 / PEAK: 14

India - January 2020 - from the OST "Shubh Mangal Zyada Saavdhan"

This song is taken from the first Bollywood gay movie "Shubh Mangal Zyada Saavdhan" which tells the story of a gay couple who must face the opposition of the father of one of them.

 18 (+ 18) : Ben Platt - "Rain"

LW: 36 / WO: 2 / PEAK: 18

USA - September 2019 - from the album "Sing To Me Instead" (Deluxe)

 19 (+ 10) : The Irrepressibles feat. Jon Campbell - "Let Go (Everybody Move Your Body Listen to Your Heart)"

LW: 29 / WO: 2 / PEAK: 19

UK - March 2020

 20 (NEW) : Bright Light Bright Light - "I Used To Be Cool"

LW: - / WO: 1 / PEAK: 20

USA - June 2020 - from the album "Fun City"

 21 (+ 19) : LP - "Shaken"        

LW: 40 / WO: 2 / PEAK: 21

USA - June 2019 - from the album "Heart to Mouth"

 22 (+ 23) : Hoshi - "Amour censure"

LW: 45 / WO: 2 / PEAK: 22

France - December 2019 - from the album "Sommeil levant"

A song for tolerance and gay love, and a music video against "La manif pour tous", a collective against LGBT rights in France.

 23 (- 22) : Nguyễn Trần Trung Quân - "Tự Tâm"

LW: 01 / WO: 2 / PEAK: 01 (x1)

Vietnam - October 2019

Don't miss this awesome music video, with a complex love triangle story and several twists.

 24 (- 17) : Lu Xue-Rui (盧學叡) - "Who I Am" /《我是誰》

LW: 07 / WO: 2 / PEAK: 07

Taiwan - October 2019

This music video shows the struggles to assume your sexual orientation.

 25 (NEW) : Yanni Burton - "A Part Of Me"

LW: - / WO: 1 / PEAK: 25

Australia - July 2020

 26 (NEW) : Kyan Palmer - "Quarantini"

LW: - / WO: 1 / PEAK: 26

USA - April 2020

 27 (- 24) : Todrick Hall - "Nails, Hair, Hips, Heels"

LW: 03 / WO: 2 / PEAK: 03

USA - May 2019 - from the album "Haus Party"

The choreography is legendary.

 28 (NEW) : Lesley Roy - "Story Of My Life"

LW: - / WO: 1 / PEAK: 28

Ireland - March 2020 - from the compilation "Eurovision Song Contest 2020"

 29 (+ 17) : Stefan Alexander - "Skeleton"

LW: 46 / WO: 2 / PEAK: 29

USA - September 2019 - from the EP "Thunderclap"

 30 (NEW) : Jessie Ware - "Spotlight"

LW: - / WO: 1 / PEAK: 30

UK - February 2020

 31 (NEW) : טליסמאן (Talisman) & הראל סקעת (Harel Skaat) - "רוצה לחזור" ("Rotze lahzor")

LW: - / WO: 1 / PEAK: 31

Israel - May 2020

 32 (- 22) : Benjamin Scheuer - "I Am Samantha"        

LW: 10 / WO: 2 / PEAK: 10

USA - March 2020

This is a powerful anthem for transgender people.

 33 (NEW) : Esteman - "Hasta Que Tú Me Quieras"

LW: - / WO: 1 / PEAK: 31

Colombia - March 2020

 34 (NEW) : Apolo - "Otro Nivel"

LW: - / WO: 1 / PEAK: 34

Spain - June 2020

 35 (+ 6) : Beverly -「尊い」(tōtoi)

LW: 41 / WO: 2 / PEAK: 35

Japan - November 2019 - from the album「INFINITY」

 36 (- 12) : Goldnation feat. Sir Ari Gold - "Soundtrack to Freedom"    

LW: 24 / WO: 2 / PEAK: 24

USA - June 2019 - from the album "Soundtrack to Freedom"    

 37 (- 28) : Mabel Matiz - "Comme un animal"

LW: 09 / WO: 2 / PEAK: 09

Turkey - June 2019 - from the album "Maya"      

The Turkish artist sings the chorus of this song in French, probably to pass the censorship because he's talking about  "f*cking like an animal".

 38 (NEW) : Manila Luzon featuring Latrice Royale - "ROBBED"

LW: - / WO: 1 / PEAK: 38

USA - June 2020

When you don’t win the crown of RuPaul’s Drag Race, you take your revenge with a music video !

 39 (NEW) : SNG - "Corner Store"

LW: - / WO: 1 / PEAK: 39

USA - May 2020

 40 (NEW) : Wils - "Open up Babe"

LW: - / WO: 1 / PEAK: 40

Singapore / USA - April 2019

 41 (- 8) : Elias - "Neon Lights"

LW: 33 / WO: 2 / PEAK: 33

Sweden - October 2019 - from the EP "HIM"

 42 (NEW) : ไบร์ท วชิรวิชญ์ (Bright Wachirawit) - "คั่นกู" ("khạ̀n kū")

LW: - / WO: 1 / PEAK: 42

Thailand - March 2020 – from  " เพราะเราคู่กัน 2gether The Series " OST

 43 (NEW) : Netta - "Cuckoo"

LW: - / WO: 1 / PEAK: 43

Israel - June 2020

 44 (+ 5) : Greyson Chance - "Dancing Next To Me"      

LW: 49 / WO: 2 / PEAK: 44

USA - February 2020

 45 (NEW) : Kim Petras - "Malibu"

LW: - / WO: 1 / PEAK: 45

Germany - May 2020

 46 (NEW) : Smallpools & morgxn - "Slowdown"

LW: - / WO: 1 / PEAK: 46

USA - May 2020

 47 (+ 3) : Azis - "Who Cares"

LW: 50 / WO: 2 / PEAK: 47

Bulgaria - February 2020

 48 (- 46) : Nguyễn Trần Trung Quân x Triple D - "Canh Ba" ("Tự Tâm" 2)        

LW: 02 / WO: 2 / PEAK: 02

Vietnam - January 2020

After "Tự Tâm", this is the second part of a probable trilogy, where the king can't forget his dead lover. With this cliffhanger, we can't wait to see the part 3 !

 49 (- 36) : АНГЕЛ (ANGEL) - "Давай замутим" (Davai Zamutim)        

LW: 13 / WO: 2 / PEAK: 13

Russia - May 2019 -  from the album "Твоя любимая тема" ("Tvoya Lubimaya Tema")  

АНГЕЛ (ANGEL) is one of the members of the new queer music scene in Russia.

 50 (NEW) : The Chain Gang of 1974 feat. TWINKIDS - "Bends"

LW: - / WO: 1 / PEAK: 46

USA - March 2020

  ALSO NEW THIS WEEK

 Bad Bunny - "Yo Perreo Sola"

LW: - / WO: - / PEAK: -

USA - March 2020 - from the album "YHLQMDLG"

  Danna Paola - "TQ Y YA"

LW: - / WO: - / PEAK: -

Mexico - June 2020

  Jaime Kohen - "Mar de Sábanas"

LW: - / WO: - / PEAK: -

Mexico - July 2020

 Vini Uehara - "4NTENA"

LW: - / WO: - / PEAK: -

Brazil - June 2020

 Blair St. Clair - "9 Lives"

LW: - / WO: - / PEAK: -

USA - July 2020

 Adrian Chalifour feat. Jimbo - "Open Heart"

LW: - / WO: - / PEAK: -

Canada - July 2019

 Yvie Oddly - "Hype" (feat. Vanessa Vanjie)

LW: - / WO: - / PEAK: -

USA - June 2020

 Monique Heart X KOIL - "Hot Sauce & High Heels"

LW: - / WO: - / PEAK: -

USA - June 2020

 Guy Sebastian - "Standing With You"

LW: - / WO: - / PEAK: -

Australia - June 2020

 Tom Goss - "Regretting"

LW: - / WO: - / PEAK: -

USA - June 2020 - from the album "Territories"

 Danixt - "LGBT"

LW: - / WO: - / PEAK: -

India - June 2020

 Đào Bá Lộc - "Thật Tâm Em Rất Yêu Anh"

LW: - / WO: - / PEAK: -

Vietnam - July 2020

 Ralph Kaminski - "Autobusy"

LW: - / WO: - / PEAK: -

Poland - June 2020

 Ricky Merino, Danny Romero - "Bestia"

LW: - / WO: - / PEAK: -

Spain - June 2020

 Roch - "Siénteme"

LW: - / WO: - / PEAK: -

Spain - May 2020

 Téo Lavabo - "Cocarine"

LW: - / WO: - / PEAK: -

France - June 2020

 IRENE 아이린 & SEULGI 슬기 (from Red Velvet 레드벨벳) - "Monster"

LW: - / WO: - / PEAK: -

South Korea - July 2020

 Franka - "Prvi osjećaj"

LW: - / WO: - / PEAK: -

Croatia - July 2020

 CRIMER - "Eyes Off Me"

LW: - / WO: - / PEAK: -

Switzerland - July 2020

 Dua Lipa - "Hallucinate"

LW: - / WO: - / PEAK: -

UK - July 2020 - from the album "Future Nostalgia"

 Lady Gaga, Ariana Grande - "Rain On Me"

LW: - / WO: - / PEAK: -

USA – May 2020 – from the album "Chromatica"

 Marshmello & Halsey - "Be Kind"

LW: - / WO: - / PEAK: -

USA - June 2020

 Katy Perry - "Daisies (Can't Cancel Pride)"

LW: - / WO: - / PEAK: -

USA - June 2020

 Sam Tsui - "Staycation"

LW: - / WO: - / PEAK: -

USA - July 2020

 Adam Joseph - "Daddy"

LW: - / WO: - / PEAK: -

USA - April 2020

  Doug Locke - "Why?" (Lyric Video)

LW: - / WO: - / PEAK: -

USA - July 2020 - from the EP “Why? (Lunar II)”

 Debris - "UNI"

LW: - / WO: - / PEAK: -

USA - July 2020

 VINCINT - "Be Me for Queer Eye Season 5"

LW: - / WO: - / PEAK: -

USA - July 2020

 Alexander Lemtov - "Lion of Love"

LW: - / WO: - / PEAK: -

USA - June 2020 - from the OST "Eurovision Song Contest : The Story Of Fire Saga"

 How Eurovision Actually Works: A Musical Explainer | Netflix

LW: - / WO: - / PEAK: -

USA - July 2020

  See you next week !

#GayMusicChart #gay #lesbian #transgender #bisexual #queer #music #chart #top