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The former One Direction member officially left boy band life behind in 2015 when he made his solo debut with the sultry, throbbing Mind of Mine. Expect to hear more of that R&B-influenced sound on his second record, along with some upbeat tracks in the style of the dancehall-inspired new single “Still Got Time.” “This album has a more optimistic tone to it after coming through that more challenging time,” RCA Records CEO Peter Edge says. “It shows a lot of growth.”
—  The 45 Most Anticipated Albums and Tours of Summer 2017: Zayn Malik (Title TBD. Release date TBD). Ariana Bacle for Entertainment Weekly.
From the Taylor Swift Spotify page.

Taylor Swift is that rarest of pop phenomena: a superstar who managed to completely cross over from country to the mainstream.

Other singers performed similar moves – notably, Dolly Parton and Willie Nelson both became enduring mainstream icons based on their ‘70s work – but Swift shed her country roots like they were a second skin; it was a necessary molting to reveal she was perhaps the sharpest, savviest populist singer/songwriter of her generation, one who could harness the Zeitgeist and turn it personal and, just as impressively, perform the reverse. These skills were evident on her earliest hits, especially the neo-tribute “Tim McGraw,” but her second album, 2008’s Fearless, showcased a songwriter discovering who she was and, in the process, finding a mass audience. Fearless wound up having considerable legs not only in the U.S., where it racked up six platinum singles on the strength of the Top Ten hits “Love Story” and “You Belong with Me,” but throughout the world, performing particularly well in the U.K., Canada, and Australia. Speak Now, delivered almost two years later in the autumn of 2010, consolidated that success and Swift moved into the stratosphere of superstardom, with her popularity only increasing on 2012’s Red and 2014’s 1989, a pair of records that found her moving assuredly from country into a pop realm where she already belonged.

This sense of confidence had been apparent in Taylor Swift since the beginning. The daughter of two bankers – her father, Scott Kingsley Swift, worked at Merrill Lynch; her mother Andrea spent time as a mutual fund marketing executive – Swift was born in Reading, Pennsylvania and raised in suburban Wyomissing. She began to show interest in music at the age of nine, and Shania Twainwound up as her biggest formative influence. Swift started to work regularly at local talent contests, eventually winning a chance to open for Charlie Daniels. Soon, she learned how to play guitar and began writing songs, signing a music management deal with Dan Dymtrow; her family relocated to Nashville with the intent of furthering her music career. She was just 14 years old but on the radar of the music industry, signing a development deal with RCA Records in 2004. Swift sharpened her skills with a variety of professional songwriters, forming the strongest connections with Liz Rose. Taylor’s original songs earned her a deal with Sony/ATV Music Publishing, but not long after that 2004 deal she parted ways with Dymtrow and RCA, all with the intent of launching her recording career now, not later.

Things started moving swiftly once Swift came to the attention of Scott Borchetta, a former DreamWorks Records exec about to launchBig Machine Records. Borchetta saw Swift perform at a songwriters showcase at the Bluebird Cafe and he signed her to Big Machine in 2005; shortly afterward, she started work on her debut with producer Nathan Chapman, who’d previously helmed demos for Taylor. Boasting original song credits on every one of the record’s 11 songs (she penned three on her own), Taylor Swift appeared in October 2006 to strong reviews and Swift made sure to work the album hard, appearing at every radio or television event offered and marshaling a burgeoning fan base through use of MySpace. “Tim McGraw,” the first song from the album, did well but “Teardrops on My Guitar” and “Our Song” did better on both the pop and country charts, where she racked up five consecutive Top Ten singles. Other successes followed in the wake of the debut – a Grammy nomination for Best New Artist (she lost to Amy Winehouse), stopgap EPs of Christmas songs – but Swift concentrated on delivering her sophomore set, Fearless.

Appearing in November 2008, Fearless was certified gold by the RIAA in its first week of release, and the record gained momentum throughout 2009, earning several platinum certifications as “Love Story,” “White Horse,” “You Belong with Me,” “Fifteen,” and “Fearless” all scaled the upper reaches of the country charts while “You Belong with Me” nearly topped Billboard’s Top 100. Along with the success came some headlines, first in the form of an infamous appearance at the 2009 MTV Video Music Awards where her acceptance speech was interrupted by Kanye West, who burst on-stage to declare that Swift’s rival Beyoncé deserved the award more, but her romances also started gaining attention, notably a liaison with Twilight star Taylor Lautner, who appeared with the singer in the 2009 film Valentine’s Day.

Her flirtation with the silver screen proved brief, as she then poured herself into her third album, Speak Now. Released in October 2010, Speak Now was another massive first-week smash that refused to lose momentum. Hit singles like “Mine” and “Mean,” which won two Grammys, played a big factor in its success not just on the country charts but on pop radio as well. Following a 2011 live album called World Tour Live: Speak Now, Swift turned toward following a pop path on her fourth album, hiring such mainstream musicians as Dan Wilson, Butch Walker, and Britney Spears producer Max Martin. This mainstream pulse was evident on “We Are Never Ever Getting Back Together,” the first single from Red. Upon its October 2012 release, Red shattered expectations by selling over a million copies in its first week, a notable achievement that was doubly impressive in an era of declining sales. Once again, Swift’s album had legs: it was certified platinum four times in the U.S. and its international sales outstripped those of Speak Now. She supported Red with an international tour in 2013 and more hits came, including “I Knew You Were Trouble” and “22.”

As Swift geared up for the release of her fifth album in 2014, she made it clear that 1989 was designed as her first “documented, official” pop album and that there would be no country marketing push for the record. “Shake It Off,” an ebullient dance-pop throwback, hit number one upon its August 2014 release. When 1989 appeared in late October 2014, it once again shot to number one and became her third straight to sell one million copies in its first week (a new record for any artist).

Swift gathered many awards during the subsequent year, including Billboard’s Woman of the Year, the Award for Excellence at the American Music Awards, and a special 50th Anniversary Milestone Award from the CMAs. Her 1989 World Tour crossed Asia, North America, and Europe during the last half of 2015, and she won three Grammy Awards at the 2016 ceremonies, including Album of the Year, Best Pop Vocal Album, and Best Music Video for “Bad Blood.” At the end of 2016, she released “I Don’t Wanna Live Forever,” a duet with ZAYN from the soundtrack for Fifty Shades Darker. The single reached the Top Five across the world. ~ Stephen Thomas Erlewine, Rovi

Zayn Malik’s new album ‘shows a lot of growth’

Leaving One Direction wasn’t easy for Zayn Malik, who officially parted ways with the band in 2015 to pursue a solo career. But the decision has worked out well for him so far: His first album, Mind of Mine, debuted at No. 1 and was positively reviewed by critics, including EW’s Leah Greenblatt, who called the record “a smoothly inclusive survey in modern R&B” in her B+ review. And while his new record will retain that sound, it’s also a step in a different, ahem, direction.

“It wasn’t easy making that decision and having the courage to step out first and make a record,” RCA Records CEO Peter Edge, who worked with Malik on the yet-to-be-titled new collection, tells EW. “This album has a more optimistic tone to it after coming through that more challenging time. It shows a lot of growth.”

That tone is apparent on first single “Still Got Time,” a dancehall-inspired jam featuring rapper PARTYNEXTDOOR. “If you think about the lyrics,” Edge points out, “it’s talking about how it’s great to be young and knowing you’ve still got time to do everything you want to do in life.”

And making music is what Malik wants to be doing — competition be damned: Since dropping “Still Got Time” March 24, three other former One Direction members have also unveiled their own solo releases. While Malik veers toward R&B, Harry Styles has gravitated toward classic rock, Niall Horan’s two songs lean acoustic folk-rock, and Liam Payne’s debut goes the hip-hop route.

“While we’re conscious of what everybody else is doing, I think we’re on the page that we just have to get on with releasing the music,” Edge says. “Everybody is going to coexist. What’s emerging is that there are different musical styles that each member is getting into.”

“Zayn just wants to make his music and do what he does,” Edge continues before explaining that this new album will be more personal and less producer-driven. “I think he definitely wants a lot of himself in there, and I think that’s what the last record had — it maybe even gave people more insight than they thought they were going to get.”

Malik’s album doesn’t have a release date yet, but it’s expected to arrive this year. Hear “Still Got Time” above.

VIA ENTERTAINMENT WEEKLY.

Jason Iley (Sony Music UK, Chairman and CEO), Peter Edge  (RCA, Chairman and CEO)  and Tyler Brown (SYCO Managing Director), we’re asking you – please do the right thing by Louis Tomlinson. 

Please give him the best teams you have to work on his album. 

Please bring him the best opportunities for collaborations and production. 

Please give him fantastic press and build his brand into something that is likeable, has credibility, longevity and undeniable success. 

Please highlight his brilliance as an artist and as a human being. 

Please secure the best promotional opportunities for him.

Please throw your support and the weight of your organizations behind him. 

He deserves the support. This fandom will be right there beside you supporting him. You can count on that.

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On this day in music history: June 24, 1967 - “Headquarters”, the third studio album by The Monkees hits #1 on the Billboard Top 200 for 1 week. Produced by Chip Douglas (aka Douglas Farthing Hatlelid), it is recorded at RCA Music Center of the World Studios, Studio C in Hollywood, CA from February 23 - March 22, 1967. By early 1967, The Monkees are at loggerheads with Screen Gems, the company responsible for producing their hit television series. Though highly successful, the band are unhappy (especially Mike Nesmith and Peter Tork who are both accomplished musicians) at having virtually no creative input or being allowed to play on their records. They lobby for and win the right to play on their own records, which leads to the ouster of series music supervisor Don Kirshner. The Monkees lock themselves in the recording studio for four weeks while working on their third album. Writing most of the material included on the LP, many of the songs are worked out while jamming together live in the studio. No singles are released in the US, but spins off a major hit single in the UK with the Micky Dolenz penned “Randy Scouse Git” (re-titled “Alternate Title”) (#2 UK). The album is another major success for the band, quickly rising to number one, but is bumped from the top spot by The Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band” the following week, spending an additional eleven weeks in the runner up position. In time, it is regarded as one of The Monkees best albums. “Headquarters” is certified 2x Platinum in the US by the RIAA.