Pop aficionados among you will remember "Must Be A Reason Why" as a lead track on Shayne Ward's most recent LP "Obsession" that features rising pop vocalist J. Pearl. Now, the track has been repackaged and remixed by none other than chart-topping Dutch DJ Afrojack. The remake is included on J. Pearl's new "Must Be A Reason Why" remix EP that is available now in North America.
The original version of "Must Be A Reason Why" is based on Wamdue Project's 1997 dance smash "King Of My Castle" that gives this updated new version a buzzing, big room club vibe.
The self-empowering, wildly catchy single calls out, "Must be the reason why I'm king of my castle. I know I gotta take control, I never wanna lean on you. You're defined by what you own." J. Pearl notes in a press release, "The song has a message that I like putting out there. About owning my life, autonomy and not backing down from what you believe in."
Afrojack does with he knows best on this remake of "Must Be A Reason Why." He drenches the song original in a gooey bath of dancefloor goodness to give it brand-new, glowing finish that comes with mind-altering synth chords and an evocative dubstep break.
Rob A sure knows how to write a hit. The GRAMMY-nominated singer/songwriter co-wrote legendary tracks for Rihanna ("Disturbia") and Chris Brown ("Forever"), plus he worked with people like Usher and R Kelly. He also wrote tracks like "I Need This" for Jessie J and the very, very good "On And On" for Kelly Rowland. By giving his songwriting a soulful touch and combining it with instantly catchy melodies and an airtight production, Rob A has found his own unique way to bridge R&B and pop, and make it sound fresh and ready for radio.
After writing and producing for other people, Rob A is ready to step into the limelight and perform his own songs. Listen to his brand-new "Dangerous" that is premiering exclusively here today on ArjanWrites.com. "Dangerous" follows his debut single "Wifey Material" that is gaining momentum on radio and is the perfect launching pad for bigger things to come. He boasts in a press release, "The variety of unique voices and character is missing and I'm going to bring that back."
"Dangerous" puts Rob A in pole position for success. The song is a crisp, adrenaline-fueled pop tune with fast-paced verses that lead listeners to a melancholic break before it kicks into a sunburst chorus that will have you reach out to the sky and sing along. It's potent tune that not only shows off Rob A's songwriting savvy but also his talent as a vocalist and performer. Big tune, big potential. Listen to "Dangerous" below and pick it up in a digital store near you on October 20.
You may remember that I blogged last week that Far East Movement unveiled more details about their forthcoming new album in an interview with Billboard Biz. The group shared that they have been working with hitmakers like David Guetta, Bangladesh, Cherry Cherry Boom Boom (aka Cherrytree Records founder and president Martin Kierszenbaum), will.i.am, RedOne and their long-time pals of The Stereotypes who also oversaw the production of the group's debut record, "Free Wired."
I visited The Stereotypes' West L.A. studio last month to catch up on things while Far East Movement had taken over the main studio room to put the final touches on one of the tracks for their new album. Right after I entered the studio and greeted the guys, Kev Nish directed The Stereotypes' Jeremy to play "Jello" to give me a taste of that L.A. heavy bass sound they have been crafting and which will be the sonic backbone of their forthcoming new album.
"Play him 'Jello,'" Nish said, eager for me to hear it. "You have to hear it so you can find out what we've been doing." FM's Prohgress moved me to the middle of the room to make sure I experienced the full surround sound quality of the song. "Stand right here," he smiled. "You gotta make sure you feel it."
And boy, I sure felt it. As soon as "Jello" hit it was pretty clear what this L.A. bass sound is all about. It vibrates right to your core and it makes you move whether you want it or. Ferocious in a good way.
"Jello" is pure bass bliss. Hypnotic almost. Driven by a deep, slapping bass bounce, the track is a banging tune that will devastate the club with its fercocious production work and Far East Movement rhymes about girls, good times and glasses filled with "Cherrytree cola" and a "little Henny." Baltimore's Rye Rye adds some spunk and sizzle to the track to round up what is a surefire club stomper. And this is only the beginning. There's a whole lotta bass where that came from.
After Fall Out Boy topped the charts with songs like "Dance, Dance," "Sugar, We're Going Down" and "Thks Fr Th MMrs," the group decided to go on hiatus back in 2009 so band members could pursue other projects. Singer and lead man Patrick Stump took the opportunity to scratch his creative itch and started work on a solo album, titled "Soul Punk," that is out in stores today.
As the title suggests, "Soul Punk" straddles Patrick's roots in R&B and punk, directions that were not always given reign in his music for Fall Out Boy. The album is an accomplished effort that turned out to be both liberating and cathartic for Stump.
I recently sat down with Stump backstage in his dressing room prior to a show to talk a little more about what inspired the album and what it was like to record by himself without his pals of Fall Out Boy. The self-proclaimed "wall flower" also talks very openly about what it's like to be in the spotlight and how he is coping with the attention as a solo artist. It was a very candid interview with a great guy who has a genuine love for music.
In deference to Prince, a primal influence, Stump played all the instruments on "Soul Punk" by himself, including drums, bass, electric and acoustic guitars, piano, analog synths, drum kit, marching drums, percussion, trumpet, valve trombone, alto and tenor saxophones, mandolin, guitelele, and manipulating various found sounds and ambient noises.
The songs on the new album hit a variety of themes, including Patrick's love for his hometown of Chicago in "This City," a scathing treatise Madoff-era materialism on "Greed" and a reminiscent musing on naïve sexuality on "Allie." He tells me, "A lot of the song deal with consequences."
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