General Manager – Dylan Gutierrez : “Right As Rain” by Adele

Content Director – Vinay Ranganathan : “Skinny Love” by Bon Iver

Events Director – David Levy : “Concussion” by girlhouse

Events DJ –  Negan Fu : “All Too Well” by Taylor Swift

Music Coordinator – Hailey Feller : “So What” by P!nk

Program Director –  Ell Pikor : “Mr Loverman” by Rick Montgomery

Production Director – Megan Atwell : “The Dress” by Dijon

Branding Director – Taylor Eby : “Plan B” by Megan Thee Stallion

Social Media Director – Kshirja Raje : “We Are Never Ever Getting Back Together” by Taylor Swift

Events DJ (ATL) – Caroline Moody : “Before He Cheats” by Carrie Underwood

Assistant Content Director – Clove Morgan : “Hits Different” by Taylor Swift

Assistant Events DJ – Christopher Chin : “Boys Don’t Cry” by The Cure

Assistant Branding Director – Logan Fitch : “Cool” by Gwen Stefani 

Assistant Music Coordinator – Zach Nguyen : “Haunt You (feat. Chloe Moriondo)” by X Lovers

Assistant Program Director – Tatiana Zavala : “Take It Or Leave It” by Cage The Elephant 

Assistant Social Media Director – Avery Naylor-Johnson : “Heather” by Conan Gray

Assistant Production Director – Riley Samz : “minnesota is a place that exists” by glaive

Assistant Production Director – Mairyn McGilvray : “A Case of You” by Joni Mitchell

Listen now on Spotify Staff Picks 

Check out who’s who on “Meet the Staff” 

The post Week 6 Staff Picks appeared first on SCAD Radio.

Love Songs:

1. All this In Heaven Too by Florence and The Machine

By far, this is my favorite love song to date. The lyricism is stunning, adventurous, and immerses the listener in the thrill of love. Rhythm and dramatic shifts in voice resemble the lack of control one has over their feelings. It’s dramatic but raw in its delivery, and we are thrust into sharing in the intensity. To “give all this and heaven too” if we could understand our hearts is a powerful proclamation applicable to those searching for love.

2. Daylight by Taylor Swift

What would this list be without a Taylor Swift song? I feel as though Daylight fully encompasses the relief that comes with the realization of being in love. It follows the singer through her harrowing journey of loss and sorrow then transitions into her newfound happiness. Swift captures the listener with her authentic perspective, as said in her spoken outro: “I want to be defined by the things that I love”

3. Valentine by Laufey

With nostalgic vocals and a soft sound, Laufey brings us back to the innocence andnaïveté of falling in love. Some of us might resist it, fear it, like the singer herself, but love is capable of creeping up on us where we least expect it. Love can be intimidating, but so sweet when it’s felt and nurtured. The emotions we experience as we listen to Valentine align with the bittersweet lyrics, andthetitle is only fitting for the holiday.

4. In A Week by Hozier

Hozier paints a stunning and vivid picture of two lovers dedicated to one another. The juxtaposition of voice between him and Crowley makes for a soothing song that embodies peace. The singer recognizes all of what life has to offer in a symbolic death, the two lovers willing to spend eternity together. “In A Week” emphasizes the importance of “home” as a state of being with the one you love.

5. Friday I’m in Love by The Cure

A classic love song, at least for me growing up. The fun, upbeat sound combined withrepetitive lyricism, takes the listener through the metaphorical days of the week. Everyone experiences hardships, but the relief love can bring is capable of breathing lifeback into us. This song sums up the universal experiences of living with glimpses ofwhat it’s like to be in love day by day.

Break-Up Songs:

1. I Knew You Were Trouble by Taylor Swift

Taylor Swift needs to make two appearances on this list. We witness the combination of sadness and anger as the rhythm and noise build through the song. Her usage of aggressive lyrics transforms into a catchy sound full of feeling. The perfect catharsis to scream along to alone in your car or in a room full of friends, “I Knew You Were Trouble” makes the ideal break-up song.

2. Kill Bill by SZA

Dare I say it would be criminal of me not to include Kill Bill. This song took over theinternet, deservingly so, and is ideal for a fun yet strong piece for Valentine’s Day withfriends in the same boat. SZA wrote this song with her audience in mind, most of us being capable of relating to the lyrics in some capacity. This piece makes use of cinematic reference and catchiness to create an iconic post-break-up song.

3. doomsday by Lizzy McAlpine

A guilty pleasure of mine to indulge in the inevitable melancholia prepared for February 14th. Doomsday is perfect for a crying session for anyone in need of it. The song begins slow, solemn, and steady as it prepares the listener for a powerful bridge. For those experiencing heartbreak, McAlpine helps people feel less alone and comforted byputting into words the disappointment in break-ups.

4. Don’t Hurt Yourself by Beyoncé (feat. Jack White)

One of the best songs to blast in your headphones and feel your independence this Valentine’s Day. Full of rage and power in her sound and lyricism, Beyoncé encourages the listener to rely on their own self-assurance and realize their value. It’s worth noting the degree to which she invests her personal life into this song and how that contributes to the authenticity. This holiday, take her advice: “We just got to let it be”.

5. You’re So Vain by Carly Simon

Simon perfectly summarizes what it feels like to reflect on a past relationship in acheeky way with the perfect dose of jokes at their expense. The sound and lyrics contribute to a fun, colorful song that most can relate to. She sheds light on how bitter feelings can still be described in a lighthearted manner. Overall, the song serves as a perfect break-up track to have a laugh and poke fun at the past.

The post A Valentines Day Special: My Top 5 Love and Break-Up Songs appeared first on SCAD Radio.

General Manager – Dylan Guiterrez : “Just Hold On, We’re Going Home” by Christina Grimme

Content Director – Vinay Ranganathan : “Just Breathe” by Willie Nelson, Lukas Nelson

Events Director – David Levy : “I Did It My Way” by Robbie Williams

Events DJ –  Negan Fu : “Valerie” by Mark Ronson & Amy Winehouse

Music Coordinator – Hailey Feller : “How Will I Know” by Sam Smith

Program Director –  Ell Pikor : “blister in the sun” by mxmtoon

Production Director – Megan Atwell : “Silver Dagger” by Fleet Foxes 

Branding Director – Taylor Eby : “Happier Than Ever” by ASTN

Social Media Director – Kshirja Raje : “All Too Well” by Taylor Swift 

Events DJ (ATL) – Caroline Moody : “Back to Black” by Rachel Crow

Assistant Content Director – Clove Morgan : “The Gold” by Phoebe Bridgers 

Assistant Events DJ – Christopher Chin : “Ivy” by Chalk Talk

Assistant Branding Director – Logan Fitch : “Cheek to Cheek” by Tony Bennett, Lady Gaga 

Assistant Music Coordinator – Zach Nguyen : “I’m On Fire” by Gus Dapperton 

Assistant Program Director – Tatiana Zavala : “Dreams” by Japanese Breakfast

Assistant Social Media Director – Avery Naylor-Johnson : “Across the Universe” by Fiona Apple

Assistant Production Director – Riley/Teysa Samz : “No Rain” by Sleeping With Sirens 

Assistant Production Director – Mairyn McGilvray : “Lola” by The Raincoats

Listen now on Spotify Staff Picks 

Check out who’s who on “Meet the Staff” 

The post Staff Picks Week 4 appeared first on SCAD Radio.

In the opening number, Kacey and James Corden attempt to sing “Let It Snow” but are continuously bombarded by a blizzard pounding them through flimsy windows. A redundant laugh track kicks in as the scene sets the corniness bar for the rest of the 45-minute special. During Fred Armisen’s spot on “Silent Night,” the two are interrupted by a carpenter doing obnoxiously loud work in the same room. The gags are rather lame and predictable- after the guy hammers a wintery landscape painting above the fireplace, you know it’s gonna come crashing down while Kacey and the Portlandia star perform the gentle carol.

However, it can’t help but feel on-brand for Kacey. The cheese is much more stomachable coming from someone known for silly yet clever songwriting. Remember, this is the woman who told us on one of her best singles to “mind your own biscuits and life will be gravy.” She’s already got viewers in a suspension of belief for seriousness, so the lowbrow jokes fit in- including the ones delivered by Dan Levy’s banal narration. 

“The covers opt to instead throw in another one of Musgrave’s celebrity friends instead of putting a spin on the originals.”

The best songs are easily the ones Musgraves wrote herself. “Present Without a Bow” with Leon Bridges appeared on 2016’s A Very Kacey Christmas and is easily the angel on top; it’s a cute and much less controversial replacement for “Baby, It’s Cold Outside.” The covers, on the other hand, toss in one of Musgraves’ celebrity friends as their main selling point instead of putting a spin on the originals. Basically, if you like the guest artist, you’ll like their number only because it has them on vocals. It’s a missed opportunity that they chose not to rework a single classic to match the featured artist’s subgenre. For Lana Del Rey’s “I’ll Be Home For Christmas,” the pair duets nicely, but there are no spacey harmonies or Hollywood sadcore to truly make it a Lana track. A Latin pop-twist akin to “Havana” could’ve been an exciting direction to take Musgraves and Camila Cabello’s “Rockin’ Around the Christmas Tree,” but we’ll never know.

While the special may be saccharine at times, it never goes full-on Hallmark Original. The “Christmas Makes Me Cry” sequence is another present from Musgraves, a track for those spending the season alone. It’s handled with her usual empathy, contrasting with the persistent red and green twinkle to keep the sappiness in check. It comes in as just the right time, too, directly following the tacky comedy from Armisen’s bit. 

The album version of the special is identical to the show itself, the audio broken up into LP format. The only thing that would get you to watch the special over listening to the record is the visuals, which fail to add extra tinsel to the songs. Despite the large Amazon budget, the sets aren’t any more magical than your local theater group’s production of A Christmas Carol. In most scenes, we’re treated to typical mistletoe-decked living rooms, save for that gaudy pink mess in the “Glittery” segment with Troye Sivan. The concluding “Ribbons and Bows” is an exception, with The Rockettes and many other dancers delivering the explosive sendoff we knew Musgraves would live up to. Unfortunately, that’s the only part with plenty of choreography. The other numbers fail to reach the same energy, with Musgraves and her guest mostly stagnant for the duration of each song. By the time you get to the finale, you’re ready for New Year’s.

The Kacey Musgraves Christmas Show is a sweet little special, but not one that’ll become an annual household tradition. It doesn’t do enough to expand on the music, and the jokes don’t hold a peppermint-scented candle to Christmas Vacation. It’s by no means coal in your stocking, but it’s better suited in album form to pop on during your Christmas Eve drive to grandma’s house.

The post ‘The Kacey Musgraves Christmas Show’ is Very Campy, But Very Kacey appeared first on SCAD Radio.

Your next album Scorpio Moon is out May 31st. Can you describe the new LP in one sentence?

Sara Rachele- Like Emmylou Harris fell down a well and turned into Alice in Wonderland.

Your music combines a lot of elements from folk, country, and pop rock. How do you pull it all together to make the style that you like?

I grew up listening to a lot of ‘60s pop and for me, the music that I listen to directly informs what I write. I grew up in the South and growing up in Georgia, it sounds a little bit like Americana, but then listening to a lot of old music makes it sound [older]. I think that’s why it comes off as a little folk, a little Americana, a little old school.

In an age where more musicians are creating music that’s more slowed down and chill, how does your music fit into that landscape?

I just kinda ignore the landscape. I don’t know, but I imagine if you ask other artists who are making more dreamy, studio-based music, they’d probably say they ignore it, too. They just make what they wanna make. So for me, I just make what I wanna make.

Your lyrics can be really melancholic. Do they come from lived experience or are they impersonal and just there to help set the mood of a song?

It depends, I generally write from stories of my own. If they’re not autobiographical, I’ll write some stories I have heard, stories that I find interesting to tell. On this album [Scorpio Moon], there’s songs that have previously been recorded by other recording artists, but beyond that, these songs are autobiographical in nature.

Who would you want to collaborate with in the future?

Oh, man. There’s so many people! Anybody? Alive or dead? Phil Spector. Which I know is impossible, but you never know!

(laughs)

Your Instagram is very eccentric; lots of black and white photos with interesting quotes. What thought goes behind the posts you make?
I grew up in a family of artists, like, visual artists. I’m a pretty terrible digital artist. I like photography a lot, so a lot of what’s on my Instagram is stuff that I’ve shot myself. A lot of that is stuff that I find interesting artistically, whether it’s something I’m working on, something I’m going through, but I love monochrome and I feel really at home with analog music recording as well as 35mm film. I think what goes behind that is a large question, but I’d love to do a photo show at some point and delve a little bit more into how that goes. I write poetry outside of my music, that’s a place where I kind of connect words, visuals, and music altogether.

The post Interview With Indie Folk/Alt Country Star Sara Rachele appeared first on SCAD Radio.

Runaway June is an upcoming, all-girl trio. I couldn’t see much of them since as I was sick, I opted for sitting in the grass rather than being close to the stage, but they still sounded great! Up next was Midland. Before any of the bands started, I got the chance to meet Midland— the band I was really there to see—who’re straight out of the 70’s. They look, talk, and perform like you’ve gone through a time capsule, which is pretty cool. Jon Pardi played last, playing the longest set late into the evening, in which everything really became a party then.

The Jon Pardi party was a lethal mix of square, drunk, and just plain bad dancing. One of my favorite dancers were a group of older women who just couldn’t see to find a beat, even though most of Pardi’s songs have simple beats. Another was this older man who appeared to be with his wife and teenage daughter. He was dancing so badly and laughing so much that it was easy to see that he was having a great time embarrassing his daughter.

Overall, amidst the very different sub-genres of country that were compiled for this show, the baseball park atmosphere, and all of the laughably awful dancing, the Lucky Tonight Tour seemed to be an all out success.

The post A Pardi at Grayson Stadium appeared first on SCAD Radio.

Andrew Carter’s self titled album, released earlier this year, is a seductive mix of rock and country. The music calls to mind the music of Americana greats like Lynyrd Skynyrd, The Allman Brothers Band, and Hank Williams Jr., which make Carter the perfect man to be leading the revival of classic style country-rock.

Here’s a look at SCAD Radio’s interview with Andrew Carter.

You released your self titled album at the beginning of this year. Is there a song off of that album that you’d recommend as an entry point into your music?

Well, it really depends on whether you want a fast song or a slow song. On the slow song side, I’d have to say my favorite and the one that is most descriptive of me as a writer would be “Six Thousand Miles.” That’s a nice slow song about hitting the road and going the distance for what you love. I really like that song a lot and I think a lot of other people will too. On the faster end, “Ghost of Me” is one of my favorites. It’s a little bit more of a honky tonk song about getting older and what that means as somebody that used to be a bit of a hellraiser who’s not so much anymore. I think both those songs are good jumping points into who I am as a writer.

What was your experience like recording this album?

Oh man, my experience with this album is way different than any I’ve ever had before. My biggest difference in how we’ve done it now versus how we’ve done it before is the time I’ve put into it. I’ve put a lot of time into this album.

I put a band together in order to get this album together. I didn’t have a band already, but I knew I needed one in order for these songs to come to life. I recorded six songs down in Florida and I knew they needed to come to life more than that and I happened to know the right people. I had friends up in Nashville that I knew could do it. We got together and kind of just worked them out live. We decided to listen to the people and listen to what they had to say about the songs. We played thesesongs live for about a year before we even stepped into the studio.

That made a huge difference in how we recorded this. The difference was that we didn’t spend a lot of time in the studio figuring stuff out. We know what we wanted and we knew how we wanted it to sound. We also went to an analog studio up in Nashville and that opened up some doors –and closed some as well. But that certainly amped up the experience as well. When you do a take, you can’t go back and fix it too many times. After a certain time, you’re losing the continuity of the take. You know, you want to get it right at least the first five times. And the band I went in with, The Bumbs — on their own, they’re one of the best bands that I’ve ever known. And I’ve known some pretty damn good bands in my life. And working with them and being with them has been great for getting in and out and make it cool and make it a great experience for everyone involved.

I really attribute the whole experience to recording with The Bumbs. And working with tape really helped solidify what we were doing. It was a lot of fun. It was probably the best experience I had recording.

Were there any struggles that you came across during the recording process?

Not really. All the prep we did with getting the songs down as well as getting in the studio and talking with Eddie, the engineer, about microphones and getting all of that set up and figuring out a few set ups really helped. We didn’t really run into any struggles or anything. I have a record label now and their support really helped as well. There’s two sides to it. One of those halves is me. The other is family. All their support really helped as far as not having to worry about how we’re going to pay for it and stuff like that.

I didn’t come across any struggles. This album was meant to be. I was meant to record this album. I was meant to do it the way we did it.

It did sort of start out difficult, though. We went through a studio beforehand and we worked on it and we weren’t getting the sound that we were looking for. We weren’t getting the feeling we were looking for. That would have probably been the only struggle that I had to deal with. But after that, when we got into the studio, there were no struggles.

It sounds like the perfect situation for recording.

It really was. I couldn’t have asked for a better situation or a better band to back me up. The studio itself, The Bomb Shelter, and the guy that engineered it – that helped a lot. He understood me a lot and it really helped pick the right microphones and the right amps and all of that. And the guy that mixed, he’s mixed some pretty great musicians before we came along. Everyone that came together in the studio really helped make it great.

Is this your first time working with The Bumbs and this engineer?

It’s my first time working with The Bumbs and this particular engineer. It is also my first time recording my own music with The Bumbs. I have actually produced a Bumbs demo album about three years ago in Nashville. So, I’ve been working with The Bumbs for a while, they just haven’t always been my band.  

How did you come across the inspiration for what to write your songs about?

I write the truth. You know, for so many years I’ve been with so many bands and projects in so many different genres and for a long time I was just writing songs to write songs. And nobody paid any attention — myself included — until I started telling the truth. I started telling the truth as far as what was on my mind and I wasn’t sugar coating it or holding back if it is gritty and dark and I am having fun with it if it is lighthearted. [laughs] So really, I pull all my inspiration from the truth of my life and the lives of people I’m involved with. The song, “Long Road Home,” is about my friend and how she went out to California and got an RV and was driving it back. We were talking back and forth as she was doing it and she was going through some troubles back in Nashville and she was clearing her head and that’s what the song is about. It’s a truth of my life and a truth that was happening at the time that I was writing it. And so, my greatest inspiration is that I just pull it from the truth.

Now, you’re a guy who grew up in the South. Has that influenced you in anyway? Does the region play a part in your music?

Yeah it does, especially on this album and a couple albums a long time ago. Just the sheer knowledge of the region alone has helped with the writing process. Just being able to cite landmarks and things like that. Actually knowing what you’re talking about and which direction you’re going on on the interstate when you’re talking about those landmarks certainly helps a lot. Growing up on a farm as a kid definitely helps with some inspiration for these songs.

I’ve lost most of my southern accent over the years but it shines through here or there. It really comes out in my writing because I want my songs to be as natural as they can upon delivery. So when I sit down and get real, that’s the voice that comes out of me. You know, we had trucks and we drove them and we got in trouble. We had to jump a few fences here and there. Growing up in the South is definitely an influence as far as how I write and how I perform. But I also love the entire United States. I just did a huge tour, a solo acoustic tour across the country here and back. I watch documentaries on America all the time and I just love all of it. It’s always nice to come back home. Not necessarily to the South, but to home in general. You know, family and my friends. But I think I owe a lot of what I am to being from the South and growing up around the culture there. Especially the music and growing up around people listening to the sounds of the South. That was great inspiration for what I’m doing today.

You grew up playing drums and then more recently had a dance-pop project, Masseyvibe. Did either of these projects help you grow into your current southern rock sound?

No, not really. Just growing up, listening to the radio. You know, Marshall Tucker, Lynyrd Skynyrd, Charlie Daniels, the Crowes and just a bunch of those type of people. That’s really what got me to the sound I have now. If you listen to it and can’t tell that Lynyrd Skynyrd was an influence, then you aren’t listening to this album. I can’t really say that Masseyvibe — which was a blast — doesn’t really have anything to do with my current sound. Now playing drums, I can attribute that to everything I’ve ever done. Drums started it for me and keeps it going for me. And on any album that has live drums, I can communicate with the drummer that I’ve brought on for the project in a way that drummers can communicate. That helps me out a lot, especially on this album. You know, two drummers got together and put this album together. Now to say that either of these things helped me grow into my southern rock sound — I can’t say that it did. But they certainly both kept my love for music going and that’s pretty important to me.

Are there any albums or artists from other genres that have helped shape you as a musician and songwriter?

Absolutely. If it wasn’t for the bands that I heard on the radio and the bands that they used to play on MTV, I wouldn’t have ever cared about music. The Rolling Stones — just number one as far as rock ‘n’ roll goes for me. As far as I can remember hearing The Rolling Stones’ music, I’ve been loving what I hear. As I said earlier, The Black Crowes have influenced me a lot. And they’re not country or anything, they’re just kind of rock ‘n’ roll. But I can get into everything. There’s a bunch of rappers I can get into. Old school rappers and new and what’s going on in the underground. There’s a lot of underground club rap that I really like. Skater rap is what they call it because a lot of them are skateboarders as well as rappers. I’ve been into them a lot. But yeah, The Rolling Stones were the first album I ever bought. That’s just exciting music to listen to and it got me excited to see what they would do with their next song. Paul Simon is a big one that always surprises people. The Graceland album — it changed my life. I can’t tell you how many times I’ve covered Graceland in Nashville and many other places. Paul Simon and The Rolling Stones were pretty much everything for me and knowing that I wanted to be a part of what they were doing. I would definitely put those two right up at the top of the list.

Is there a new album currently in the works?

Well, I’ve actually got two that I’m working on right now. There’s going to be one called Songs I Love, and that’s exactly what it is. It’s going to be a collection of songs that I love and a couple of songs that I wrote. I’ve also got an all acoustic, all original later on in addition to the covers album that I’ve got coming out in the spring of 2018. When I say all acoustic, it’s still going to have drums and percussion and all of that. But it’s going to be keeping the electric guitars down to a minimum. So I’ve got those two in the works and I’m really excited about those and working with The Bumbs on both. I’ve never put out an all acoustic album before, so I’m pretty excited to see how that sounds at the end of it all.

What else is coming up for Andrew Carter?

I’ve got touring and shows coming up in 2018. I’m down in Florida and we had this hurricane coming and we were prepping. Now, we’ve got a lot of cleaning up to do. So that kind of put a hold on a couple of things. But we’ve got some shows coming up later this year up in Atlanta and up in Nashville. I’ve got a couple videos I’m working on right now. I’m working on “Ghost of Me” which is going to be a lyric video. We’re also working on a video for a song called “The Weekend” off of this album. That’s just going to be a fun, big deal. I’ve got my own record label called DogSong Records and we’re going to be seeing what that’s all about and figuring out the best thing to do as a label owner. That’s going to take a lot of time. Next year is when we start getting out on the road big time and play some shows and some festivals and a couple club dates and hopefully some radio shows. So, we’ve actually got a lot coming up and if you go to the website, all that stuff’s up there.

Anything else you’d like the SCAD Radio community to know?

Well, speaking of the website, you can find me at andrewcartermusic.com. We’ve got a lot of stuff up. Some photos and some music is up there for streaming and purchasing if you need to and some calendars. Also, you can check me out on Facebook at facebook.com/andrewcarterforreal. I do have some merch that we’re working on. We’re going to be coming out pretty strong with merch in 2018. We’ve got some cool t-shirt designs that a buddy of mine and I are working on. Just go through and let me know you’re there and talk and hopefully I’ll see you out at some shows.

Stay tuned to SCADRadio.org for the latest and greatest in music news.

The post INTERVIEW: Andrew Carter appeared first on SCAD Radio.