After reuniting with Ultravox and recording an album together, Midge Ure is touring the U.S. for the first time in decades. While he is set to play in major cities for the bulk of his time in the states, Ure made a stop to perform at Bearsville Theater in the upstate New York town of Woodstock.
Before Ure made his way to the stage, his backup band, Right the Stars, also served as the opening act. The 80s-influenced group of young fellows won the crowd over quickly, reminding new wave fans that their music lives on. They carried the spirit of New Romantic with a bit of a modern touch.
The crowd at Bearsville was eager to see Ure perform, the ages ranged from longtime fans to youngsters who weren’t born before “If I Was” ruled the U.K. charts. Ure took to the mic with an all black outfit and quite stylish blood-red tie as he led off with “I See Hope in the Morning Light,” from his 1991 Breathe Album. Ure mixed classics from Ultravox, his solo work and his biggest Visage hit, “Fade to Grey” throughout his set. The selection did not feature all of the Ultravox chart-busters, although crowd-pleasing classics like “Vienna,” If I Was” and “Dear God” were among those highlighted. Ure, like many early new wavers, knew his concert-goers would appreciate some of his deeper cuts in between the ones he and his bands were most known for.
Ure is the kind of performer who does not need to move around stage or make dramatic poses to command an audience. He makes that kind of skill look simple as if the crowd is his from the first note. It was as evident at Bearsville Theater in 2013 as it was at Live Aid in 1985. Still, he was very personable with his fans at the show and his comical quips and anecdotes seemed genuine and not forced or generic.Concert-watchers responded vocally and with some rather snazzy dance moves in front of the platform.
For his encore, Ure treated his faithful with an acoustic version of “Do They Know It’s Christmas,” the song he co-wrote for the Band Aid project (of which he is the trustee).
Ure says he is very happy to be back performing on the western side of the Atlantic: “It has been fantastic so far, people are so incredibly gracious… incredibly warming.”
He also says he plans to get more things rolling with Ultravox: “That’s the plan… I’m not going to give up, I’m going to keep hacking away until it happens,”
Ure started his U.S. tour on January 9 at New York’s Iridium Theater and will be on the road through hsi January 26th show at the Del Rey Theater in Los Angeles, CA. The latter show is a special one-off with Bow Wow Wow and Gene Loves Jezebel.
The second night of Concrete Blonde’s December 2012 Eastern U.S. tour saw the band play to a crowd of fierce fans at New York City’s Irving Plaza. As the alt-rockers were hardly conventional from their Dream 6 days onward, the same can be said for their most devoted fans and what they want to hear. Knowing this, the band eschewed conventional concert wisdom when it came to arranging their show to reflect their most hard-core fans.
The opening act, Jim Bianco, was a jovial sort in a new-punk kind of way. He was funny, interacted playfully with the audience and performed powerfully during his one-man set. Bianco proved to live up to the raves he received from Johnette Napolitano during a recent interview on Revenge of the 80s Radio.
As most 80s-era bands would tend to lead off their set with a classic song, using their new music later in the set and saving their most popular one for last, Concrete Blonde went in an entirely different direction: they started with their newest single, the somber country ballad, “Rosalie,” followed it Midnight Oil’s “Beds Are Burning” (with a heavy guitar-driven sound led by James Mankey), went into the flip side of their new single, “I Know the Ghost” and then played their biggest chart-hit, “Joey.” This showed the genius of the band, as they were well tuned into what their most devoted fans wanted to see.
For the rest of the set, Concrete Blonde mixed original music from each of heir albums with rock classics laced with their own musical flavor. Napolitano meshed her dark, hypnotic dark vocal style with classics from the likes of Talking Heads, the Rolling Stones and their own 2004 cover of “Ghost Riders in the Sky.”
The band weaved in their most well-known tracks throughout the show, but closed out with an encore that pleased the crowd of their most dedicated fans immensely: the title track to their 1990 Bloodletting album.
Napolitano’s ability to match her voice with the character she is playing or the person about whom she is singing shines when she is on stage. She conveys sympathy as the girlfriend in “Joey,” power in “I Know the Ghost” and “Bloodletting,” comfort to the lonely cowboy’s girl in “Rosalie” and somewhat snarky pessimism in the band’s cover of Leonard Cohen’s “Everybody Knows.” On the axe, Mankey drove the set and its tempo as he seamlessly switched between more mellow and ultra-heavy guitar leads. His solos buzzed from the stage as a chainsaw would if there could be a chainsaw virtuoso that could also move the emotions of the people listening.
Ska royalty meets the High Priest of Power Pop: Dave Wakeling’s English Beat and The Paul Collins Beat are touring together for the first time. Under the title Two Beats Heart as One, they make a stop in New York City, playing in front of a lively crowd at B.B. Kings Blues Club and Grill on 42nd Street.
Although both Beats formed in the late 1970s with the same band name and have been touring regularly in recent years, never have the two played together until this October. In a recent interview on Revenge of the 80s Radio, Collins recalled times where the two groups played in the same city and one time across the street from each other on a night in Pittsburgh. Finally, the two Beat leaders made the plan, which included their October 16th date at B.B. King’s.
The Paul Collins Beat took the stage first in his home town, kicking off his set with two Beat classics, “I Don’t Fit In” and “Workaday World.” His guitar-driven power pop was a sharp contrast to Wakeling’s brand of ska, but fans of both bands were quick to get up and dance to Collins’ timeless grooves. He mixed Beat staples with a couple of songs from The Nerves and The Breakaways as well as something from his newest album, The King of Power Pop.
Collins, being the de facto point man for the power pop genre, is looked to as a leader for DIY bands across the world. He and his band did not disappoint concert-goers. They came out in t-shirts and played hard, as would a championship hockey team’s top checking line. Even though one got the impression these men were hard at work on stage, they also looked like they were genuinely having fun. While not moving much, Collins commands the stage simply by making a stance, leaning forward a bit and strumming the guitar with unmatched drive. After playing several powerful tracks including “The Kids Are the Same,” “Rock and Roll Girl” and “Walking Out on Love” The Beat closed its set with the slightly-lest-fast hit “Different Kind of Girl.”
The English Beat performed next, with Wakeling leading the set off with a song that did not chart, “Rough Rider,” before instantly going into their first hit, “Tears of a Clown.” As always, Wakeling plays classics from both The English Beat and General Public, but he likes to mix in some deeper cuts as well. Fittingly, they played “Click, Click” mid-set, which mixes super-charged ska with a bit of Collins-esque power-pop (maybe some more power pop bands should consider adding a saxophone player).
English Beat fans were treated to extended, jazzed-up versions of some of the band’s biggest hits, energetic solos from each member and outstanding original rhymes from Antonee First Class (Ranking Roger fronts his own English Beat band in the UK). Wakeling has put together a group of stellar musicians who match the quality of his original band.
As always, B.B. Kings is a fantastic venue to catch a good show. There are no bad seats and a dance floor for fans who want to let loose while watching their favorite artists on stage. The servers were prompt and courteous as well. I am always happy to quaff a Guinness while reviewing shows there, and I will gladly recommend their homemade key lime pie to you if you fancy an exquisite dessert.
Of his first U.S. tour in over 20 years last year, Ivan Doroschuk said he had a blast performing his classic hits. Thus, it is natural that Love in the Age of War would be a virtual throwback to Men Without Hats’ years of early success, with high energy synth tracks reminiscent of Rhythm of Youth and Folk of the 80s (Part III). Back are the raw, upbeat keyboard melodies and bass lines that anchored the MWH signature sound as Doroschuk superbly employs his signature baritone voice, one-beat falsettos and ability to stretch out a one syllable word into several (‘everybody kno-o-ows”).
The lead track, “Devil Comes Round” hits the listener with early new-wave “space age” effects and retro-style pitch bending before Doroschuck’s booming voice comes in, a voice that mellows out a bit for “Head Above Water,” the first single from the album. The latter mixes a more modern pop approach to the classic MWH style. Those cuts are contrasted by the title song, which cunningly switches from the instrumentally raw (similar to the reprise version of “The Great Ones Remember” and “Things in My Life” from Rhythm of Youth) to a chorus that pays homage to the band’s Pop Goes the World and …In the 21st Century albums.
A master of the avant garde, Pascal Languirand brought his unusual brand of music to the mainstream in 1983 with “Living on Video” two years after writing it. Little did he know it would become a new wave dance classic. Nearly three decades later, Languirand brings his Trans-X project back to life with a new album, Hi-NRG.
After “Living on Video’s” international success, Languirand made the surprising move away from trying to produce hit music. In a recent interview on Revenge of the 80s Radio, he said he was not happy with the attitude of industry leadership: “all the record companies were mostly into selling a record fast and not developing an act… I got out of the music business altogether for about ten years.” Languirand continued to cerate pieces stemming from the cosmic genre he originated.
Only Nikki Corvette can get people up and dancing to a song about dealing with people of the despicable sort. The power-punk queen proves that once again with “I’m Stronger,” the lead track to her first solo release since 2006, which is set to be available worldwide on April 14th.
In the first track, “I’m Stronger,” Corvette sends a strong message with no-nonsense lyrics like “Got so tired of your indiscretion/and stupid little lies/it’s all past now/left you behind me/you’re just not worth my time,” through her classic musical persona: a mix of toughness, attitude and a playful coyness that can say both “come hither” and “don’t mess with me” at the same time.
“’I’m Stronger’ is for everyone dealing with mean, spiteful people and standing up for yourself by being better than they are, standing strong. It’s pretty power-pop,” says Corvette.
Continue reading on Examiner.com Nikki Corvette comes back “Stronger” with new solo tracks – National Alternative Music | Examiner.com http://www.examiner.com/alternative-music-in-national/nikki-corvette-comes-back-stronger-with-new-solo-tracks?cid=db_articles#ixzz1ry0ykufE
As innovative as Thomas Dolby was in the 1980s, his visionary edge to music and presentation continues to impress as the synth-whiz brings his latest imaginative concoction, a time capsule, on his current U.S. tour.
On March 29, 2012, Dolby brought his keyboards, band and his clever contraption to New York City’s Canal Room.
One might ask: “How might a man who became arguably the face of synth-new wave, developed an efficient music downloading format, blindsided fans with a superb eclectic new album and accompanied that with an interactive internet game top all of that?” Dolby’s longtime fans found out that night as the capsule rolled in, attached to the his tour bus after a stellar night of classics, stories and new music from the man who brought them tales of submarines, pirate twins and hyperactivity.
Over six years since her last new studio album, Kate Bush is back with 50 Words For Snow, a beautifully-composed set of tracks from one of history’s most unique musical minds combining wintertime imagery, romance, drama, wonder and a touch of whimsy.
Each of the seven tracks in 50 Words For Snow is chilling in its musical imagery, but with the comforting sounds of Bush’s teasingly enchanting voice. For the album, she recruited top-notch jazz-rock greats Danny Thompson (bass) and Steve Gadd (drums) to form a studio supergroup while some other famous friends made guest appearances.
The lead track, “Snowflake,” sets the tone of the album as Bush’s sensual vocals bring to life a calming snowfall mesmerizing an otherwise noisy town to a blissful serenity. We are also treated to Bush’s talented son, Albert, singing the high part. Each of the tracks continues the wintry theme as one naturally segues into the next. Bush’s haunting intro to “Lake Tahoe” brilliantly foreshadows her gently…
More than 20 years after Thomas Dolby released his last album, the synth-wiz is back with a new set of tracks. While fans might be looking forward to a cache of catchy keyboard riffs, crazy vocals and a cornucopia of mind-boggling studio effects, they will be in for a true surprise. For the bulk of A Map of the Floating City, Dolby turns away from the computer-based genius he is most known for.
Dolby is considered one of the finer producers and keyboardists of the new wave era, a distinction that often overshadowed his vocal talents, which are more prominently showcased in A Map of the Floating City. He also shows a more subtle creativity, opposite his 80s style, through the arrangement of the album. Neither of his first two tracks are, musically, an indication of what is to come in the rest of the collection, but the lyrics to “Nothing New Under the Sun” preview his intentions with some tongue-in-cheek disdain for living a bit too much in the past and not expanding one’s musical talents: “Hey, any fool can write a hit… I can smell my own armpit.”
Still, Dolby does pay homage to his own past with the second track, “Spice Train,” which mixes his 80s electro-synth-funk prowess with…
Continue reading on Examiner.com CD Review: Dolby “Maps” out new territory – National Alternative Music | Examiner.com http://www.examiner.com/alternative-music-in-national/cd-review-dolby-maps-out-new-territory-review#ixzz1dM0H8FyQ
Winding down the end of his first U.S. tour in over 20 years, Ivan Doroschuk clearly is enjoying his trip back. The Men Without Hats frontman brought a plethora of enthusiasm and vintage moves to New York City’s Best Buy Theater on September 23, 2011.
On this particular date, Ivan and his newest Men Without Hats lineup shared the bill with The Human League. They also headlined their own shows during the trip, as well as having shared the stage with the B-52s and Devo.
August Darnell continues to be one of the more dynamic and fascinating characters in alternative music. His suave style and smooth voice actually compliment the egotistical playboy character he concocted known as Kid Creole. Darnell continues to be one of music’s great visionaries today. His latest album, I Wake Up Screaming, combines all the charm of the Kid and Darnell’s always-cool delivery and a voyage through several historically significant musical genres.
I Wake Up Screaming injects elements of classic Kid Creole and the Coconuts with a comparatively smaller ensemble while Darnell pays homage to his influences and musical interests. The album also showcases Darnell’s ability to tell an interesting story through a catchy, danceable composition. He collaborated with Andrew Butler on the creation and Darnell’s son aided in the production of the album.
Julie Brown has been very busy over the years with video projects that it could, for some, be hard to believe that it has been 24 years since the release of her last full-length studio album. While she has won acclaim for several movie and television projects she created and starred in, it was comedy music that exposed the talented comedienne to the entire nation. Today, Julie Brown continues to be a master of the art of pop-culture parody. With her new musical re-release, Smell the Glamour: The Diamond Tierra Edition, Brown offers a stunning and hilarious mix of modern and vintage Julie.
It is difficult for an artist of the 1980s to break from being known mainly for his or her work during that era. Julie Brown could easily have remained content with being remembered for her video for “The Homecoming Queen’s Got a Gun” and her movie Earth Girls Are Easy. She could also have chosen to ditch her 80s Valley Girl-attitude character in favor of the flavorless comedy and musical styles seen regularly today. Brown did neither, with every post-Earth Girls project (Medusa – Dare to be Truthful, Attack of the 5′ 2″ Women, Strip Mall, etc), she incorporated some classic Julie with the new attitudes she found and lambasted. This is evident and exceptionally executed in Smell the Glamour.
Continue reading on Examiner.com Review: Julie Brown's "Smell the Glamour" has a zesty aroma - National Alternative Music | Examiner.com http://www.examiner.com/alternative-music-in-national/review-julie-brown-s-smell-the-glamour-has-a-zesty-aroma-review#ixzz1VK6HhUi0
I recently took time to see the David Bowie: Artist exhibit at the Museum of Arts and Design (MAD) while in New York City on Thursday. The retrospective features several videos spanning Bowie’s entire career, live shows, his acting prowess and a look at his artistic roots and influences. The museum also screened a documentary on the singer/producer and offered younger fans a chance to catch him in “The Man Who Fell to Earth,” Bowie’s first starring role.
While at the sixth-floor exhibit, there were fans of all ages paying homage to one of the 20th century’s most dynamic and diverse artistic talents. While the early 80s videos brought back some memories, it was good to see his videos from the 1990s which were rarely seen in the U.S. Still, when looking back at Bowie’s early work, his pioneering video effects that may seem primitive to the digital age producers of today actually brought to life the idea of adding visual artistry to the music video — a strategy quickly adapted by select producers in the US and UK and eventually led to the golden age of music videos.
Overall, the exhibit is both enjoyable and intriguing as it gives the viewer a real look into Bowie’s full history and background as an artist and showcases his talents in everything from cabaret to painting to mime to cool suits.
The David Bowie: Artist exhibit will be at the Museum or Arts and Design (2 Columbus Circle, NYC) through July 15th. Information on the event and admission can be found on the MAD website.
After the success of her 2009 electronica CD, Tag, Kid Creole and the Coconuts co-founder Adriana Kaegi continues to create her own brand of downbeat lounge “chill-out” music. Her latest single, “He Delivers,” is a combination of charming lyrics, smooth pace and rhytmic ease with Kaegi’s sultry vocals. The track is the follow-up to her enchanting 2010 tune “I’ve Been Going Out.”
“He Delivers” is a sultry, romantic love track featuring Kaegi smoothly transitioning between a tempting tenuto to a cute, bouncy staccato and a little spoken word. Through her lyrics, Adriana describes the “man of her dreams” as not the typical hunk or faceman but a person she feels comfortable with, makes her smile and can “deliver like FexEx.”
Continue reading on Examiner.com “Mama Coconut” Adriana Kaegi “Delivers” with new chill-out single – National Alternative Music | Examiner.com http://www.examiner.com/alternative-music-in-national/mama-coconut-adriana-kaegi-delivers-with-new-chill-out-single#ixzz1Q833EZRg
Proving rumors of a new album to be true, original Cars members Ric Ocasek, Eliot Easton, Greg Hawkes and David Robinson (Benjamin Orr died as the result of cancer in 2000) release Move Like This, their first new album since their 1988 breakup.
Move Like This is less reminiscent of their more pop-oriented work from Heartbeat City and afterward, but more of a throwback to the band’s late 70s/early 80s raw Boston new wave sound. Thus us quickly evident in the album’s first track, “Blue Tip,” a funky-ish commentary on wannabes, conformity and current style fads “Well, keep your hat on backward and keep your lips tucked in/the world is full of quackers, and belly button rings.”
Part of what made The Cars special to their fans has been their ability to write and perform catchy tunes that switch from being synth-dominant and guitar-oriented, yet somehow keeping a consistent sound recognizable to music listeners as their own.. It would also seem that, by design, the band purposely triggers memories of past hits with the intros to some of the tracks: on example is the initial guitar riff in “Sad Song,” which sounds a lot like the intro to “My Best Friend’s Girl.”
Continue reading on Examiner.com CD Review: The Cars stay true to their original sound with Move Like This – National Alternative Music | Examiner.com http://www.examiner.com/alternative-music-in-national/cd-review-the-cars-stay-true-to-their-original-sound-with-move-like-this-review#ixzz1OtMYMF00
It would be agreeable to many that an historic village with a hand-cranked draw bridge and home of the Erie Railroad’s famed “last stop,” where World War II soldiers would be deployed to Europe would be an appropriate place for master storyteller Stan Ridgway to display his craft. On May 5th, 2011, for the first time, Ridgway and his fans converged at the rustic, yet cozy Turning Point Cafe, which provided a fitting intimate salloon atmosphere for his brand of new wave Americana as the band continued the Eastern U.S. leg of their tour.
Ridgway and the band thoughtfully mixed the play list, which spanned his career from his time as the voice of Wall of Voodoo to his recently-released Neon Mirage album. They began with the new “Scavenger Hunt,” then played Voodoo’s “Tomorrow” and one of his 80s solo hits, “Lonely Town” to lead off the set, which also included an acoustic version of Ridgway’s first international hit, “Camoflauge” and what was to become WOV’s signature cut, “Mexican Radio.”
Stan Ridgway’s presence on stage is like that of a classic crooner crossed with a scoutmaster who tells scary stories at a campfire. Although the tales are compelling enough when listening to his music on a CD, Ridgway’s stance, movements and facial expressions add a more eerie dimension to his story-songs to the extent where fans — who already know the lyrics — are still staring in anticipation of what happens next.
With her unmistakable voice and unique mixture of classic new wave and psychedelic guitar twang, Josie Cotton is back with her first album since 2007’s Invasion of the B-Girls. While that was comprised of covers from classic B-movie soundtracks, Cotton beguiles her fans with sultry, yet fun and danceable originals in her latest offering, Pussycat Babylon.
Cotton’s first track, “Calling All Girls,” sets up the rest of the CD quite suitably by introducing to the listeners aspects of what goes through her creative mind with lyrics describing kittens driving spaceships, dressing as a sexy x-ray technician and having Halloween killer Michael Myers as a boyfriend. While “Calling All Girls” features Cotton’s natural voice with 80s synth-lazer effects, the next track, “Recipe for Disaster,” is more guitar-heavy with some well-mixed vocal distortion and effects. The differences on the first two tracks alone prepare the listener for the rest of the album’s alluring combination of Cotton’s post-60s girl group influences,and her distinctive sound encompassing power-pop elements from the 60s, 70s and 80s.
When Romeo Void hit the music scene, new wave fans were captivated by the distinct and forceful voice of lead singer Debora Iyall. Although the band did not stay together for very long, a new craving for their music came from an appearance on VH-1‘s “Reuniting the Bands” television show. Iyall continues to be an in-demand talent in California for live performances and has recently released her latest album, Stay Strong, a collaboration with longtime songwriting partner Peter Dunne.
Adriana Kaegi this week released a dance version of her electronica hit “I’ve Been Going Out,” which premiered on Revenge of the 80s Radio earlier this year. Kaegi, who founded Kid Creole and the Coconuts with August Darnell and Coati Mundi, collaborated with longtime music producer Ron Rogers on both versions.
Rogers takes the Kaegi’s elegance to another level with his talent for creating danceable beats.
A concert featuring one of new wave’s iconic bands with a new alt-rock supergroup sounds like an excellent way to spend an evening. That is what a huge crowd at New York’s Nokia Theater thought as well when Blondie brought its “Endangered Species Tour” with special guests (and Revenge of the 80s favorites) Gorevette to the corner of 44th and Broadway on August 31st. They were right.
Photos by Elizabeth Lynch
As Jack Hues said to me in an interview before 2009’s Regeneration Tour, Wang Chung is back and with a bit of a new sound. This year, he and Nick Feldman are headlining a tour to support their latest new EP, Abducted By the 80s, and two more being planned for later this year. With all the style and exuberance of their prime years and the several eclectic Post-WC musical projects between them, Hues and Feldman add more to the unique sound the band invented and became known for. They recently performed new tracks with some slightly-altered renditions of their classics at B.B. Kings Blues Club in New York City.
Belinda Carlisle transformed herself from one of new wave’s breakthrough artists to pop princess in the 1980s. While the fans saw a smiling, cheerful lady with a glowing face in a shimmering dress, the former Go-Go reveals in her memoir, Lips Unsealed, that the fantasy exterior only veiled a life of battles with weight, former band members and addiction.
The Cowboy Junkies recorded their 1988 breakthrough album, The Trinity Session, on a minuscule budget and with one microphone inside an historic Toronto church. It is likely they did not at the time realize it would catapult them to having a following across the US and their native Canada that would travel with them for the next 23 years and beyond. Now and still together, the band continues to tour and record new music. On Saturday May 8th, they took the pilgrimage to the original Woodstock concert site at the Bethel Woods Center for the Arts and played in front of a sold-out crowd at its museum stage.
Melding two different eras of Detroit Rock and four very different stage personalities, Gorevette begins its first tour as a band after forming a year ago and playing several dates together in Detroit.
Expectations are high when a Detroit punk legend and a Motor City garage band queen team up to form an alt-rock supergroup. Gorevette, formed by Nikki Corvette (Nikki and the Corvettes) and Amy Gore (Gore Gore Girls), deliver solidly with their first EP, Lustfully Yours.
Photos by Elizabeth Lynch
Dave Wakeling’s English Beat rolled into the Mexicali Blues Cafe in Teaneck, New Jersey on November 22nd as part of his current North American Tour. After our recent interview with Wakeling on Revenge of the 80s Radio, we took the trip to see the last of his tri-state area stops in the current concert series.
The World Premiere of Louise Robey‘s “A Woman Scorned” will be this coming Friday night on Revenge of the 80s Radio.
Robey was recently a guest at the Chiller Theater Expo in Parsippany, New Jersey, where we discussed her recent studio work, upcoming anthology album and took pictures with Pumpkin, the official WienerDog of Revenge of the 80s Radio. We are honored to be the first radio program to bring this new single to you.
Adriana Kaegi‘s world premiere of her documentary Kid Creole and My Coconuts highlighted the CMJ Music & Film Festival at the Chelsea Clearview Theaters in New York Thursday night. The story of one of the most unique bands of the 1980s was coupled in a special double-bill with a documentary on another influential alternative band, The Fleshtones titled Pardon Us For Living, the Graveyard is Full.
From the superbly elegant solo album by Adriana Kaegi, TAG, comes this sultry, bedazzling track with a new video to match. Adriana, who co-founded the flashy and stylish Kid Creole and the Coconuts, shines in a 1940s-style outfit, matching the cool lounge-jazz sounds that make the entire album special (you can listen to tracks from Tag on the Reverb Nation player on the right column of this blog).
To go along with her captivating voice, Adriana bewitches the viewer with her sultry movements and facial gestures, seemingly flirting with the camera while commanding it at the same time.
Here is Adriana Kaegi’s video for “Ooh La La,” this first from Tag:
As mentioned above in this post, you can listen to Tag on our Reverb Nation music player on the right column of this blog. You can also get your own copy of Tag through several distributors, including Amazon. For more on Adriana, go to her official website. Also, you can listen to our interview with Adriana Kaegi from earlier this year here.