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Delaware Rockers DUTCHMAN Are Back with Nostalgic Yet Modern “Hey Now”

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Harrington, Delaware Rock four-piece Dutchman are back with a nostalgically welcoming yet exploratively modern new release in their new single, “Hey Now”.

The track lands as a precursor to Dutchman’s forthcoming album, Vol. 3 out December 22, 2021, and a chronological follow-up to 2020’s Vol. 1 and Vol. 2.

The band pulls all the stops on “Hey Now” to develop a fully-rounded rock and roll record; the pace is contemporary and danceable, and the lyrics are catchy and memorable. From the top, the band unleashes an electric guitar riff strung together with a pounding piano melody. It’s nostalgic and modern; a testament to back then, with a nod to the here and now.

The track delights as it foreshadows an exciting new chapter in the life and tenure of Dutchman; the earworm it forms inside your brain promises to nestle deep inside and not wander off. A self-proclaimed American rock band, the group intermingles their love of classic outfits like Skynyrd, with their modern heroes such as Greta Van Fleet and The Black Keys, and the new song is reminiscent of early Who, effervescent Doors, and tangled in a web of Ben Folds Five.

It was a simple stroke of fate that brought Connor Johnson to Jake Dutcher’s call for similar musicians back in 2017. Soon, the sound was fleshed out and the band was completed by the addition of Fez (Drums) and Garrett Gravatt (Guitar). By 2020, the newly minted four-piece was signed to Bless Up Records, and well on their way to releasing Dutchman Vol. 1 and 2 and later the addition of pianist Franco Solorzano in late 2020 brings you the sound you hear on Vol. 3 today.

As such, “Hey Now” is an exciting lead start to the follow-up, Vol. 3, and comes with a highly deliberate approach.

“After Vol. 2, we really wanted to make a more hands-on project — which included stripping back and starting over on ‘These Days,’ and completing a more presentable version of ‘Find A Way Out,’” Johnson shares. “We wanted ‘Hey Now’ to be our first engagement back for our listeners so they’d get the full scope of our laid back live attitude for this EP.

“Between my slide lead, and Franco’s thundering piano on the intro of the song, it brings us back to a simpler vibe like in the early days of the band,” he continues. “Most of these tracks started with us recording our parts together while also leaving room for small overdubs; ‘Landslide’ is a great example of the crisp belting vocals and the prolific guitar work that Jake Dutcher and Garrett Gravatt do so well. With a melodic rhythm track recorded, Gravatt also adds a blistering solo at the song’s sonic peak. When it came time to strip back ‘These Days,’ you can really hear the simple but filling drums Fez is known for. Always being adamant about serving the song before his ego, Fez really is a delight to have back in the fold full time after our unplugged gigs during quarantine.”

“Recording with the band has always been fun and there’s always something new with every record and their songs,” Gravatt remarks.

“For Vol. 3, it was a lot easier and I personally had more fun working,” Fez adds. “We’ve become better musicians than ever, and that made recording my drums and getting everybody in sync simple and easy, helping to make the recording process as smooth as possible. These new songs are another step of music making. We’re happy with how they came out and can’t wait for the world to hear them.”

Toronto Tabla Ensemble Revs Up for a Rhythm-tastic 2022 with New Song, “Encore 21”

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Can the burst of fresh energy and the promise of possibility a new year brings be embodied in a song? Canada’s JUNO-nominated Toronto Tabla Ensemble have their fingers on the right rhythm to get you up on your feet and dancing into 2022 with their new single and video, “Encore 21”.

Featuring high velocity tabla and other percussion, along with rapid fire recitation of tabla bols (language) by TTE founder and composer Ritesh Das, “Encore 21” has the power to propel anyone into a joyous state of reverie. However, playing this composition requires a sobering amount of skill and practice.

“I originally wrote this piece for the Youth Ensemble,” explains Das. “A fast-paced and high energy composition to keep their chops up as we slowly emerge from the pandemic and prepare for in person shows again.”

“Encore 21” is the second single advancing the ensemble’s 8th album For the Love of Tabla, due for release in March 2022. It’s a joyfully collaborative, multi-disciplinary effort between teachers, students of all levels, and artistic colleagues.

“I worked with my tabla student Kolston Gogan who is a professional drummer to work out the kit drum parts and also for him to work with Jishnu Parekh, a youth member who had just started learning drum kit,” notes Das.

If “Encore 21” lives up to its name and sounds like it could be a jubilant finalé to a TTE live show, it shouldn’t be surprising. It certainly isn’t to Melissa Das-Arp, TTE manager and film director.

“When I heard this piece, the speed and energy reminded me of a typical encore that the Toronto Tabla Ensemble would perform at the end of a show,” notes Das-Arp. “This usually involves the entire cast of the TTE including dancers up on stage led by Ritesh Das himself on the mic driving the performers and hyping up the audience so they would literally rise to their feet.”

The memory of her husband vocally leading the end of show celebrations prompted Das-Arp to request that he record and add the tabla bols recitation that’s become a key part of “Encore 21”.

“Ritesh obliged to my request and recorded his ‘recitation’, which is basically the language of the tabla,” she says. “However, the way he weaves melody and feeling into it is one of a kind.”

Das-Arp also reached a century back for the inspiration to create the unique and artfully retro video for “Encore 21”, which features Ritesh Das performing the tabla bols, TTE members on tabla and drum kit and Kathak dancers from both Ontario and California.

“While listening to the song, the visuals of the performers started showing up for me in a black and white, vintage look and I thought, ‘I wonder what this type of show would look like 100 years ago’? Back then there were no smartphones and we really only saw what was curated from a mainly western perspective. Who knows what really happened and perhaps shows like this did actually happen.”

Of course, producing and directing a music video during our pandemic presented unique challenges for Das-Arp and the performers.

“All the artists filmed themselves from home under the guidance of Assistant Director and Ensemble member Shamir Panchal,” explains Das-Arp. “Directing virtually is never easy but with mood boards, rehearsals and the guidance of a stage plot we were able to create a music video that feels like we’re all together on stage.”

“Kathak dancer Labonee Mohanta was joined by her young student Anusha Kapoor and during their shoot they lost power for 5 hours,” she continues. “Luckily they had some backup batteries to keep going, but instead of being able to take multiple shots they were only able to take a few which felt more like an actual show where you really only get one chance.”

Beyond performing in it, Ritesh Das also had a hand in the creation of the video utilizing his skills as photographer to help set the stage into a 1920s film set. “If I didn’t love music and teaching tabla as much as I do, I would have been a photographer,” he says. “I love playing with lighting and shadows, especially black and whites.”

Sending out 2021 with an exciting new single and video and revving up into 2022 with a new album on the way shows that the beat goes onward and upward for the Toronto Tabla Ensemble.

The Flakes Acknowledge The “Elephant In The Room” When it Comes To Their New Album

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Canadian rockers The Flakes acknowledge the Elephant In The Room when it comes to the release of their freshly pressed debut album, and anthemic new single “When I Get It”.

A freight train of sound that builds momentum throughout, “When I Get It” showcases the Halifax, Nova Scotia-based band’s exceptional musicianship start to finish. While the instrumentation emanates warmth and hope, the lyrical approach is juxtaposed to tell a different type of story; the song speaks to the very human nature around obstructing our own self-growth, and how we sometimes cause emotional strain on our loved ones in the process.

As far as Elephant In The Room goes, the nine-track LP came together after a long and extensive process — including multiple re-recordings of the album. As the band’s technical know-how of producing and mixing music exponentially grew, so too did the refinements on the project; when it came time for the album’s recording after three separate attempts, it was all business.

Meticulous attention to sonic detail is employed across Elephant In The Room to ensure everything is up to the band’s professional quality standard, and the resulting release is a fun and catchy synthesis of genres with broad appeal that captivates guitar aficionados and dancers alike.

From the ashes of a band called Glass Atlas would rise the jet-fueled sound of The Flakes; founded in 2017 by guitarist Adam Sweeney and drummer Kyle Merson, they’ve been on a rampage since they hit the scene. In 2018, the band would be accompanied by the electrifying vocals of Tynan Moors, prompting several blazing singles that summer. Bigger shows like the Mount Funky music festival raised their notoriety and culminated in an appearance by The Flakes at Toronto’s legendary Horseshoe Tavern.

The Flakes have since been on cross-country tours and played other festivals before the pandemic decimated the live music business. They are now focusing on making their debut album as authentic as possible for music lovers looking for music that moves the mind and body.

If Mick Jagger Ran A Moving Company

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A funny parody sketch about Mick Jagger and his Jagger Moving Company. This is how Jagger moves baby!

Stu Weinberg Gets Groovy with Out-Of-This-World New Releases: “Donnie Green” & Disco Stu Likes Disco Music

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Canadian guitar maestro Stu Weinberg steps front and center, showcasing his inimitable expertise alongside an all-star team of musicians with the release of his debut album, Disco Stu Likes Disco Music, and its groovy lead single, “Donnie Green”.

An ethereal guitar-driven track invoking the cadence of jam-band music, “Donnie Green” and the rest of the seven-track LP features skillfully crafted arrangements throughout every moment of this monumental sonic effort. With Stu revealing that each track takes on a life of its own — ”Some are funky, some are real funky, some are groovy…” — the breadth of instrumentation is only matched by the assembled musical forces that helped realize Weinberg’s vision.

The album features sensational drumming provided by John Morgan Kimock (Phish’s Mike Gordon, Dead & Company’s Oteil Burbridge), while smooth-as-silk Andy Hess (Gov’t Mule, The Black Crowes, John Scofield) brings the bass. Todd Caldwell (Crosby, Stills & Nash, Joe Walsh), Robert Walter (Phish’s Mike Gordon, The Greyboy Allstars), and Marco Benevento (Joe Russo’s Almost Dead) are a trio of accomplished keyboard players that supply another critical layer to the album’s sound, and Weinberg is accompanied on guitar by legendary jazz player Oz Noy.

While no stranger to the board, Weinberg’s meticulous attention to detail isn’t limited to the studio: the decision to have Disco Stu Likes Disco Music mixed by JUNO Award-winning engineer Kevin Dietz (Glorious Sons, JJ Wilde, Portugal The Man), mastered by Noah Mintz (Arkells, The National, Broken Social Scene), and feature otherworldly, psychedelic artwork by artist Leesa Westwood meant the crisp sound and visual accompaniment of every melodic effort orbits cleanly in this fervent labour of love.

Stu Weinberg started his professional recording career while in university, finding ample opportunity in a Manhattan recording studio during the summer break. He has since performed with countless Billboard-charting and JUNO-nominated artists, with credits on hundreds of songs and playing legendary venues like Massey Hall, Boots & Hearts, and more.

Disco Stu Likes Disco Music began as Weinberg’s personal answer to the pandemic blues, and the massive shift in pace from what the active artist — and the veritable who’s who of the jam-band scene joining him — were used to pre-COVID.

“As a session musician, that seemingly never-ending schedule of tracking on records, traveling for tours, and learning material for gigs leaves little time to focus on your own musical projects,” he shares. “When I found myself stuck in my apartment with nothing but guitars and time, I looked at the blank calendar and knew: there would never be a situation like this again and, if I wanted to create music of my own, I’d have to jump at the opportunity.

“At the onset, the goal was to make music that I dug. When I first started out playing guitar, I was drawn to the classic instrumental guitar records but, as I evolved as a player, the songs take their inspiration from the jam-band scene.

“I love the freedom of jam-band music,” he continues. “It’s very much a guitar-based record, but it steers away from the technical playing with more of an emphasis on the melody and emotion of the song. It combines all the styles of playing that I’ve grown to love, and basically hits all the notes I’m not allowed to play on other artists’ records.”

Hear just what that is on the sonic sojourn that is Disco Stu Likes Disco Music.

// Disco Stu Likes Disco Music Track List

“Brendy’s Run”
“Donnie Green”
“A Picture For You (feat. Marco Benevento)”
“Purple Pants (feat. Robert Walter)”
“Sunrise, Sunset (feat. Oz Noy)”
“Tsundoku”
“Zhivago”

Smooth Jazz & Folk Chanteuse Catia Dignard Celebrates Starting Again with “Rather”

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Learning from past experiences without reliving them is one of the key ways to win at this game called life, and Canadian jazz and folk singer-songwriter Catia Dignard places us at the beautiful starting line of leaving the past behind with her new single, “Rather”.

“‘Rather’ is about starting love anew once we have lost our innocence,” Dignard explains, adding that it also touches on “carrying the scars of our pasts without them becoming liabilities.”

A torch song about not carrying one, “Rather” atmospherically sets such a stage for renewal with its lovely, interwoven piano and sax intro melody. Dignard’s yearning declaration of “wanted for so long to feel this peacefulness inside on my own” opens a channel to calmer waters after the storm.

“I’d rather be with you here than in the past.”

Weathering her own personal challenges — like going back to grad school, moving to a new city and ending a long-term relationship — provided the impetus for Dignard to release “Rather” now after initially writing and recording the song a few years ago.

“It’s one of these songs just ‘waiting’ for the moment to find its place in the world,” says the Montréal-born, Toronto-based artist. “Life changes and a great deal of soul searching made me revisit it with a new perspective.”

With Acadian heritage and having lived in Latin America and North Africa during her childhood, Dignard draws inspiration from the sea and her travels. As such, “Rather” flows along on a rolling sea of piano, saxophone and percussion with Dignard’s smooth, sultry vocal at the crest of the wave, journeying from one stage of life to the next.

“This song has also travelled quite a bit,” notes Dignard. “It was written in Montréal. Its music [was] composed and charted in Toronto. Then, recorded and performed first under the stars in Havana in December 2019 and finally mixed and mastered in the Eastern Townships, Quebec in the spring of 2020.”

A magical collaboration while visiting Cuba just prior to the first pandemic lockdown provided Dignard with the instrumental foundation for “Rather;” the musicians she met and recorded with in the musical hotbed of Havana helped give this song its wings just before a time during which creative flight has felt nearly impossible for many.

“In the midst of these turbulent times, both on a personal and global level, I found a safe haven musical community of collaborators and friends for this piece to come about,” she shares.

“Rather” was recorded at Manane Records Studios in Playa, Havana and produced by Miguel Ángel Wong Díaz — who also plays guitar on the track. In addition to Díaz are the “incredible team of Havana-based musicians,” Dignard says, including Lendy Fernández (piano), Francisco Spek Silveira (saxophone), Yan Sanabria Betancourt (bass), and Carlos A. Valdés Bastante (drums) — along with Dignard’s “long-time accomplice” and saxophonist David Elias engineering and mastering the track.

Musical and academic education have gone hand in hand for Dignard. While studying vocal jazz under the tutelage of Catherine Bastarache and Marie Vallée and attending multiple workshops and musical camps in Québec and Europe in the early 2000s, Dignard was also pursuing a second university degree. During this time, she also gained performing experience as lead vocalist for jazz guitar virtuoso Mike Gauthier’s combos at Bishop’s University and participated in Kim Richardson’s jazz jams at Montréal’s Dièse Onze club.

These formative years encouraged Dignard to start writing and recording her own compositions with her partner, double bassist Jean-François Martel. That led to collaborations with trumpet player Maxime St-Pierre, guitarist Louis Trudel, Cuban pianist and JUNO Award nominee Rafael Zaldivar and the recording of Dignard’s debut album, Strange Coziness, released in 2018.

Since then, Dignard’s music has found its way to Canadian radio with airplay on CFLX in Sherbrooke, Québec and CIUT in Toronto, as well as international airplay first in Australia, on Banks Radio and Valley FM 89.5, then in the U.K. and the U.S..

Not one to follow a singular path, Dignard also recently collaborated and performed with Toronto-based funk rock and soul band Bad Breed at the Canadian Music Week and Bloom online music festivals. This while pursuing a PhD in Hispanic Studies at the University of Toronto and currently working on more new music for release in early 2022.

For now, though, this rising jazz artist would ‘rather’ put the focus on her music that’s in the moment.

Afrobeat Artist SONIA AIMY Delivers Optimistic Message In“Life Nah Jeje”

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With lots to say in so few words, artist Sonia Aimy does what she does best and ushers her listeners into the world of jazz infused Afrobeats with the release of her new single and video, “Life Nah Jeje”.

Nigerian-born and Toronto-based multi-talented artist Sonia Aimy has been touring for years now; when she isn’t spreading joy and life messages through her music Aimy spreads it through humanitarian projects. Her velvet, Sonia’s soulful, empathetic, and often joyous voice” inspires thousands around the world and has earned her the reputation as a quintessential embodiment of the Contemporary African World Musician.

After the global release of her newest album, Reconnect, Sonia Aimy sought to make a music video for the lead-off track, “Life Nah Jeje.” While the album’s title track “Reconnect” may have focused on Sonia Aimy’s journey to rediscover herself in a global time of uncertainty, “Life Nah Jeje” aims to find a deeper appreciation for the little things in life.

“Life Nah Jeje” uses smooth walking bass lines and sultry soprano saxophone riffs intertwined with Afrobeat drums to convey the message that we are to enjoy life and appreciate the beauty and spirit of our time on this Earth. “This song is inspired by my desire to take life as easy as possible after living such a frenetic life over several years. We all need that moment to reconcile with ourselves, to review ourselves including our life, what we have done, where we are now and where we wish to be next.”

For long-term listeners of Sonia Aimy, this light-hearted yet introspective meaning doesn’t come as a surprise. For new fans of the up-and-coming Nigerian vocalist, the message is well received with open arms.

The accompanying music video conveys this message quite remarkably as well. With an overarching theme of travel being cut-off completely and a transition to life in quarantine, Aimy delivers an inspiring visual performance with a warm and optimistic aura despite the seriousness of the consequences of the pandemic.

Sonia Aimy reflects on the overall theme of “Life Nah Jeje” and the message conveyed through her music video. “This processing moment about ourselves makes us realize so many things about us, about everything around us and to accept the fact that we really need to take it easy with life because life does not take it easy with us.”

It’s Aimy’s unparalleled optimism despite the dramatic shift in her life as well as music career that creates an atmosphere of inspiration around her. The infusion of feel-good Afro-jazz and Afrobeats double down on her charismatic aura and help deliver her powerful messages to her ever growing fanbase.

“It is not how far, not how much you do, but how well you understand and appreciate every bit and essence of what it takes to live a beautiful life until our call time!”

Alt.Rocker Meagan Aversa Sets the Scene Ablaze with Release of Her Fiery Debut, Matchbox

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Canadian alt-rock sensation Meagan Aversa sets the scene ablaze with the release of her fiery debut EP, Matchbox, and its accompanying new single, “Torso” — both available now.

As track #1 on the four-song breakthrough, “Torso” trickles out of the speakers with Aversa’s acapella leading the melody. Landing as a near-whisper, imploring the listener to sit up and pay attention, pulsing percussion fades in, followed by instrumentation fleshed out with gorgeous harmonies. ‘Pick myself up just to watch them walk away,’ Aversa muses on the lyrics.

Each song on Matchbox artfully bleeds on top of the other, and offers a theme of exploration into the dark side of being alone, and the ultimate acceptance of being the only one capable of consoling your very self in the face of loneliness.

“While writing Matchbox, I was thinking a lot about codependency,” Aversa reveals. “I’ve always been fond of the sentiment ‘you are who you are when no one is watching,’ but I realized I didn’t really know who I was without someone there to remind me.”

Admittedly, “Torso” and its sister track, “Blush” spills the guts on breakups, but Aversa says “they’re more about the empty feeling that follows” than the relationships themselves.

“I find the stickiness of relationships really interesting…” the Toronto-based artist muses. “The way memories will weave their way into things without you even noticing, and linger long after you’ve lost touch with the person.

“I think spending time alone is really important, but it can be laced with self-doubt and general uncertainty,” she continues. “Sometimes it’s easier to lean on someone else for support, and kind of slowly absorb facets of them vs. really get to know yourself.

“Once I started to come to terms with these tendencies, the songs turned up.”

A graduate of Metalworks Institute’s Audio Engineering and Mixing and Mastering programs, Aversa is wired to record, produce, and procure an album on her own terms. Additionally, she lends her talents as a freelance audio engineer and producer based out of Candle Recording Studio in the west end of her hometown of Toronto.

There’s a marked cross of ‘Mazzy Starr vocals’ with ‘Suzanne Vega songwriting’ that eeks through Aversa’s lo-fi alternative rock style — painted with the brush as only Aversa can. The songs are unassuming, yet poignant; a visceral soundscape with delicate lyrics, delivered in soothing, reserved tones.

A songwriter since high school, the young indie talent notes Fiona Apple, Elliott Smith and The Cure among her top inspirations; songs “Speed River” and “Some People Are Mountains” round out the release, with Aversa’s versatility in parlaying a message on full display in each passing track.

“One of my favourite things about songwriting is how you can take things that happen to you and turn them into something that belongs to you,” Aversa remarks. “I always encourage people to write music because everyone has such a unique amalgamation of life events and a different way to share them.

“That’s what makes it all the more special when you hear someone’s music, and feel like you’ve experienced the same thing because… What are the odds?”

Cellist Margaret Maria Creates a Soundscape of Healing with “Where Words Fail – Music Through Healing”

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Ebbing and flowing like an ocean’s waves, healing is a notoriously nonlinear process that is as unpredictable as an insect’s flight from one blossom to the next. Within such, Canadian composer Margaret Maria is guiding audiences on a journey through aspects of the arc with the release of her new album and single, Where Words Fail – Music Through Healing and “Blessing of Awakening” — both available now.

As the release’s opening song, “Blessing of Awakening” gives sound to a languid awakening, followed by the mounting busyness of getting to whatever it is that calls for attention; slow and meandering at the start, like rolling over with the first light shining through the window, the pace picks up, driving and percussive — rounding up the kids, spilling your coffee, looking for your keys.

While that sound can be applied to everyday matters, for the Toronto-based composer, producer, and cellist, the awakening was very personal, and very painful: the Covid-19 pandemic saw Margaret Maria experiencing health problems at the same time that her own sister fought for her very life after contracting a serious case of the coronavirus.

The acclaimed composer got through all of it by writing and playing music whenever she was able, pouring her emotions and struggles into her instrument.

“Feeling helpless limitation in my human form is a recurring theme throughout my life,” she shares. “This music is born of this helplessness in the hope that it can be helpful to others. That it can offer some healing, some understanding, some comfort, some strength when we feel weak or when words fail us.”

Anyone who has ever experienced the pain of loss or struggle, and the strange up-and-down journey of healing, will recognize each emotion in Where Words Fail – Music Through Healing. “From The Brink” begins dark and metallic, suddenly turns airy, winding, and light, and then hits a stride with a graceful march. “Healing Hearts” is a soulful waltz that morphs into an undulating heartbeat, and then the two become layered over an energetic walk-run through the streets. “Raindrops From Heaven” is exactly what you might expect from a song with such a title – gorgeous, rhythmic “drops” over sweeping, bowing, ballet-dancing strings.

With her masterful skills as an extraordinary cellist merging with the intuition of a gifted creator, Margaret Maria is a unique and exciting voice in the world of new music. Her compositional and production talents have been described by her colleagues as, ‘an unstoppable force of nature – seamless in its complete unification of technical and subconscious realms.’

A graduate of The Curtis Institute of Music, her performance career has seen her play on concert stages around the globe and as a member of the Vancouver Symphony Orchestra and the National Arts Centre Orchestra. Her later in life transition into composition has seen her work performed on stage in her very first World Premiere. ’Between Worlds’ was premiered in 2019 by the Ottawa Chamber Orchestra, with the great Canadian soprano Donna Brown.

Margaret Maria’s single “Blessing of Awakening” and her album Where Words Fail – Music For Healing are available now.

Sonic Reducers: The Greatest Holiday Songs And Albums Of All Time

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Sonic Reducers. One topic. Two music nerds. Five minutes. Everything you know need to ho-ho-ho.

Listen up as we run down our favourite Christmas albums and songs of all time, from James Brown and Phil Spector to Band-Aid and Wham!