More than 30 years after the release of NO MORE TEARS, music fans will at last hear a new version of the album’s “Hellraiser.” The digital release of the album, due out September 17 (Sony), will include an updated interpretation of the track featuring the first-ever official version of the song with a mash-up of vocals from OZZY and the song’s co-writer, longtime friend and colleague Lemmy Kilmister of Motorhead. “Hellraiser” originally appeared on NO MORE TEARS; Motorhead then recorded their own version and released it as a single from their 1992 March ör Die album. “Hellraiser” was one of four songs from NO MORE TEARS co-written by OZZY with Lemmy; the others are “Mama, I’m Coming Home,” “Desire,” and “I Don’t Want to Change the World.”
“I hope everyone enjoys the song,” OZZY says. “This is just a small way to honor my friend Lemmy. Sharon and I talk a lot about how much we miss him.”
Beyond the digital version of NO MORE TEARS–OSBOURNE’s sixth solo album went Top 10 (#7) and certified quadruple platinum–the release will also be highlighted with two special editions: a 2LP black vinyl version and a special yellow and red 2LP vinyl version with a specially created booklet (exclusively at www.towerrecords.com). Both configurations will be released simultaneously with the digital version. Pre-order the album here.
In its release, NO MORE TEARS yielded four top ten singles on the Billboard Rock Tracks chart, “Mama, I’m Coming Home” (#2), “Road To Nowhere” (#3), “Time After Time” (#6) and the title track (#10). In addition, the album’s “I Don’t Want to Change the World” earned OZZY his first Grammy for a live version of the track that was featured on his 1993 LIVE AND LOUD album. The album has remained an OZZY classic, earning a spot (#22) on Loudwire’s “Top 90 Hard Rock + Metal Albums of the ’90s” with Ultimate Classic Rock including No More Tears on their list “Top 100 ’90s Rock Albums.”
Bob Marley is easily one of the biggest musical artists of all time. His art and life have inspired millions of people across the globe. Shoe Palace is excited to present a brand new apparel assortment, available only at Shoe Palace, that honors the legacy of Bob Marley.
The Shoe Palace x Bob Marley collection releases this September exclusively at Shoe Palace retail locations and on shoepalace.com. The line includes tees, hoodies, shirts, and jogger pants. The premium materials, colors, and artwork were meticulously crafted to meet the high standards of Marley’s loyal fans. The collection consists of Marley iconography like tour tees, tie dye patterns and portraits.
Following a string of emotionally charged single releases this year, Mallorca, Spain-based Jack In Water entwines them together in this, his stunning debut full-length, You Don’t Feel Like Home — available now.
The chamber pop nom-de-plume of singer/songwriter William Clapson, the LP highlights newly unveiled single, “Everyone Will Be Lost,” as well as previous offerings “For You,” “Anxious Smothers,” the release’s title track “You Don’t Feel Like Home,” and more.
Produced by Oli Bayston (Loyle Carner, The 2 Bears) at his East London Studio, You Don’t Feel Like Home is not a record to rush. A striking statement of acceptance that’s as much about moving on as it is about looking back, the collection of seven songs delve into Clapson’s childhood, mining immersively introspective, coming-of-age songs that draw on topics of family, friendship, and falling in love, while also addressing darker, deeply personal issues — sexual abuse, alcohol misuse, and the discovery of death.
It’s in that personal sharing that Clapson both found and supported a sense of community; as Jack In Water, he recently released a beautiful acoustic version of his track, “Monster,” which caught the attention of Mankind, a sexual abuse charity for men. In a bid to help others through talking about his own experiences, Clapson has since worked closely with the charity, and survivors of abuse. “One of the first projects we did is called ‘The Way Through It’,” he shares. “It features a series of stories of each survivor, and explains the process they went through to get help and support.”
Brought up in a little village in Essex, a string of DIY EP releases to date — including 2011’s The Meaning of Events — has garnered Clapson an impressive accumulated streaming figure of over 10+ million.
Released August 27th, 2021, early previews of You Don’t Feel Like Home received resounding support from the likes of BBC Introducing, The Independent, 1883 Magazine, Daily Star, Far Out Magazine, and more; Clash praised Clapson’s “incredible grace in his artistry,” and Clout declared You Don’t Feel Like Home as “one of the strongest releases of 2021.”
You Don’t Feel Like Home and “Everyone Will Be Lost” are available now.
Gentle in tone as it braces listeners for what lays in wait, singer/songwriter Dean Friedman delivers tranquil and captivating piano concertos with a serving of history in this, his new single “American Lullaby,” and titular album of the same name — both available now.
Hailed as one of the pre-eminent songwriters of his generation, Friedman’s American Lullaby marks his ninth studio album, released on his Real Life Record Label. “American Lullaby” is a journey through the past, drawing visuals from across four centuries of American history as it delves into the dark corners of a blemished past, all with a sense of optimism intertwined for the future ahead.
The song’s music video showcases a variety of images — from the first European ship to sail up New York’s Hudson River in the 1600’s, to time in the 21st century. The piece, working as a commentary on life in a country entangled in a love affair with guns, shows Friedman refusing to shy away from the tough stuff, embalming his crowd-funded album with working topics like fractured politics, environmental climate change, the COVID-19 pandemic, racism, sexism, and what he refers to as “intractable culture wars.”
“The new album, American Lullaby,” Friedman explains, “reflects my personal take on all the crazy stuff that’s been happening — both in America, and around the world — for the last six years.
“Like all lullabies, it’s filled with tales of dark deeds and disaster, but couched in soft, gentle tones meant to soothe and comfort the listener, while gently bracing them for the potential terrors that await.”
While Friedman might put the glaring shot glass of reality whiskey on the bar ahead of us, it doesn’t come without a chaser. While engaging the listener in a near-pleading wake-up call along American Lullaby’s liner notes, he isn’t without a sense of good-naturedness about a future worth saving.
“All these things really happened, and continue to happen,” he continues, adding that these varieties of new age events are “all exacerbated by our inane and disastrous politics.”
That said, he promises the album is “not all gloom and doom. It’s filled with optimism and faith — not in any god, but in our humanity.”
Long-time fans of Friedman can agree it’s his mesmerizing piano ballads that poignantly nest inside the listeners ears; soothing and calming. Friedman’s attention to detail from the quietest intonation to the widest melody, to the striking crescendo, and the drawback of the bridge is what Friedman does best — he’s a conductor inside an orchestra of storytelling.
And he captivates by utilizing the truth, catapulting off real events that are truly happening in the real world around us. It allows the listener to believe what he’s saying, agreeing to root for the answers, and confident that, this too, shall pass — if only we’re willing to accept what’s wrong, and forge a path to change.
The many notables on the album include “Halfway Normal World,” a poignant yearning for release from perpetual lockdown; “The Russians Are Coming!,” a 100% factual narrative based on the “Senate Intelligence Committee Report on Russian Interference in the 2016 U.S. Election.” Other song titles: “Welcome to Stupid Town” and “On a Summer’s Night.” The album also offers up “Just Another Birthday Song,” Friedman’s hilarious contender to replace the ubiquitous “Happy Birthday: song, written 125 years ago by the Hill sisters.
“I’m insistent on hope, laughter and joy,” he says. “Our shared emotional trauma is palpable and requires tending to, so some serious silliness is called for.
“Hopefully, the full-time residents of ‘Stupid Town’ can take a joke. As for ‘Just Another Birthday Song’, you can’t deny that, after 125 years, the Hill sisters have had a good run.”
Friedman has been utilizing the time during the pandemic to get up close and personal with his fans, through live-streaming and “DeanZine ‘Live Stream’” events, and the upcoming Edinburgh Fringe Festival, taking place virtually this month. Next on the docket is a 40 run “live” concert event series kicking off April, 2022.
For Dean Friedman, recognizing the grim reality of today isn’t about lingering in sadness, or finding yourself lost in moroseness. Instead, he says, “For those of us lucky enough to have survived the recent cataclysms, it seems to me it’s incumbent upon us to not just work to heal our wounded world, but to seize every chance we get to celebrate wonder…
“And propagate joy.”
And that really is the definition of a lullaby, isn’t it? One that soothes you to sleep with whispered promises of sweet dreams ahead…
Canadian dance-pop producer Ryan Shane Owen invites you “into the big striped tent by the river” to enjoy his new single release, “Summer Night Dream” — available now.
Drawing inspiration from Shakespeare’s heady classic, “A Midsummer Night’s Dream,” the Vancouver, British Columbia-based artist ushers audiences away on an atmospheric journey through the sonic colours, visuals, and sounds of a moonlit forest.
A singer/songwriter with a plethora of talents, Ryan debuted his first full-length solo album, Rhapsody for the Disco, in the beginning of 2020. From there, he developed and released his sophomore 12-track follow-up album, Symphony for the Stereo, or “Rhapsody part two,” before this new single, “Summer Night Dream.”
While Ryan may draw inspiration from genres like classical music, classic rock, pop, and EDM music, his style can be described as a mix of deep house, disco, synth wave, and glam rock — all cleverly fused into a clever, yet classic twist on electronic pop music. He revisits his decision to take the walk down the dance music path, recalling that “I’ve always loved dance music, but was always frustrated by the banality of much of the dance music out there. I wanted to create dance music with good melodies, lyrics, and instrumentation…”
Owen’s passion for dance music stems from a long exposure to not only the genre music-wise, but a tenure in the culture as well. Any EDM fan will have worked up the means to attend at least one music festival, and Ryan was no exception. When it comes to “Summer Night Dream,” Ryan fondly recalls his attendance at outdoor raves. “I also used to attend outdoor raves in Vancouver called ‘full moon parties,’” he shares. “Smaller gatherings in a clearing among the trees and mountains, with people dancing until dawn…”
These warm memories seemed like the perfect setting for this, his new single: “Summer Night Dream.” The inspiration came to him recently enough, he shares, during a heat wave that “dried out the usually lush rainforest,” subduing the familiar chatter of birds and animals to an uncomfortable extent.
As it would turn out, this silence would act as a harbinger of bad news; in fact, wildfires would continue to develop around both Ryan, as well as other residents of British Columbia. While Owen was successfully able to capture all of the sounds and video for “Summer Night Dream” prior to preparing to evacuate his home, he reveals “an additional sense of urgency and melancholy at the thought that this could all be gone if the fire situation worsened.”
The situation that was unfolding around Ryan’s home led to some of his classic tongue-in-cheek commentary of the situation around him. Being no stranger to creating abstract wordplay that represents what is going on both socially and around Owen’s, the opening line of “Summer Night Dream” refers to the haze seen around the forest and area of Owen’s home — “smoky skies saunter through the valley.”
In the end, this high-spirited indie dance-pop artist was able to finish creating something that, at the very least, will serve as a warm and colorful spirit booster and, at worst, may serve as a heartwarming reminder of what was.
In the meantime, take the time to revisit those warm summer moonlit walks in the forest by listening to Ryan Shane Owen’s newest single, “Summer Night Dream.”
We know his name. He’s recognized in Canada as one of our greatest exports in acting. With performing. With philanthropy. And now, Tom Jackson demands we learn the truth on the haunting new track, “Lost Souls” — available now.
“We can’t jump to reconciliation without discussion of truth,” Jackson states of his latest offering — a poignant, deeply resonating message of uncovering the darkest days of Canada’s history. In May, Tk’emlúps te Secwépemc Chief Rosanne Casimir announced that the remains of 215 children had been found near the city of Kamloops, British Columbia. Some of these children were believed to be as young as three years old.
It was a revelation that brought a resolve to centuries-old accusations against the country’s residential school system; an assimilation program developed in the 1800s by the Canadian government and administered by the Church. Hailed as an educational program for Indigenous children, the system focused primarily on indoctrinating Euro-Canadian and Christian lifestyles. Residential schools in Canada — which would operate until the final institution closed in 1996 — became synonymous with the destruction and devastation of Indigenous heritage, and human spirit. Children were removed from their households by the time they were school-age, and many did not return resulting in generations of Indigenous families demanding the whereabouts of the missing.
“If you want to defeat the Indian,” Jackson muses on the song, “take away their children.”
“In the world of T&R, we will not find reconciliation until we find truth,” Jackson explains. “The truth may be painful, but pain is part of the process of the sacred healing journey. Although the work is difficult, it will directly contribute to the health and well-being of the present and future generations. Sometimes I pray for change, and it helps me get through the darkness. But I’m not sure if just my hope helps others.”
Jackson, a long-standing activist, and humanitarian is utilizing his platform as one of Canada’s most beloved to highlight the fear and hopelessness experienced by the children who were forced into the residential school system.
The damning anthem shuffles between the point of view of the children, to that of the government; quietly speaking the story on the verse, then intimately yearning in melody on the chorus. Jackson’s deeply resonating bass bears no filter on the lyrics: “’We’ll fix the problem,’ said the Church, ‘come with me, little girl, this won’t hurt.’ Someone said, ‘lift her skirt, and lay her in the dirt’. ‘If this stays hidden, there is no villain.’”
“If you say, ‘it matters what happened!’ Now what!? What do you do with what happened?” Jackson questions.
“Today I’m going to church,” he adds. “This is the virus; F** you. I curse you. I spit on your grave. Shame on you. It hurts me to the core!!…………..Whew……………This is the vaccine; Now I can find a semblance and a place for peace, empathy, compassion, faith, and love. I don’t understand and I’m not God. But I would not make a child suffer.”
He refers to “Lost Souls” as the song of “silenced children.” It highlights the grim reality of what is alleged by the survivors of the Residential School system, and the victim families who have been silenced for generations. His somber intone includes a whispered child’s voice that haunts the finality of the song: “they found us.”
“Working with Tom is always an honour for our company,” says Dominique Zgarka, Executive Vice President of The SRG-ILS Group. “This is such a powerful song and video that no words can truly portray our feelings and our nation’s embarrassment.”
“’Lost Souls’ will not determine how bright the light is of your destiny,” Tom Jackson says. “The future is in your hands. 215 lost souls now have a voice. ‘Darkness will not overcome us.’”
Tabla master Ritesh Das and his JUNO Award-nominated musical collective, Toronto Tabla Ensemble, have turned the tables on technology with their innovative, colourful new single and video, “Spellcheck” — available now.
The first release from the group’s upcoming eighth album, For the Love of Tabla, “Spellcheck” gets its name and inspiration from everyone’s favourite, frustrating smart phone feature… Autocorrect.
“The title is a joke,“ Das reveals. “If you try to type out tabla on your phone, spellcheck changes it to table. I get messages all the time from people asking: ‘Where can I buy a new table?’ I tell them to go to a furniture store.”
The composer, educator and virtuoso tabla player also shares that when TTE was nominated for a JUNO, the group’s name was announced as the Toronto Table Ensemble. Who knew that snafu would plant a subliminal creative seed for the ensemble’s latest composition?
Autocorrecting aside, “Spellcheck” reveals that ‘table’ and ‘tabla’ are as complimentary in sound as they are in name. The song combines the spontaneity of table top percussion and a modern drum kit groove with the traditional, North Indian classical art of tabla in an exciting rhythmic mixture.
“I wrote a piece that starts with me playing on a table, like I used to do when I was in school,” Das explains. “Then a drum kit comes in to really kick in the groove, and then the tabla adds sophistication based on that groove. So there are really three elements to the piece: The birth of the rhythm, the groove itself and then the expansion of the rhythm to the highest level.”
“Spellcheck” is truly an all in the tabla family affair. Members of the TTE Youth Ensemble play on the track along with accomplished London, Ontario drummer Dale Anne Brendon, who studies tabla with Das.
The FACTOR-supported video for the spellbinding single recently made its debut with a YouTube premiere; produced and directed by Melissa Das-Arp, it adds a visual layer of artistry to the pulsating instrumental. The clip features Ritesh Das immersed in his own world while recording and mixing, creating an alternate reality with the other players on the track. It’s a world that Das-Arp was already quite familiar with as “Spellcheck” and all the songs for TTE’s new album were written and recorded while the couple has been riding out the COVID pandemic at home.
“Throughout last winter I would hear all kinds of music coming from the basement,” recalls Das-Arp. “There was one piece I heard over and over that caught my ear, a catchy drum pattern that sounded very different and one day I came down to see what that was. It was Ritesh playing on the table.” Das explained to her that he might just add tabla and some other percussion and call it “Spellcheck” in reference to how tabla is always autocorrected to table.
Witnessing how the new album was being recorded remotely with collaborators gave Das-Arp the idea for the video. “I wondered what that experience would feel like, to only work with people online for more than a year, some he had never even met. Who are they really?” she asks. “So I thought of him being in front of his computer mixing these sounds and letting his imagination take over.”
Das-Arp took inspiration from the boundary pushing videos of one of her favourite bands, Outkast, to create a feeling of ‘out of this world’ for the video for “Spellcheck”. She also collaborated with Art Director Manantsoa Razafimandimby to put a retro spin on the costumes to create something you probably would not expect from a Tabla Ensemble video. With COVID restrictions in mind, Das and Das-Arp’s home garage was turned into a film studio and cinematographer Jason Providence and his crew shot each artist in the video separately.
“Spellcheck” from Toronto Table Ensemble’s forthcoming album For the Love of Tabla is available now!
Singer/songwriter Marty Zylstra comes out swinging with the first single from his highly anticipated second album, Boom Chicka; “Rattle The Glass” is available now.
With an electricity that pulses through gritty instrumentation, coupled with a sense of timelessness to deliver a sonically melancholic experience, the track’s musical craftsmanship and a spiritual self-awareness guide the follow-up to Zylstra’s deeply personal 2018 album, The Dragonfly and the Spider.
Boom Chicka and the songs within it are a love letter to the sights and sounds of the anti-war and peace movements of the 1960’s Flower Power era. While his influences are clear, as the album channels legends like Lennon and Brian Wilson, in particular, Boom Chicka was carefully crafted and conceived as a sole artistic vision with no details taken for granted.
Zylstra himself explains, “I wanted to make sure that the songs held strong meaning to me before making any decisions on the final tracklisting.”
The infectious energy of Boom Chicka is the perfect post-pandemic cocktail of anthemic vocals, catchy guitar licks, and exceptional production. The positivity that radiates from every musical note blends effortlessly with Marty Zylstra’s message of hope delivered as sincerely and raw as only he could…
After facing a string of unspeakably tragic losses during the recording of his last album, he would rise from the ashes to deliver a fresh new outlook on what matters most in life. “Writing an album in the middle of pain or grief or turmoil can capture a certain audience,” he shares, “but having come through to the other side, I have a new perspective on love and life.”
Based in Vancouver, Marty Zylstra is no stranger to overcoming the odds, already seeing success on mainstream stages with Metric, Tegan and Sara, and Hot Hot Heat, while also enjoying some television success with his music featured on hit shows like Pimp My Ride and MTV’s Real World. In a world of copycats and surface-level mindless entertainment, it’s hard not to appreciate Marty Zylstra’s sophisticated and refreshing approach to music. The incredible resilience exhibited in his life and art indicates that there is no limit for this renaissance artist.
The release of his latest music effort is the edgy feel-good record that 2021 needed, with the future looking brighter than ever.
Marty Zylstra’s album, Boom Chicka, and his new single, “Rattle The Glass,” are available now.
Farm Aid announced today that its music, food and farm festival will be broadcast live on Circle Network, SiriusXM and FarmAid.org. The program will include music from the day and videos that tell the stories of New England farmers. Farm Aid 2021 is scheduled for Saturday, Sept. 25, at Xfinity Theatre in Harford, Connecticut.
“Connecticut has embraced Farm Aid again, and we are thrilled to return to live music, especially after such a difficult year. We’re grateful for the opportunity to gather with people across the Northeast who value the power of music, appreciate delicious family farm food and — most of all — support family farmers,” said Carolyn Mugar, executive director of Farm Aid. “We are excited to partner with Circle this year to bring the Farm Aid festival to television for those not able to join us in person.”
Farm Aid 2021 will feature performances by Farm Aid board members Willie Nelson, John Mellencamp, Dave Matthews (with Tim Reynolds), and Margo Price, as well as Sturgill Simpson, Tyler Childers, Nathaniel Rateliff and The Night Sweats, Bettye LaVette, Jamey Johnson, Lukas Nelson & Promise of the Real, Allison Russell, Particle Kid, Ian Mellencamp and Wisdom Indian Dancers.
Circle Network will begin livestreaming Farm Aid 2021 at 2 p.m. ET across Circle All Access platforms, Facebook, YouTube and Twitter, with the live, on-air broadcast beginning at 8 p.m. ET. To find Circle in your area, visit www.circleallaccess.com/watch-circle. The Farm Aid 2021 webcast at www.farmaid.org will begin at 2 p.m. ET.
“Circle is proud to begin a strong partnership with Farm Aid in support of their invaluable efforts to benefit and uplift America’s vital farming community,” said Circle’s SVP of Content Evan Haiman. “We are excited to have the opportunity to share this amazing musical event with our audience, bringing them the unforgettable performances that only Farm Aid can provide.”
Beginning at 12 p.m. ET, SiriusXM subscribers will be able to listen to Farm Aid 2021 live on SiriusXM’s Willie’s Roadhouse (channel 59) and Dave Matthews Band Radio (channel 30) via SiriusXM radios and on the SXM App. The live coverage will also include backstage interviews with artists, stories from family farmers and more, hosted by SiriusXM’s Dallas Wayne. All coverage will feature a behind-the-scenes look at the annual Farm Aid festival and the organization’s year-round work since 1985 to strengthen family farm agriculture.
As of August 17, all attendees of Farm Aid 2021 will be required to show proof of full vaccination or proof of a negative COVID-19 test taken no more than 48 hours prior to entering Xfinity Theatre upon their arrival at the event. Attendees are encouraged to bring either their original vaccination card, a paper copy of the vaccination card or a printed copy of the negative test results to streamline the verification process at the gate. For those areas of the venue that are indoors, please note that the City of Hartford currently mandates that masks must be worn indoors. Farm Aid is encouraging mask wearing in outdoor areas as well. Farm Aid will continue to monitor the COVID-19 situation closely and will update protocols as warranted leading up to September 25. For more information, visit www.farmaid.org/festival/covid-safety-at-farm-aid.
Tickets for Farm Aid 2021 are available for purchase at LiveNation.com. Prices range from $65 to $305.
Farm Aid welcomes the participation of the business community and offers corporate sponsorship and VIP hospitality opportunities. For more information, contact Glenda Yoder at glenda@farmaid.org.
For event updates, follow Farm Aid on Twitter (@FarmAid), Facebook (facebook.com/farmaid) and Instagram (instagram.com/farmaid), and visit farmaid.org/festival. Festivalgoers are encouraged to use the hashtags #FarmAid2021 and #Road2FarmAid to join the conversation on social media around this year’s festival.
Farm Aid’s mission is to build a vibrant, family farm-centered system of agriculture in America. Farm Aid artists and board members Willie Nelson, Neil Young, John Mellencamp, Dave Matthews and Margo Price host an annual festival to raise funds to support Farm Aid’s work with family farmers and to inspire people to choose family farm food. For more than 35 years, Farm Aid, with the support of the artists who contribute their performances each year, has raised more than $60 million to support programs that help farmers thrive, expand the reach of the Good Food Movement, take action to change the dominant system of industrial agriculture and promote food from family farms.
Seamlessly fusing dancehall with pop, multi-talented artist and Wyomissing, PA-based Ozzie Lovin gets “Lost In You” in a new single — available now.
Looking to take the pop genre back to the basics — love — Lovin’s unique blend of dancehall and late-pop elements is delectable start to finish. After realizing the allure music had, Ozzie Lovin found heaven in music production and, after honing his craft over the past four years, audiences are treated to this, a truly authentic listening experience; it’s his distinct and honest lyrical composition in “Lost In You” that really sells this song.
“As I personally watched the world around me crumble, I used music to escape a lot of what I was experiencing,” he shares. “I started writing and putting my words to beats I made, and could not believe how much it assisted the healing process.
“I decided to deliver the very simple, ageless message of love,” he continues. “In my music, I explore all sides and types of it — with the hope that it can somehow help myself and others make sense of it, and spread a little more of it — while shifting the trends in music to do more of the same.”
With this level of emotional investment in artistic creation, it creates a wholly immersive listening environment for Ozzie Lovin’s rapidly growing fanbase. Lovin uses this to his advantage, creating clever and occasionally humorous deliveries. “The entire song is a double entendre about being ‘lost’ in a person physically and emotionally,” he reveals.
While the song is a catchy dancehall pop-funk fusion, the true meaning isn’t lost on Ozzie Lovin. “My aim is to give pop music a whole new feel, and to bring forth the type of energy that was used in older music. I want to deliver it with a mix of new and classic sounds, and steer people’s behavior with a more positive direction.”
Even though Ozzie Lovin’s new single “Lost In You” comes off as a seamless production, it is the culmination of years of hard work in the making. “This is my favorite song I have made up until this point; I tried, like, 30 different vocal arrangements for the final chorus, and ended up landing on the one I liked by accident,” he says. “This is the song that has really solidified my sound. After experimenting with a bunch of different things, I feel like I really nailed what I was going for with this one.
“I’ve worked for years to build my sound, and am finally ready to start sharing it with the world.”
Through all of the hard work Ozzie Lovin has put into “Lost In You” he has found a great rhythm that may resonate with audience ears across the board. With the fusion of dancehall and pop elements — plus some sexy saxophone riffage for good measure — Lovin has created a captivating piece of art that strikes a chord with those who are looking for something a little less mainstream, and a little more “lovin.”
