Sounds like: For fans of Anuna, Celtic Woman, Enya, Secret Garden and Loreena McKennitt
Tracks:
The First Time I Ever Saw Your Face/The Calling/Light Flight/Listen, Listen/The Songline To Home/Wayfaring Stranger/Sovay/Shenandoah/Once You Were My Lover/Glimmering Girl/Glasgow’s Burning/Black Is The Colour
Total time: 43.28
To be released on 26th August 2013
Released by:Warner Jazz
I am listening to The Calling by Méav (Full name Méav Ní Mhaolchatha)on a cloudy afternoon. The soothing and spiritual atmosphere of the album is a perfect getaway. The twelve tracks take you on a journey which very few artists can do these days. Her fusion of world, classical and traditional elements really work in this project. She also incorporated a few nods to the direction of folk and jazz which you can encounter as you listen along. This isn’t the same as the full-blown, up front arrangements of Celtic Woman (which she was part of from 2004 to 2007). This is more of an intimate record with lots of intricate details and rich arrangements.
The album resulted in the meeting between Méav and legendary producer Craig Leon in Abbey Road Studios, London while working together on the score of a space film in collaboration with NASA. They discovered the musical chemistry even in their different musical backgrounds ( pop and world music)and they also quickly realized that they shared a love of song-writing and ethnic music. The Calling is described as a contemporary pop treatment of new songs and folk classics from Ireland, England, Scotland, Brittany, Galicia and America.
The album opens with The First Time I Ever Saw Your Face which was originally pinned by Roberta Flack and won her Grammy’s record of the year in 1972. Méav gave a new sentiment to this song. Listen to how her voice sounds like she is imploring the forces of heaven around 2:25. Those high notes can get into your skin. I know because I got chills listening to that part.
In the title track The Calling, the choir voices are used to embellish the track which recalls the signature sound of Anuna. This is also the carrier single of the album. The video features a studio session and the blur-to-detail effects of the camera is impressive.
My personal favorites are Listen, Listen(for the melody), the title track(For the arrangement especially the choral parts), Wayfayring Stranger, Once You Were My Lover (which contains the melody of Breton song Tri Martolod), Glasgow’s Burning( for the percussion and traditional inclusion of Alasdair MacColla and Brian Boru’s March). The album closes with an interesting jazzy take on Black is the Color.
The Calling is perhaps the strongest solo effort of Méav. She is backed with amazing musicians. The generous amounts of spirituality and atmospheric beauty of this album promise to enthrall audience worldwide. Like she did when she was with Anuna, Celtic Woman and her solo albums.
Trivia: The First Time Ever I Saw Your Face was originally written by the Scottish singer Ewan McColl ( father of Kirsty) for Peggy Seeger- source of this info is Méav.
Liam Ó Maonlaí talks about his project Rian, working with Glen Hansard and beyond.
Born is the first album I listened to from Hothouse Flowers, a band fronted by my special guest Liam Ó Maonlaí. The part of me that loved(and still does) U2, The Cranberries, Sinead O’Connor and a whole bunch of Irish rock artists warmed up to this album. Born featured Wayne Sheehy on drums and Rob Malone on bass guitar. This album contained extensive songwriting contributions from O’Toole( who stepped out of his bass responsibilities to showcase his multi instrumental abilities). The album featured mostly guitar, bouzouki and keyboards on the recording. This is one of their complex records as the music also incorporated more elements of electronic loops, synthesizers and studio effects.
I believe that an artist grows with his listeners. Somewhere in the mid 200os Liam Ó Maonlaí supported traditional Irish music. His humanitarian efforts are notable and they continue to this time. He admitted in interviews that as a child, he was mostly influenced by traditional Irish music and Gaeilge was spoken as the main language. He even went as far as releasing a recording called Learn Irish with Liam O Maonlai.With Rian and other projects on the way, the bard joins us in this amazing interview!
Since Hothouse Flowers and then your project with ALT (and also acting on the side), what are the driving forces that keep you in shape and give you the drive to continue in this artistic journey?
With Hothouse Flowers
Mostly I respond to what comes my way and within that I find inspiration. I spend a lot of time looking at the world, our history and our present. What worked ,what works and what might work. For some people on Earth, these are terrible times and I see us as one. Music always drives me.
I am one of those who got a copy of Learn Irish Project and it is an amazing work. Are you planning to launch another Irish Language course soon?
I would like to and I do intend to…. I need to make sure I get it right.
You are amazing both in Sean Nos singing and also in lending your voice/talent to other projects. What are your other Irish based projects that we should hear about?
I have been involved with a project called Rian . It is a collaboration with Michael Keegan- Dolan and his company, Fabulous Beast dance theatre. Rian involves eight dancers and five musicians. The music is mostly traditional …the dances are newly created. It has been travelling the world to standing ovations. Next stop Singapore. Rian has been to Norwich, London, Dublin, Cork, New York , Sydney, Hong Kong ,Umea, Wiesbaden , Lyon and Paris. ..sell out shows mostly.
That sounds fantastic! You also do acting on the side. One of them is The Busker(2006). Do you find difficulty switching from your musical side to acting? Or is it as easy as counting 1 2 3.
…My mother said to me once that what I do with the Hothouse Flowers is acting . I think in a way she is right.
You are a great Bodhran player. What are the things we should know about playing this instrument that other probably don’t know about yet.
Not to forget that it is a drum and that the drum has a voice and that is powerful. The player mostly listen and feel the music that is being played . A steady beat is a great thing.
Your video Sadhbh Ni Bhruinneallaigh has been getting a lot of views on youtube. Do you have plans of making another epic performance like this soon in shows like Highland Sessions or Live Trad?
… I hope so. The Highland Sessions and the Trans Atlantic Sessions were great projects .
You worked on a project with Glen Hansard. How was the experience and care to share a bit about that one?
Yes…Glen is full of enthusiasm and energy. He and Marketa helped finance my last solo cd To Be Touched. They were there as a force of encouragement and a lot of fun as well. He is an eager worker… not afraid to sweat. He tuned in to my way of working in a great way.
You are currently on tour with the Rian project. How’s it going?
It is going really well. It is a great show with a great team. We love performing it and I believe that comes across. We have been to Paris, Hong Kong, New York, London, Dublin, Cork, Carlow, Longford, Sydney, Wiesbaden, St Polten, Lyon, and Norwich. I may have left out some as well..
You are composing a soundtrack for forthcoming John Carney film. Can you give us a heads up about this one?
That film has been made and I handed over the composition because he was looking for a different style. I would love to work with john and we are talking about possibilities now.
What’s your message to your fans?
Thank you for taking the time to hear my work. It gives me great healing and pleasure.
Last question:How can one deal with change both spiritually and artistically?
Well… Art is a great boat to take on the sea of change. Art is an observer and responds in an uncalculated way at its essence to all things. If you can be true to yourself with your art then your art will have meaning. Trying to be or work like someone else will only bring about second rate work.
Also in this edition: Lori Watson and Rule Of Three and Kernowpods
Calum Stewart and the cover art of the new album.
Between working with the London Philharmonic orchestra, recording for the next “Lord of the Rings” film, “Hobbit Movie” and completing being part of Jamie Smith’s Mabon’s Windblown, Calum Stewart took the time to talk to us about his career and how it all started.
Greetings! It is a lovely the month of October Celtic music followers. Our guest for this week is flutist Calum Stewart. He made a lot of collaboration with other bands. The new album Wooden Flute and Fiddle is out in the market! It is a collaboration with fiddler Lauren McColl and other musicians. If you don’t have a copy of the album yet, I want to tell you it is an amazing thing to have as part of your traditional music collection. Like what I mentioned in my last article about the album: This is an album that every traditional music listeners will want in his or her collection. This is due to the huge effort that the two and the rest of the session musicians placed on this album. There are slow and fast tunes. Expect variety in instruments and grand artistry that only musicians of their caliber can provide. And even if you are not really into Scottish or Irish trad music, you will still warm up to this one for its melodic and relaxing merit. Love it love it!
All musicians started with something that they consider memorable. I helped him trace back on how it all started-with the release of his debut album Earlywood.
Can you tell us a little background as to why is the debut album Early Wood?
“Earlywood” is my first solo album, and reflects my home tradition of the north of Scotland, with many tunes from Morayshire. There are also several compositions, which sit side by side the older repertoire, all arranged for Wooden Flute, Fiddle and Piano: my main interest has always been finding strong repertoire, interesting arrangements and powerful sounds, in acoustic settings. The title “Earlywood” refers to the inner growth circles inside trees. The “Earlywood” stage is the time when the tree grows the most… “Latewood” is the other time, and perhaps when the tree takes stock, during winter. Earlywood seemed a good title, because it was my first solo recording.
Since recording “Earlywood” and touring with my trio, I’ve had the opportunity to continue work with Lauren MacColl (Fiddle), with whom I’m releasing a new album with now (featuring Eamon Doorley of Danu, and Andy May). ( Go to www.laurenmaccoll.co.uk/shop )
I’ve also been working closely and touring with Breton guitarist Heikki Bourgault; we released our first duo album last year, with plans for a second one in 2013 (visit www.calumheikki.com for details).
Jamie Smith’s MABON has released Windblown. What can we expect from your musical contribution in this album?
I am featured as a guest on several of the tracks of their new album “Windblown”. Although I can’t play as a core member of JSM and Mánran now, because of my own project commitments, I really enjoy working with them when the occasion arises, guesting on recordings or sometimes at concerts / festivals. We are all very good friends and keep in touch about our own separate projects, and enjoy meeting when our projects cross paths, playing at the same festival!
Early promo pic of Jamie Smith’s Mabon
You are known to play hide and seek between time zones with multiple natures: you are in demand as a musician! How’s the experience of working with different artists and how this shaped your artistry?
Working and collaborating with different artists from different genres is really important, enabling one to have a more open perspective. I’ve had the opportunity to work with some really inspiring people and they’ve really shaped my approach. However I also think it’s good to concentrate and develop one’s own musicality, ones own musical journey. Whilst you may encounter many influences along the way, fundamentally you must find your own voice.
Your musical development was traditional since you are originally from the North of Scotland and brought up with the traditional music of your native Morayshire. How do people in your hometown respond to your international success?
I always really look forward to playing on home turf, and it’s great to catch up with those musicians whom I played with when I was growing up. I try and “re-charge my batteries” when I’m back in Moray, usually remembering old tunes, learning some new ones or writing some, and most importantly remembering why I enjoy playing music in the first place! I still have family in my home village, although I don’t live there anymore – so I really enjoy going back there.
I realized that although your name is synonymous with the wooden flute, you are also and expert in playing the uilleann pipes and whistle. What are the other instruments that you play?
I concentrate on the Wooden Flute although I do play Uilleann pipes too, and really enjoy the different voice this instrument has. However the Wooden Flute takes up almost all of my concentration. Although there are different qualities in the pipes and the whistle, and sometimes they are useful – the Wooden Flute is really my musical voice, so I prefer to concentrate on this. I have a very special old flute, which I use for all my musical projects – its a Rudall Carte & co, made in the 1930’s. Its made from cocus wood, and has been with me in every musical situation since I found her! I use wooden headjoints by Tobias Mancke with her. In addition I own a brilliant Wooden Flute by Peter Worrell which is based closely on my original. As I don’t like owning many flutes and changing flutes, I take my Rudall Carte & co. with me, wherever I go!
Ewen Henderson at Clickimin Centre.
What is the recording process in making an album?
Every recording I’ve been involved with has been different. Although usually after the initial concept or inspiration, there follows a period of collecting / writing / arranging, before either rehearsals or concerts and then recording. Sometimes it’s possible to play music for a long time in concerts, developing ideas before the studio, but sometimes the music takes shape in the studio – there are no rules!
After a big performance, how do you chill?
Usually, there is a lot of work to be done after a performance. I always try and meet the audience personally, making contact after the concert. Often there are interviews to do, CD signings and meetings – so it can be quite busy! After all this is over, and my flute is put away… I usually hang out with my band and quench my thirst.
What are other projects that you are working on?
This summer I’ve been working with the London Philharmonic orchestra, recording for the next “Lord of the Rings” film, “Hobbit Movie”. As well as that, I’ve recorded with fiddler Lauren MacColl, joined by Eamon Doorley (Danu / Julie Fowlis), and Andy May – this is available via: http://www.laurenmaccoll.co.uk/shop .
Otherwise, I’ve been guesting on recordings such as the new JSM album, and preparing new repertoire for a 2013 release with my duo.
What can fans expect to hear from the new album now that it is out?
Quite a traditional repertoire, coupled with some new offerings: based strongly on the interplay between the wooden flute and the fiddle
You are a huge influence to young people who are trying to learn traditional instruments. What can you advice them in how to make it like you
Play music that you believe in and always be yourself.
There you have it readers. Another exciting moment with Scottish musician Calum Stewart. I am looking forward to the “ Hobbits” soundtrack knowing he is part of the music. Also get your copies of the new album and drop by his website to say Hi. He is really down to earth and has an amazing sense of humor. I enjoyed this interview with Calum and it is really fun talking to artists and getting to know how they create their music. Have a great week ahead!
Sweetness! Lori Watson has a voice than can melt your heart like butter. But don’t let this sweetness fool you. This amazing musician plays music with such intensity and break neck speed. Her band is gaining a wide following all over with their fusion of traditional and contemporary style.
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Kernowpods: War an gwyns – remix
Cornwall has her own thriving community of painters, photographers, musicians and people doing their own art. One of those who help define the Cornish cultural identity is Matthew(Matthi) Clarke. He is part of Sue and Phil Aston’s circle and they are doing a LOT of diverse things with music and visuals. This is one of the songs Matt uploaded in his podcast.
Phil Aston,Dan Aston, Sue Aston, Matthi Clarke and James Perkins-An Derow.
Thanks for reading folks. More album reviews coming up very soon.
Singer/songwriter Slim took time between gigs to discuss his new album “ Gallows Tree Tales.”
Gallows Tree Tales is an album that will dance around your head for days. I know because I have the album and I play it every day. Whether you are using high quality headphones or huge speakers, this is a must have for audiophiles.
Slim is our artist of the week.This is our second ‘meeting’. I discovered his music a year ago through TradConnect, a social network for lovers of traditional Irish music. He was networking with trad. performers who played on the album. He shared the rough mixes of the tracks to potential fans through his Soundcloud account. Now the album is finished. It promises to please many listeners. Gallows Tree Tales has epic hooks, catchy melodies, and a mastering done with impeccable taste and precision. This is a great addition one’s music library – a timeless album to listen to again and again across generations. Here is our interview.
Slim at last the album Gallows Tree Tales is out! Now tell us about your memorable experiences recording these wonderful tracks.
Yep, the album’s out – after over three years of hard graft, it’s here. There’ve been so many magical experiences, – getting the bones together of the first track I wrote (‘Til My Dying Day), and releasing a rough demo of that to my fans on Facebook, and getting just the most beautiful feedback from it, and realizing right at that very point that this project had LEGS! Also with this project, although I didn’t have a working band when I started it, I really didn’t want it to read like ‘Slim plays all the instruments’ – I wanted it to be a classic folk-rock record, with loads of different artists on board, lots of different sounds and talents.
So as I was developing each song, I was adding session players to the mixes, and before we even get on to the gospel choir, there’s getting on for seven musicians on most of the tracks. Dan Clark plays some beautiful lead guitars, there are some stunning bits of Celtic pipes, flutes, and whistles, some beautiful backing vocals, and since I record everything myself, those ‘lightbulb’ moments when each player started up recording for the first time brought many shivers down my spine – I hope everyone else hears and feels these too.
Tell us about the choir. The choir appeared in the album giving it a gospel feel.
The choir (Singology Gospel Choir) are actually only on one song – ‘Peggy Gordon’ – which was one of the last songs that we cut for the record. It was a dear friend of mine, JR who suggested a gospel choir for that track. Since I’ve been doing the Gallows Tree Tales record for a fair while, I’ve been bouncing rough mixes, sketches and the like off my friends and family for so long – and probably ad nauseum in some cases – to get their take on things. These people should get credits really for all the ‘it needs a middle eight!’ / ‘you can sing that better!’ / ‘let me do some harmony vocals on that one!’ comments that I’ve got over time! Anyhow – Singology are one of my friend Reese Robinson’s community choir that she runs in London. And I just asked if they’d be up for doing a track. Very simple really.
The logistical side was a bit tricky – there were getting on for twenty of them, and my studio’s in the loft conversion in my house in Hackney. So we had the lounge as the green room, where they rehearsed, and then we got them up in groups of three or four to record the parts and sent them down again, while I plied them with pizza, and then we crammed them all into the loft for a final ensemble piece with claps and the works. Toni’s arrangement of the parts was spine tingling, and we doubled everyone’s parts so in effect you have about thirty people singing on the final mix. They graced me with their singing at the launch gig in August at Proud Galleries Camden, and we’re using that video footage to make a promo video which will be stunning. We’ll definitely get them on board for more than one track on the next record – Celtic gospel folk-rock – we’ve invented a new genre I reckon!
The songs are very catchy, adult alternative radio oriented but also very Irish. How did you come up with these songs?
I wanted this record to be like one of the classic seventies rock records. Not just a couple of singles and some filler, but a journey record crammed full of hooks and moments. And I didn’t just hole up in the studio for two months and rush through writing eleven songs, as I’ve had to spend a good chunk of the last three and a half years working (running my home studio, playing session guitar, getting drunk!).
So every song has had to pass through a lot of stages before it made the cut. And I made a conscious effort to give EVERY song a massive hook, a chorus melody that you could sing. ‘Til My Dying Day was the germ of the project, and that came from a great trip to Cork to see some friends back in November 2009, and when I got back to London with Irish airs bouncing around my head (mainly from my mate Donie who’s always singing after a few ales), that kind of informed the whole enterprise.
I got Orlaith McAuliffe and Colman Connolly on the record to give some real Celtic flavours later on which just blew me away – the Uilleann pipes that Colman plays at the start of ‘Til My Dying Day were actually just him checking his tuning and warming up, and it was one of those ‘stop! – we’re using that for the intro!’ moments right away. That first song was like an old yarn that I made up, and I thought, why not do a whole record of tales, which is what we’ve got now. I’m actually as proud of the lyrics as the melodies on this record – I think it all holds together really well.
I like the play of tempo in your track arrangement. The album starts with a ballad then ends with a ballad. In between are energetic tracks that will sure to get people up their feet. Who worked with you in the track order?
Well the last track (‘Reason And Rhyme’) was the first to place. My best mate Jim Gipson wrote the lyrics, and the sentiment of that song is just perfect for the end – ‘We’ve had our time, we’ve had our reason and rhyme’ – a positive break-up tune. I wanted a big Beatlesy singalong chorus to tower off into oblivion, and it’s the only track on the record with a fade-out. We did it live at the launch gig with the choir, with each band member leaving the stage ‘til there was just Singology Gospel Choir onstage singing their hearts out. Perfect.
As for sorting the order of the rest of the tracks, I actually bestowed that honour upon Andy Adams, my drummer. He’s been a tower of strength on this record – I bounce most everything I do off him. He’s fiercely opinionated, and I like people with something to say. So I just told him to go away and order the record, and there you have it. When you’re a solo artist it’s nice to offload some of the weight of responsibility for things!
Your songs have universal appeal. They all talk about the human condition but not confined to personal issues alone. There are also songs about history and places. Was the inclusion of these ideas intentional?
Some of the tales are fictional stories about the usual suspects (love, loss, booze, madness, drugs and the like). Jim Gipson wrote the lyrics to the two most personal love and break-up songs – Heart And Soul, and Reason And Rhyme – he writes in a very direct way, in a style that I don’t, and it’s great to carry that emotional burden for a moment when you’re singing them. There’s actually only one true story there – Cadogan 129, about the very first murder on Britain’s railways in 1864, which is focused on a pub round the corner from me in Hackney, London, which my mate Frank told me about as he lives next door to it.
The great thing about the interweb is once you’ve found a yarn, you can Google it to death, trawl Wikipedia and before you know it you’ve fleshed out a whole web of lives from the past. The middle eight of that song is the actual poem they’d read to the condemned murderer on the day of his hanging, ending with ‘May the lord have mercy on your soul!’, which was a nice touch. I’ll definitely revisit this technique of tale-telling for the next LP.
How do you see yourself 10 years from now as a musician?
In a very similar place to now I’d hope, as I really couldn’t improve upon these Gallows Tree Tales, how we wrote it, how it was recorded, the beautiful people who helped craft it – I’m just so proud of it. I’d definitely like to do more with trad. players from Celtic shores, and more work with the gospel choir, and I think there’s some more acoustic and pastoral places that I could go, but for now, I wanted to make this big, bold, technicolour folk record, that makes you laugh, cry, dance, and who knows what else all at once. I think we nailed it. The big job for the start of the next ten years is getting it out there.
Are you planning an album tour and where?
The next stage is getting this out there so absolutely yeah we’re gonna take this out on the road. London is the focus of course, but the tunes will travel. Definitely we’re talking festivals next summer and hopefully a good support slot or two. I’m gonna get the gospel choir thing rolling too, and the idea of having a collective of musicians that can come in and out and give their flavours. We’ll be doing another big night at Proud Galleries in Camden towards the end of 2012 with a bit more of an industry and press focus, and we’ve got a warm-up on October 7th at the Old Queen’s Head in Islington. Watch this space I guess. I’m off on a road trip from New York to New Orleans in September, so we’ll definitely try for some guerrilla gigs across the pond!
When you are not doing music, what are the other things you are passionate about?
Music’s pretty much the big deal for me – it’s all I do, and what I was born to do. I’ve got about a hundred other projects on the burner at any one time, and don’t devote nearly enough time to any of them. I do balearic electro stuff with one of me best mates Steve Lee (The Project Club), I play guitar with Reese Robinson who runs Singology, and we do kinda nu-soul acoustic tunes. It’s all about collaboration in my book – I met a great MC called Cozmost at Burning Man festival in Nevada last summer, and we’re gonna do a remote hip-hop-folk collaborative thing when I get time. This music thing is really all I live and breathe.
This is the second time we met in this interview and I don’t want to repeat myself. What are the other things you want to tell your listener that you think we haven’t covered yet?
The only thing I have to say to everyone is please get online and buy the record. I’m insanely proud of how Gallows Tree Tales turned out – and it’ll dance around your head for days and days if you let it! So go to www.slim-music.com and get on it, and of course befriend the Facebook band page by ‘liking’ it! www.facebook.com/gallowstreetales. And come and see us live!
Listening to the entire album echoes the passages in Dante’s The Divine Comedy. You travel through the depths of the human experience and you’re purged. Gallows Tree Tales has the larger than life themes that resonate through your soul. You just have to be prepared and you’ll come out of it more human, more honest and healed.
Sampler:
The Gallows Tree artwork courtesy of Slim\s official website
Slim’s band personnel:
Slim – vocals and guitar Andy Adams – drums Benn Cordrey – bass jh – keyboards Sam Kimmins – harmonica and percussion Dan Clark – electric guitar Seb Wesson – electric guitar Emma Bowles – backing vocals The Singology Gospel Choir conducted by Reese Robinson
To buy physical and digital copies (via Itunes) of Slim’s Gallows Tree Tales, get involved, and find out more, visit Slim’s official website www.slim-music.com
Teaser for the rest of the album tracks
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Misc
The Celtic Music Fan would like to greet Baz Mcsherry a Happy birthday. You are now older and wiser Baz! Here you are with your great song:
I have my different Celtic “soundtracks” of the day. I listen to New Agey stuff after waking up , usually when the sun hasn’t risen yet. In the middle of the day, there’s the Celtic Rock and other ‘lively’ albums. In the afternoon it is usually traditional stuff. In the evening that’s when the urban chill out albums come. At this time, I give way to the dancy electronic types of Celtic music. One included in my regular playlist is from the UK based group Flutatious which I wrote about before.
Their self-titled debut album is a joy to listen to. I like dancing and this is the type of music that has that bounce. This is best played with big speakers emanating deep bass and lush midrange. What I like about the production is the emphasis on balance between the midrange sounds and the bouncy, floor shaking lows. The wispy highs are also crisp.
Things that I noticed about this album are:
Chanty choruses injected in some tracks are fabulous. But the emphasis is not so much given to them as in the case of bands like Ceredwen or Clannad. Often times these effects are done when the track really needs it.
The traditional aspect of the album is geared towards the Welsh and Cornish type of flavour. There are Scottish and Irish jig styles that you can hear once in a while.
The jazzy keyboards make this album appealing both to lovers and non lovers of Celtic music. I bet this will also sell well in the London club scene as in the case of loops and electronic effects that are hip.
The band doesn’t repeat their styles in every track. It can be a good or sad thing depending on your point of view. Tracks like Spacechick, Venus, Morag’s Dance and Road to Skye are so addictive you want another version of the same sound.
With all these in mind, I think the debut album by Flutatious deserve more spin in your player.
Thanks to Bill Forwell for the taste of this great sonic juice!
Celtic Music Fan 