Soul musician Nick Waterhouse considers the third single off his new album to be “good luck.” Placed on his fourth studio album due out on Friday (March 8), “I Feel an Urge Coming On” is a cover of Jo Armstead’s 1967 tune.
“It is like waving to a friend,” says Waterhouse of covering at least one song from a friend on every album. “It is for good luck, for good will.”
Like the majority of songs off Waterhouse’s self-titled coming out on Friday, “I Feel an Urge Coming On” is a track worth swaying to with a surf city swing to it.
“I am aware of how money flows and that licensing is one of the only ways that artists make money anymore,” Waterhouse tells Billboard. “I know that my songs, for whatever reason, are more palatable to licensing people and I have already jumped on that grenade of not really caring about being perceived as selling out.”
Waterhouse adds, “If I can make a friend a little more money, then I’ll do that.”
Backed by a heavy brass section, a standout bass, keys and sultry backup vocals, Nick Waterhouse is a confident album befit for the artist’s name.
“Self-titled records are typically supposed to be introductory. My first album wasn’t really intended to be an album,” says Waterhouse, whose debut Time’s All Gone was more of a collection of singles produced over four sessions. “The first three records feel like a trilogy to me. They feel like the same momentum from my very first song to the last track on (third album) Never Twice.”
Prior to getting into the studio to create his latest, Waterhouse found himself out of a three-record contract and wondering if creating music was where his life had naturally taken him.
“I was 31/32 and I had been doing nothing but making records and touring and working on other people’s records for seven years straight without actively deciding that that was what I was going to do,” says Waterhouse. “So I was like ‘Okay, maybe I will do this. This is what I do. This is what I know how to do.’ I really believed in it so I figured I put my name on it finally.”
The album, which Waterhouse has described as the closest to having a conversation with him, was produced by Paul Butler and retains the 1950/1960s influences felt previously throughout his work. While the lyrics can take a serious turn in songs like “Black Glass” and the bass-driven “Which Was Writ,” they never lose the ability to dance to them.
“The record has to want to make you boogie no matter what you’re saying,” Waterhouse explains. “You speak with an accent from where you grew up. I guess that’s what my accent is. Those were the records I really loved and learned everything from.”
That accent translates across the globe as Waterhouse is set to hit the road for an international tour later this month. Beginning on March 18, Waterhouse will travel to the U.K., France, Belgium, Germany, The Netherlands and Greece before returning stateside for a cross country trek.
“It is almost like I am a different artist in every country. The way people engage is kind of a reflection of a broader sensibility,” says Waterhouse. “This is a small sample group of a population, but like the 2,000 people in France who seem to really love me are more into the lyrical side and the intellectual side and also the jazz influence.”
Waterhouse, who grew up in record stores, says he feels tied to sub-cultures around the world and taps into myths and narratives surrounding R&B, soul and rock’n’roll music.
“Greece really believes in the transformative power of art and rock’n’roll subculture. I have a theory that it is because they lived under the junta during the sixties and seventies, so they never got to have that. Youth culture actually was illegal there,” says Waterhouse, who has toured Greece several times in the past.
He adds: “They are one or two generations away from when if you had an Iggy Pop LP you could get arrested and put in jail for years. They’re really passionate and there’s this attitude of ‘we make it work.’ Everybody says that to me there.”
Waterhouse will return to the U.S. in April for a tour that hits his hometown of Los Angles before branching out to Seattle, San Francisco, Toronto, Chicago, Austin, Salt Lake City, Detroit and more.
“I really love any chance I get to go to Toronto and Chicago and Austin. All those audiences are really my people,” Waterhouse tells Billboard. “Maybe in the consciousness of those areas people have the same accent as me where they grew up hearing records that were about movement.”
Nick Waterhouse is out Friday (March 8) on Innovative Leisure and is available for pre-order here.
Country Outlaw Songwriter Billy Joe Shaver Dies at 81
He became a reliable storyteller, logging songs with Kris Kristofferson (“Good Christian Soldier”), Tom T. Hall (“Willie the Wandering Gypsy and Me”), the Allman Brothers (“Sweet Mama”) and Elvis (“You Asked Me To”). When Jennings invited Shaver to Nashville to work on what became his 1973 outlaw country landmark album Honky Tonk Heroes, Shaver burst into national…
He became a reliable storyteller, logging songs with Kris Kristofferson (“Good Christian Soldier”), Tom T. Hall (“Willie the Wandering Gypsy and Me”), the Allman Brothers (“Sweet Mama”) and Elvis (“You Asked Me To”). When Jennings invited Shaver to Nashville to work on what became his 1973 outlaw country landmark album Honky Tonk Heroes, Shaver burst into national prominence. He landed credits on 10 out of 11 tracks on the album that is often tagged as the first, and some say best, “outlaw” LP from a back-to-basics 1970s movement that included Willie Nelson, Kristofferson, Merle Haggard, Johnny Cash and a number of others.In 1973, he also released his Kristofferson-produced solo debut, Old Five and Dimers Like Me, which included his beloved songs “Willie the Wandering Gypsy and Me” and “Georgia on a Fast Train.” Cash covered his song “I’m Just an Old Chunk of Coal (But I’m Gonna Be a Diamond Some Day),” which he wrote after giving up drugs and alcohol. In all, Shaver released nearly 2 dozen albums on a variety of labels (MGM, Capricorn, Columbia, new West, Sugar Hill), earning a Grammy nomination for Best Southern/Country/Bluegrass Album for his 2007 effort Everybody’s Brother. His most recent release, 2014’s Long in the Tooth, was his first to chart on Billboard’s Top Country Albums tally and it featured a duet with Nelson on “Hard to Be an Outlaw.”Shaver received the first-ever Lifetime Achievement Award in Songwriting from the Americana Music Association in 2002 and was inducted into the Nashville Songwriters Hall of Fame in 2004 and the Texas Country Music Hall of Fame in 2006. His highest praise, however, came from the men who towered in the genre and whom he called friends. Cash once referred to Shaver as “my favorite songwriter,” and good pal Nelson said he was “definitely the best writer in Texas… Everything he writes is just poetry.”His rough-and-tumble songs often emerged from a life that had its share of tragedies and heartache, from his son Eddy’s 2000 death from a heroin overdose to the nearly fatal heart attack he suffered onstage in 2001 and a notorious incident in 2007 when a bar fight ended with Shaver shooting another man in the face; he was acquitted of the charges and turned the scuffle into the song “Wacko From Waco.”Shaver also acted in a number of films, including Secondhand Lions, The Wendell Baker Story and Bait Shop, and his song “Live Forever” was performed by his friend Robert Duvall in the Oscar-winning film Crazy Heart; Duvall cast Shaver in his 1996 movie The Apostle and produced the 2004 documentary A Portrait of Billy Joe.Check out some of Shaver’s songs below.
Janelle Monáe Leads The Revolution In Stirring ‘Turntables’ Video
YouTube “We are in the middle of a revolution right? What’s a revolution without a song and a song without a revolution.” That’s the question the Grammy-winning artist Janelle Monáe posed to Entertainment Weekly when describing her latest single, “Turntables.” The song was released on and flips between cleverly rapped lines about “liberation, elevation, education” and a harmonic…
“We are in the middle of a revolution right? What’s a revolution without a song and a song without a revolution.”
That’s the question the Grammy-winning artist Janelle Monáe posed to Entertainment Weekly when describing her latest single, “Turntables.” The song was released on and flips between cleverly rapped lines about “liberation, elevation, education” and a harmonic refrain with clear gospel influences. It’s Monáe’s take on a contemporary protest song, a call for a political sea change, in the vein of, say, Billie Holiday’s “Strange Fruit” or Public Enemy’s “Fight the Power.”
Courtesy of Atlantic RecordsAnd on Tuesday (September), Monáe released a moving music video — or, as she calls it, an emotion picture — that solidified that message. The visual opens and closes with the singer walking along the beach in a beige trench coat and military cap. At times, she can be seen singing into a retro microphone before an American flag; in others, she moves through staged breakfast scenes, with a family reading through newspaper headlines as they mouth her lyrics. The visual flashes through archival and contemporary footage depicting inspirational figures past and present: Where one scene shows the model and activist Jillian Mercado at a photo shoot, another depicts a conversation with lifelong activist Angela Davis.
What rings true without is a hopeful cry for change and for equality, and a recognition of those who have been leading that fight for decades. Monáe wrote “Turntables” for the new Amazon Studios documentary, All In: The Fight for Democracy, that shines a light on voter suppression, particularly through the lens of Stacey Abrams’s failed bid for the Georgia governorship. “Right now, I am focused on turning the election in our favor,” Monáe told Entertainment Weekly, “and I hope this song can inspire those who are on the ground doing the work.”
Joe Keery’s Reinvention, Mxmtoon’s Carly Rae Jepsen Collab, And More Songs We Love
Getty Images/April Blum The search for the ever-elusive “bop” is difficult. Playlists and streaming-service recommendations can only do so much. They often leave a lingering question: Are these songs really good, or are they just new? Enter Bop Shop, a hand-picked selection of songs from the MTV News team. This weekly collection doesn’t discriminate by…
Getty Images/April Blum
The search for the ever-elusive “bop” is difficult. Playlists and streaming-service recommendations can only do so much. They often leave a lingering question: Are these songs really good, or are they just new?
Enter Bop Shop, a hand-picked selection of songs from the MTV News team. This weekly collection doesn’t discriminate by genre and can include anything — it’s a snapshot of what’s on our minds and what sounds good. We’ll keep it fresh with the latest music, but expect a few oldies (but goodies) every once in a while, too. Get ready: The Bop Shop is now open for business.
St. Vincent ft. Yoshiki: “New York”
St. Vincent, the intuitive musical goddess that she is, must have sensed our collective need for another quarantine ballad. Enter “New York [Feat. Yoshiki],” a classical arrangement of the standout single from 2017’s Masseduction. An added string section courtesy of Yoshiki, a Japanese multi-instrumentalist, beautifully complements the song’s original piano instrumentals. What more can I say? “New York isn’t New York / Without you, love” just hits different in the middle of a pandemic. —Sam Manzella
Djo: “Keep Your Head Up”
Last year, Joe Keery (of Stranger Things fame) released a glossy solo album under the moniker Djo. It was titled Twenty Twenty, and its sparkling arrangements ended up being quite far removed from the overall vibe of 2020 the year, but who could fault him for his optimism? Keery has also long been a contributing member of Chicago psych band Post Animal, but Djo is simply Joe — and latest “Keep Your Head Up” feels like several Joes ripping open a vortex in the funk-time continuum. This is a groove, peppered with buzzy synths and icy falsetto and an honest-to-god sax part. It’s akin to Todd Terje doing Tame Impala, a lightheaded cocktail rush that feels both clubby and bedroom ambitious. Positively galactic. —Patrick Hosken
Mxmtoon ft. Carly Rae Jepsen: “OK On Your Own”
When Mxmtoon’s Maia said she recorded “OK On Your Own” for the girls and the gays, she wasn’t kidding. The mellow bedroom-pop bop soundtracks a journey of self-reflection after a breakup, complete with the soft ukulele instrumentals that put the 19-year-old singer-songwriter on the map. Is it revelatory? No, but with pop icon Carly Rae Jepsen lending her sugary-sweet vocals to the second verse, it doesn’t have to be. Now I’m just waiting for “Party for Two.” —Sam Manzella
Video Age: “Aerostar”
Pleasure Line, the third album from emerging indie pop quartet Video Age, delivers perfectly escapist ’80s new wave vibes for when you need to get outta 2020 for just a moment. “Aerostar” is its punchy center, a hip-twisting, shoulder-shuffling groove that delivers quirky robot dance commands (“Slide to the left, now! Shimmy to the right!”) over hoppin’ funk synths and a kickin’ drum machine. It all harkens to a simpler time, one where dance floors were actually a real thing. Oh, the ’80s! —Terron Moore
Ruel: “As Long As You Care”
About a year ago, Australian middle-part heartthrob Ruel told MTV News that for him, “songwriting is exaggerating to an extent.” On his latest, the technicolor, soulful “As Long As You Care,” his exaggeration is so seamless, you’d be forgiven for believing the 17-year-old is actually a time traveler. The neo-soul groove he rides propels everything upward, even as the sound cheekily looks backward. “As Long As You Care” has one amazing hook, coupled with sonic candy that makes his upcoming third EP, Bright Lights, Red Eyes (out October 23) one to watch. —Patrick Hosken
Alycia Bella ft. Boogie: “Cue the Sun”
Something magical happens two-and-a-half minutes into “Cue the Sun,” the exploratory new collab between striking R&B voice Alycia Bella and rapper Boogie. After piping in the aural equivalent of stage smoke via jazzy piano and gorgeous vocalizations — “It feel like being lost in the right direction” — Bella’s song enters a more sparkly realm for Boogie’s recitations. By the end, you’re lighter, like your mind’s been cleared of all the cobwebs. Cue the sun. —Patrick Hosken
Carly Rae Jepsen