Beginning with the end in mind…”Brightlife Music has signed an International Promotional & Marketing deal with Eyeball concepts”.

375743_344205032372759_1146661041_nBrightlife Music LogoA new step in the right direction, a bilateral relationship that is set to expand the frontier of Africa music awareness in the international market… “Ceo Brightlife Music… i’m very happy for this new Journey . Brightlife music and eyeball concepts share one thing in common, simplicity at its best  that change the way music can feel ” .

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Coachella Goes Pop: Why The 2014 Festival Felt More Mainstream Than Ever

By J.L

coachella-2014-justin-bieber-chance-the-rapper-performance-billboard-650Justin Bieber played the main stage at Coachella.

Okay, well, technically he performed for a single song, and as a surprise guest during the performance of Chance The Rapper, a buzzed-about indie MC with no proper album to his name yet. But technicalities aside, Bieber was there, white bucket hat and black tee, on the Coachella stage for the first time. And it wasn’t even that surprising.

Bieber’s appearance came on Sunday afternoon, hours after Beyonce made a cameo during her sister Solange’s set to dance out to “Losing You.” Bieber also followed Gwen Stefani, who played her solo pop smash “Hollaback Girl” during Pharrell Williams’ guest star-laden hits parade. Katy Perry had been spotted taking in another Coachella weekend long before Bieber and Chance combined for “Confident.” And once Bieber concluded his cameo, his buddy Drake was still on deck, getting ready to stop by Jhene Aiko’s evening set to run through “From Time.’

This year was hardly the first Coachella to boast occasional cameos from mainstream stars — Perry has been a Coachella fixture for years, Rihanna stopped by the Indio fest in 2012 to guest with Calvin Harris, and R. Kelly took the stage during Phoenix’s headlining set last year. Surprise performers aside, however, pop music was engrained into the 2014 Coachella Valley Music & Arts Festival lineup, arguably more than ever before. Ellie Goulding, Pharrell Williams, Lorde, Foster The People, Bastille, Aloe Blacc, Lana Del Rey, Calvin Harris, Capital Cities… all of these artists can claim recent mainstream moments, and each of them contributed to the feeling that the longtime alternative mecca was slowly shifting gears. Every hour or two, it seemed like another Top 40 hit was wafting across the polo grounds — and that’s not even counting the hour in which Girl Talk mashed them all together.

Contributing to Coachella’s subtle pop makeover was the general feeling that rock music was being shrugged off by this year’s festivalgoers. The crowd for EDM upstart Martin Garrix’s Friday night performance dwarfed that of post-punk legends the Replacements, who were playing their first West Coast show in 22 years and did so in front of a few hundred people. Superchunk similarly soldiered through an under-attended performance, entertaining a half-empty Gobi tent while Rudimental blasted its international hits to an overflowing crowd in the adjacent Mojave tent. Performers like Muse, Queens of the Stone Age and AFI lost huge chunks of its audiences to catchier concurrent sets from Skrillex, Empire of the Sun and Bastille, and when Arcade Fire’s Win Butler took a shot against the lack of “bands still playing actual instruments at this festival” during the band’s headlining set, the line felt like a territorial jab at the shifting nature of the festival, which sounded a lot different when Arcade Fire headlined three years earlier.

One month after the emerging artists that played this year’s South By Southwest festival were forced to coexist with Lady Gaga and Pitbull, this year’s Coachella often felt like the little guys were being edged out by the pop behemoths. At the same time, however, the 2014 festival was home to an unusually high number of alternative artists that had just happened to find a gateway to mainstream audiences over the past few months. How could festival bookers forecast the out-of-nowhere Top 10 hits by Bastille, Capital Cities or Aloe Blacc when the lineup was being cobbled together? Lorde told her sizable audience that she was booked for Coachella 2014 in May of 2013 — months before anyone in the U.S. knew that she had never seen a diamond in the flesh. Perhaps this year’s Coachella actually underlined how much pop music has bended toward alternative music over the past year, with Top 40 radio pairing party hits by Miley, Gaga and Katy with offbeat singles like “Royals” and “Pompeii.”

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Likewise, most of the pop-leaning artists booked at this year’s festival have reached new career peaks in the months leading up to Coachella. Pharrell was always going to be one of the bigger draws at this year’s festival, but his performance turned into even more of an event when “Happy” became the most inescapable song of 2014’s first quarter. Ellie Goulding was similarly expanded her profile over the past year thanks to a string of recent hits like “Burn” and “I Need Your Love” to bundle with her 2012 breakout “Lights.” Even Lana Del Rey, who conjured a crowd as cultish as a Beyonce audience, never had anything resembling a pop radio single before Cedric Gervais’ remix of “Summertime Sadness” unexpectedly took hold last year. It’s not like Coachella booked a slew of established pop performers for its 2014 bill; instead, a handful of artists have recently grown into that category, and their audiences responded in kind.

So the pop takeover of this year’s Coachella was all happenstance, right? Not exactly. Let’s face it: Coachella has a “cool factor” that few U.S. music events have been able to duplicate, and an amount of media coverage that only a few festivals can also boast. Set in the gorgeous California desert just a few hours south of Hollywood, Coachella remains a posh experience of music absorption, the first major summer festival of each year, and a destination that attracts celebrities and, thus, eyeballs. How many of Chance The Rapper’s other festival performances will Justin Bieber attend this summer after Coachella? Likely none. As long as Coachella maintains that glossy appeal and ability to get people talking, the pop sphere will try to puncture it, as it successfully did in 2014.

 

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The BrightLife Music Mobile App

bl music app 1Brightlife Music A Community of Media & Entertainment “The Way Music Can Feel “ IS USA RECORD LABEL IN LOS ANGELES, California with the idea to open a music outlet for thriving artists who can contribute to the industry on a long term basis. Founded by entrepreneur, president and C.E.O Bright Enabulele aka L. A Bright. Not only is Brightlife a name, but a way of life. Brightlife Music, a label that believes in delivering only prime cuts to the proverbial musical table, which involve simplicity at its best, with a sound that encompasses the entire globe. We are not genre specific, Brightlife Music is universal. We want to touch as many lives as possible through this amazing gift of music throughout the universe, while continuously redefining the business models of projects around the globe. Our new mobile app allows the user to listen and buy music while staying informed through features like push-messaging. Download the app today and share with others on your social networks.

One-Touch Calling – contact us directly or one of our team members with one click.
Push Notification Messaging – receive messages containing important updates while on the go.
Music – listen to snippets and buy music from our artist.
Booking – book one of our artist right from the app.
Events – view current and upcoming music events.
Mailing List – join a specific artist mailing-list to receive important information.
App Sharing – share “Bright Life” music app with others through several social media networks.

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Pharrell weeps with joy

by: M.N.N

pharrell-435x580Pharrell Williams cries tears of happiness in an upcoming interview.

The singer has had an amazing year so far and was nominated for an Oscar with his it Happy, which appeared in Despicable Me 2. He’s also announced several new fashion collaborations, including with brands Adidas and Peace Love World.

In a new interview with talk show queen Oprah Winfrey, the 41-year-old couldn’t contain his emotions.

“I’m so happy,” he sobs in a preview for the Prime episode, which will air on Oprah’s OWN network.

The teary moment was brought on when the chat show host showed him a video of people dancing to his Happy tune.

Last month, Pharrell released his latest album G I R L. Inspiration for his songs often hits him in unlikely places.

“My best songs come from two different ways,” he reveals. “Either when I have a really good gut feeling about something, it’s written in the shower or on a plane.

“The water attracts your ear… You get distracted, and your mind wanders.”

The singer is also having a good time in his personal life. He married model-and-designer Helen Lasichanh in October last year and they have five-year-old son Rocket together.

During the preview clip, Pharrell also looks on teary eyed as pictures from his childhood are shown, including an adorable snap of the singer as a young boy, sporting an afro and a double denim outfit.

While Happy is loved by most people, the star’s racy track with Robin Thicke, Blurred Lines, was criticised by some for its suggestive lyrics and raunchy video. Despite the raised eyebrows, Pharrell insists he’s a feminist.

‘Most things one day will lose their value. But women never do. They are unique and individual,’ he told British newspaper The Sun.

‘I love women and often admire their eyes, lips and other features of their bodies in a sometimes suggestive way.

‘But I respect and hold what would be called ‘a feminist view’ too. I want to spread the message of the pertinence of women on this planet. It calls for the equivocation of women in society.’

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Nirvana Leads New Class In Rock Hall Of Fame

by THE ASSOCIATED PRESS

ap18134001350_wide-716bf5587b33896c315481ac696a45ab48c09b31-s40-c85Nirvana, who set music and fashion trends with their grunge sound but whose career was cut short by leader Kurt Cobain’s suicide 20 years ago, led inductees into the Rock and Roll Hall of Fame on Thursday.

Kiss entered the Hall thumbing its nose at critics, the blue-eyed soul duo Hall & Oates called for more Philadelphia bands to join them, Peter Gabriel urged young musicians to use their imaginations, Cat Stevens was visibly touched, Linda Ronstadt was honored in her absence and, predictably, Bruce Springsteen’s E Street Band turned their induction into a marathon

Nirvana was inducted in its first year of eligibility. The trio’s “Smells Like Teen Spirit” hit like a thunderclap upon its 1991 release, briefly making the Pacific Northwest rock’s hottest scene. Joan Jett replaced Cobain onstage at Brooklyn’s Barclays Center, singing the song with Nirvana members Krist Novoselic and Dave Grohl.

“Nirvana fans walk up to me every day and say thank you for the music,” said Novoselic, the band’s bass player. “When I hear that, I think of Kurt Cobain.”

Cobain’s widow, Courtney Love, hugged the two surviving band members, with whom she’s had some bad blood.

“I just wish Kurt was here to do this,” she said.

Former R.E.M. singer Michael Stipe traced Nirvana’s origins through the hardcore punk scene of the 1980s and said they were a voice for the disaffected. He said they were true artists, not just musicians.

“This is not pop music,” Stipe said. “This is something much greater than that.”

The original four members of Kiss didn’t perform at Barclays due to a dispute between active original members Gene Simmons and Paul Stanley and retired members Peter Criss and Ace Frehley. But the original four made peace and saluted each other in heartfelt induction speeches.

“This is a pivotal moment for all of us,” said Simmons, the bass player and reality TV star. We are humbled that that the fans gave us the chance to do what we loved doing.”

The theatrical quartet put on makeup, belched blood, shot fireworks out of Frehley’s guitar and sang about wanting to “Rock and Roll All Nite.” They weren’t trendy, but Rage Against the Machine’s Tom Morello said that Kiss inspired him and their concert was the first he attended. He even fought high school bullies who ridiculed him for liking Kiss.

“Tonight proves beyond a shadow of a doubt that the high school bullies and critics were wrong,” he said. “Kiss fans were right.”

Ronstadt, the sexy siren of the Los Angeles country-rock scene of the 1970s, couldn’t make it to her induction. Now retired, she suffers from Parkinson’s disease and doesn’t travel much. Glenn Frey, who played with fellow future Eagle Don Henley in Ronstadt’s backup band, saluted her with an induction speech.

Ronstadt was saluted by some royalty of female country rock. Carrie Underwood sang “Different Drum,” Ronstadt’s first hit with the Stone Poneys. Underwood was joined by Emmylou Harris and Bonnie Raitt for “Blue Bayou.” Sheryl Crow and Frey made it a quintet to sing “You’re No Good.” Then Stevie Nicks came out to lead them in “It’s So Easy” and “When Will I Be Loved.”

Nicks said hearing “Different Drum” when she was in high school made her want to get into music.

“I didn’t look that good in cutoffs, but that’s what I was going to do,” she said.

Stevens, the 1970s era singer of “Morning Has Broken” and “Wild World,” was inducted by Art Garfunkel, who said his breakup with Paul Simon helped pave the way for Stevens’ entry into the charts.

Stevens performed “Father and Son,” “Wild World” and “Peace Train,” joined by a robed choir in the final song.

Springsteen’s 1999 entrance into the Rock Hall without the E Street Band was a sore point for some of its members. Thursday they got their due in the sidemen category, although it was a posthumous honor for saxman Clarence Clemons and keyboard player Danny Federici.

The band made up for lost time: Their induction took 85 minutes. That included performances of “The E Street Shuffle,” “The River” and an epic “Kitty’s Back.” Springsteen told stories, many familiar to fans who have seen them onstage, of the formation of the band, which includes his wife, Patti Scialfa. David Sancious, who was with the band only briefly, was the only one to ever live on E Street, he said.

“We suffered aging, illness and death together,” Springsteen said. “We took care of each other when trouble knocked, and we hurt each other in big and small ways. In the end we stuck with each other.”

Daryl Hall and John Oates made reference to the Springsteen marathon with their induction.

“Lucky for you, there are only two of us,” Hall said as the audience laughed.

The duo sang “She’s Gone,” “I Can’t Go For That” and “You Make My Dreams Come True.”

“If you owned a radio in the late ’70s or ’80s, or if you knew anybody who did, you knew Hall & Oates,” said The Roots’ Questlove, a fellow Philadelphia musician who inducted the hitmaking duo. “Hall and Oates can cure any known ailment.”

Gabriel was inducted by Coldplay’s Chris Martin, who later sang with him on Gabriel’s “Washing of the Water.”

Martin credited Gabriel with creating a cathedral of sound and “he helped John Cusack get back his girlfriend in the movie ‘Say Anything.'” That movie’s climactic moment featured Gabriel’s song “In Your Eyes,” and Gabriel performed a soaring version to celebrate his induction.

Gabriel said aspiring musicians should surround themselves with brilliance and, noting his early failures as a drummer, shouldn’t be afraid to try different things.

“Dream big, and let your imagination guide you, even if you end up dressing as a flower or a sexually transmitted disease,” said Gabriel, known for his theatrical outfits during early Genesis days.

The first two artist managers were inducted into the Hall: the late Brian Epstein, of the Beatles, and Andrew Loog Oldham, of the Rolling Stones.

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Brightlife Music Artist Emaculent

emaculent-mainBrightlife Music artist Emaculent has been relentlessly grinding in the rap game for several years.
Born and bred in the shadows of Detroit before being groomed for hip hop stardom in sunny southern California, Emac’s music is the perfect embodiment of his zodiac sign: An unstoppable tenacity on the mic with his flow.
An empathetic remembrance of past struggles, constructing verbal vignettes which so delicately balances the bittersweet nature of where he’s from. And loyal to a fault, even when the day comes where he’s got enough paper to flood the block.
Emaculent, aka E Da MC, has collaborated with industry veterans such as Ray Jay, E-40, and Lazie Bone (of Bone Thugz N’ Harmony), and is always exclusively focused on the long run. Emac lives his life fully believing that you either shine Bright or get outshined.
In the words of the man himself, for a 1980’s baby, not bad.

He delivers the true representation of the art, the grit and the skills of a seasoned MC. He possesses a self-assured swagger. His words bob and weave throughout track after track like a professional verbal athlete with enough fire to set the sun on fire.

Filled with linguistic portraits of his early years, and nail biting imagery, Emaculent delivers punch after punch of power and personality.

His new album “15 Minutes to E” is out since March 18th 2014. You can listen to his new single “Long Run” and download all his songs on iTunes: http://bit.do/emaculent

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You can also like Emaculent on Facebook: https://www.facebook.com/EmaculentMC

And follow him on Twitter: https://twitter.com/TheEmaculent1

For more information about Emaculent visit his website: www.emaculent.com

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Aloe Blacc: Some singers are fame hungry

by: Music-News.com Newsdesk 

AloeBlaccAloe Blacc doesn’t listen to artists that are only interested in fame.

The American singer/songwriter has been recording music for nearly 20 years but rose to significant prominence with his smash hit I Need a Dollar in 2010.

He credits his rise to fame with hard work and determination, and often made music without the assistance of a record label.

“There are a lot of recording artists who are signed specifically as a widget for sale, who just want to be famous,” Aloe told British newspaper Daily Star. ‘They’re the ones I don’t check for and don’t listen to.’

‘I had no label and I was doing all the writing and producing myself, going into the audience with a handful of CDs and asking people to buy my music. That’s the experience I had, understanding what it takes to sell music. Looking back, those were the important days which taught me the business.’

Armed with his insider knowledge of the music industry, Aloe has joined forces with Maroon 5 frontman Adam Levine on season 6 of The Voice. He’ll serve as a guest advisor, helping Adam manage the talent in his team.

His also been working with Pharrell Williams, who helped him record third album Lift Your Sprits.

‘I wanted it to have the musicality of soul and the attitude of classic rock like Jimi Hendrix,” he explained.

With his soulful voice, Aloe may have been pigeonholed into a certain genre of music. But when mega DJ Avicii transformed his song Wake Me Up into one of the biggest of summer 2013, the 35-year-old moved into dance music too.

‘I thought it might be a big dance track but I didn’t think it was gonna be a big pop song,” he smiled. ‘It has exposed my song writing and my voice to a lot of people but there are millions who are yet to find out I’m the singer.’

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BrightLife Music Artists Scoti*Slate

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SCOTI * SLATE, a sleek, funk rockin’ power duo composed of Aaron Scoti (Vocals)  and Lars Slate (Guitar),focuses on songwriting and musicianship. A uniquely familiar sound that is undeniably sexy and refreshingly organic. They will serve as one of the flagship artists of the label, which aims to foster talent from various genres of music.

SCOTI * SLATE ‘s latest album,Good Fight, has 1980′s influences in style, but it is by no means retro or stuck in time. At some points, it is as if Prince or INXS may have had a hand in the writing and production of this CD. This CD stands out as a good mix of songwriting and musicianship. The songs are heavily influenced by the good things in the eighties – with some cool funk and edgy lyrics.

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For more information on SCOTI * SLATE or to hear their music
please visit: www.scotislate.com

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Suscribe to SCOTI * SLATE’s Youtube channel:  smarturl.it/scotislate

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Lily Allen Is Not Crazy: The Outspoken Brit Talks ‘Sheezus’ Comeback Album

By L.G

lily-allen-shoot-billboard-650Her five years off were packed with lows (meltdowns, label shakeups) and highs (marriage, kids), but with new album “Sheezus,” pop’s outspoken Brit is ready to put behind the “ego and narcissism” of her early work and prove what a nice person she is — but not before she shows you, as she says, how hard it is out there for a bitch.

Lily Allen appears in the lobby of Manhattan’s Mercer Hotel late one cold spring afternoon, wearing a denim jumpsuit and silver Louboutin stilettos. There’s an electric blue Chanel purse slung across her narrow shoulder and a stack of thank-you notes in her manicured hand. After taking a sip of a vodka soda with extra limes, she kicks off her shoes, crosses her legs underneath her and explains that she plans to handwrite cards to those who’ve helped her out during this trip to New York. “People who gave me free clothes, stylists that let me borrow something to go to the ‘Game of Thrones’ premiere,” she summarizes. How was the premiere? “It was sick,” she says vacantly.

With her Swarovski-encrusted pair of iPhones, her sparkly blue nails and perfect makeup, Allen, 28, looks the part of a carefree party girl ready for a night out on the town, but she feels like a forlorn mom. This morning, she put her two young daughters — who’d been with her in the city for a few days while she lays the ground for her comeback record, “Sheezus” — on a plane back to the United Kingdom. She misses them already.

“Sheezus” (her first album on Warner Bros. Records, due in May) marks a new chapter for Allen, an outspoken but wounded pop star who once sang only half-jokingly about wanting “loads of clothes and f—loads of diamonds.” The title’s swipe at Kanye West signals her feminist queenpin ambitions. But her sadness right now (which turns teary a little later) shows how hard it is to balance the bling life with the domesticity that has become so important to her.

It has been a minute since we’ve heard from Allen. Five years ago she released a second album, “It’s Not Me, It’s You,” full of cheeky and insightful electro pop tunes. In the months leading up to the release Allen had suffered a miscarriage; split with her then-boyfriend, Ed Simmons of The Chemical Brothers; and while swigging from a bottle of Champagne she’d stashed onstage, told Elton John to “f—off” while the pair was co-hosting an awards show in London. In the months that followed, she began dating a carpenter, Sam Cooper (her now husband), got pregnant, suffered a second miscarriage, was briefly institutionalized and announced she was retiring. She was 24.

In the years that have passed, she and Cooper had two daughters, bought a country house and by all appearances live a mostly quiet life. “I’m a homemaker,” she says with a shrug. “People are really shocked when they come to my house in the country because I’m literally like, candles everywhere, flower arranging and bottles of water next to everyone’s beds. I mean, ridiculous. It’s not something people would usually associate me with. But I do love that.”

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Allen is the first to admit that her inclination toward domesticity is a result of instability in her childhood. “I grew up in weird surroundings,” she says. “Things were not very stable. My mom was constantly having to remortgage the house. My drive has always been: I have to make a lot of money and buy a house.” It was always part of Allen’s plan to become a young mother, just like her mom, who had her first child at 18. “It was selfish,” says Allen. “I wanted something that was going to love me unconditionally and, you know, a puppy just wasn’t going to cut it.”

Allen’s mother is film producer Alison Owen (“Elizabeth,” “Proof”), and her father is renegade actor, TV personality and sometimes rocker Keith Allen. A frequent collaborator with British filmmaker Danny Boyle, Keith Allen is probably best-known in the States as one of the drug dealers in “Trainspotting.” In the late ’90s he played in an ad hoc band with artist Damien Hirst and Blur bassist Alex James. Joe Strummer was a family friend when Allen was growing up.

The singer’s parents split when she was 4 and Allen was raised mostly by her mom, along with her older sister and younger brother Alfie (now an actor, he plays Theon Greyjoy on “Game of Thrones”). “They are very bohemian,” she says of her parents. “They’re both socialist.” Allen inherited a serious anti-authoritarian streak from her parents, but in spite of her father’s lack of interest in the trappings of glamour (“He’s the most unmaterialistic person you’ve ever met”) Allen was exposed as a kid to a rarified lifestyle. “I saw how people get treated better if they’re famous and successful so I was just like, ‘We’ll give that one a go,’ ” she recalls. “Of course I wanted to be famous. And I still want to be famous.”

After attending a dizzying series of elite schools she found herself, at 15 years old, on vacation in Ibiza, Spain, with family. “I didn’t want to go home so I stayed out there and worked in a record shop,” she recalls. As the story goes, she supported herself in part by dealing ecstasy. “It wasn’t like a vocation,” she clarifies. “I took it and maybe sold a couple to some friends but I wasn’t a drug dealer.” Just the same, a friend who was a music manager told her Ibiza wasn’t a good place to stay. And Allen — who had discovered the power her voice could wield when she was 12 and made all the moms cry singing at a school event — moved back to London.

She began writing songs and putting them up on the then-brand-new Myspace.

The accompanying blog Allen wrote was profane and hilarious, with running commentary on celebrity culture, music and her insecurities; it read like a mainline into the musings of the young millennial mind, just like her songs. Allen was signed in 2005 to Regal Recordings (a subsidiary of Parlophone) “for £20,000 [$33,000],” she recalls. “They were literally the only people with an offer.” But her connection to the burgeoning online music community proved powerful. When Parlophone saw the attention her songs were generating on Myspace, it responded with a new level of support.

When her debut, “Alright, Still,” came out in the summer of 2006, it established Allen as a novel kind of pop star. “She created a new avenue for female artists,” says producer Greg Kurstin, who Allen first met when they spent a day in the studio sketching out one of the three album tracks he worked on, “Everything’s Just Wonderful,” a cheery hand-clap-driven pop song with existentialist lyrics about not fitting into Kate Moss’ jeans and other examples of the anxiety and emptiness of modern life. “All of a sudden there were artists coming out in England that maybe wouldn’t have been there if it wasn’t for Lily,” says Kurstin, who has gone on to work with Pink, Kelly Clarkson and Ellie Goulding, among others.

Allen’s debut sold over 2 million copies worldwide (626,000 copies in the United States, according to Nielsen SoundScan), was nominated for a 2008 Grammy and made her a bona fide celebrity back home in the United Kingdom. The singer and the British paparazzi were made for each other, the kind of combustible couple whose fights other people like to watch, car-crash style. Highlights include Allen’s 2007 arrest for allegedly attacking a group of paparazzi waiting for her outside of a London club, and the Glamour U.K. Women of the Year Awards in 2008 where she arrived wearing a dress decorated with images of a decapitated, bleeding Bambi and departed drunk and sobbing in the arms of her bodyguard. “It’s Not Me, It’s You” featured a lot of songs about the trials of public life.

Growing up, Allen felt like she and her family were “imitating” the life of the rich and famous. Part of her goal in pursuing music had been to taste the real deal. “It was ego and narcissism,” she says of her early motivation. “It was about proving a point.” What point was that? “I proved that I’m a massive d—head,” she half jokes, taking a sip of her cocktail. “No, I don’t know. I proved that I could win. But once I proved that it was like, ‘Well, what the f— was the point in that?’ “

“It’s Not Me, It’s You” opened at No. 1 on the U.K. chart, and sold over 2 million copies worldwide (though just 358,000 in the States). But after its release Allen began to lose interest in making records, compounded by instability at her label, which first underwent massive layoffs, and then an acquisition where EMI was acquired by Universal and Parlophone was sold to Warner Music Group. “That’s part of why the four-year hiatus happened,” she says. “That was a transition and I didn’t want to be a part of it until we knew what was going on.”

Primarily, though, Allen’s break from the public eye was inspired by her husband. “I’d met somebody and I thought, ‘I want to see if this can be a thing,’ ” Allen recalls. She beams when describing how disinterested Cooper is in pop music in general and in Allen’s work in particular. “He’s got taste, for a start,” she says, chuckling. “If he was here and you asked him to name five of my songs he wouldn’t be able to do it. Recently he was like, ‘How many albums have you sold?,’ and I was like, ‘Which album?,’ and he was like, ‘Oh, you know, that one It’s Not Fair About Me.’ I was like, ‘I haven’t got an album called that but thanks.’ That’s why I love him.”

“Sheezus” may be Allen’s first album in five years, but she began working on it not long after the birth of her first child in late 2011. “I was just like, ‘I don’t know who I am anymore. I have to reconnect with myself,’ ” remembers Allen. “And the only way I know how to do [it] is get in the studio and write.” But then Allen became pregnant again in the spring of 2012. “I tried to write when I was pregnant but the songs were really bad,” she says.

It wasn’t until last year, during a series of sessions with Kurstin, that the record began to take shape. As a joke, Allen’s assistant floated the title “Sheezus” and the singer ran with it, writing a track around the album title. The song’s message — that there’s room in pop music for more than one female star — reflects the entire album’s explicit feminist message. The first single, “Hard Out Here,” for example, is a tirade against record business misogyny told with Allen’s trademark acid tongue (“Forget your balls and grow a pair of tits/It’s hard out here for a bitch”).

“When I was putting together this record and coming up with the release date you can see the people at the record company looking at the sheets of who are the other females around [that date coming out with albums] and if it’s a risk going against Rita Ora,” says Allen of the industry experiences that have inspired her rage. “It’s like, ‘Why?!’ “

Allen is not as easily riled up as she used to be, the occasional Twitter spat notwithstanding. “This is such a heated question, someone is going to get upset,” she says, shooting this writer a pointed look before declining to name the last thing that really pissed her off. But Allen’s wit has not softened with age — she has just learned to wield it more wisely. “People always make me look like a spoiled little c—,” she says when asked what she’d like to clarify about her public image. “I’m not. I’m a nice person.”

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Brightlife Music Artist Aktive

aktiveAktive is a California native out the city of Watts. Humble but confident and has a passion for his craft.

Expectations are high for the upcoming artist and he believes that the sky is the limit. With his amazing delivery, vocabulary and since of style makes him a good canadateto be the next to blow. Currently doing a video for his next single “Pay me”, which is another hit. Plus the hit off the Mixtape titled “Thats it” showed how verstal he really is. With both being different you can still relate to either one. He’s also the perfect addition to BrightLife Music says the CEO/ President Bright. Bright says here at BrightLife Music they are changing the music industry and bringing music you can feel. Also stating that Aktive is the kind of artist that comes alive on stage and in the booth. Which they’re aren’t to many people who do both as well as he does and Bright is very proud to have him aboard. So stay tuned the best is yet to come!

Like Aktive on Facebook: https://www.facebook.com/aktgq

Follow Aktive on Twitter: https://twitter.com/AkTGq

 

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Kurt Cobain And Hip-Hop: Your Favorite Rapper’s Favorite Rocker

MTV News breaks down what the Nirvana frontman means to hip-hop.

By A.F

Photo of Kurt COBAIN and NIRVANAWhen the lyrics to Jay Z‘s “Holy Grail” were released last June — just days before his Magna Carta Holy Grail album — one particular part grabbed headlines: his use of the famous refrain from Nirvana‘s 1991 hit “Smells Like Teen Spirit.”

Once the audio hit, we heard that it was also Justin Timberlake, not just Hov, singing the band’s lyrics — while Jay name-dropped lead singer Kurt Cobain in his first verse. But that didn’t change the question. Why were two of music’s biggest names repurposing Cobain’s famous words two decades after his death?

Hov and JT weren’t trailblazing with their “Teen Spirit” interpretation; they were actually continuing a longstanding trend of hip-hop’s homage to the late Nirvana frontman, who was found dead in his home on this day in 1994. Cobain had taken his life on April 5, but it was on April 8 that the news broke and the world learned of his passing.

In both his life and death, Cobain represents some of the very pillars hip-hop is built on: rebelliousness, innovation and voicing a generation. His disinterest in and complicated relationship with fame has become a hallmark of his rap relatability — including songs like “Holy Grail.”

“F–k the fame, keep cheating on me, what I do, I took her back/ Fool me twice that’s my bad, I can’t even blame her for that/ Enough to make me wanna murder, momma please just get my bail/ I know nobody to blame, Kurt Cobain, I did it to myself,” Jay raps, expressing feelings often echoed by others.

While reflecting on a difficult period in his life, Timbaland told MTV Newsin 2007, “I really think about Kurt Cobain, and why he really killed himself … Let me explain something to America: money don’t make you happy.”

Tupac, who was vocal about the plights of fame, referred to Cobain in a 1994 interview. “The whole world’s gonna owe me an apology, ’cause I went through this and ain’t blow my brains out like Kurt Cobain,” ‘Pac said the year of his sexual assault trial. “And I should.”

Surely, the most common acknowledgement of Cobain, even more so than in interviews, comes in lyrics. Dozens of rappers — from Lil Wayneto 50 Cent to Kanye West to Kendrick Lamar — have woven his name into their rhymes. The references range from creating imagery (“My favorite color is red, like the blood shed/ From Kurt Cobain’s head when he shot himself dead,” Eminem rapped on “Cum On Everybody”) to an understanding (“Bloody ink on my pen spelled suicide/ Kurt Cobain even died ’cause you scrutinize,” A$AP Rocky said on “Phoenix”).

Many have repurposed fashion trends that he started, too. In recent years, Kanye, Rocky, Kendrick, Wiz Khalifa, Pharrell and more could all be seen rocking flannel shirts — often tied around their waists. It’s a look that became immensely popular during the grunge movement that Cobain fronted.

Still, in the end, hip-hop’s connection to Cobain has more to do with what he embodied than how he looked.

In 2011, Lil Wayne told MTV News he was a fan of “Smells Like Teen Spirit” as a kid. “I probably felt at that time I was rebelling, and I can associate myself with that, and relate to things he was talking about,” he said.

It’s safe to say that Weezy speaks for more than himself with that one.

 

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BrightLife Music Artist Gee Kazz

Brightlife Music artist Gee Kazz is the newest, and youngest, member of the Brightlife family. With roots stretching from the outback of Australia to the tropics of Nigeria, he is a unique blend of his ancestry and worldliness, projecting a genuine eclecticism which can’t be falsely construed.

Gee Kazz is a wholly original performer who is primed to captivate listeners the world over. With a flow on the mic that bobs and weaves through meticulously laid out beats, his distinctive style and undeniable talent create an image that cannot be duplicated.

Gee has been working tirelessly in the studio, perfecting his craft and preparing for his debut mixtape to drop. At just 19 years old, the future is Bright for Gee Kazz, as the world has never seen an artist quite like him. He is here to break the mold, and the music industry will never be the same again.

Gee Kazz““Life is for the living. Death is for the dead. Let life be like music. And death a note unsaid.”” – Gee Kazz

“But sometimes, talent isn’t worth shit. There are tons of talentless people out there making zillions of dollars. And unfortunately, an equal number of brilliant artists whose name and voices you’ll never hear.”” – Gee Kazz

 

 

 

 

 

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Emaculent BrightLife Music artist releases new song “Long Run”

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Emaculent Is Here to Keep Hip-Hop Alive

Brightlife Music recording artist’s Emaculent finally drops The highly anticipated album “15 minutes to E” deluxe version in store March 18th 2014 after a lot of speculations that the album will never be completed. Brightlife music took chance to signed the Detroit native and west coast resident “Emaculent “. The album is finally out and its official ,features list that includes the likes of R & B sensation Ray J. and hip hop icon Lazie Bone from the legendary rap group, Bone Thugs and Harmony, Emaculent’s widely anticipated LP”15 Mins. to E “is sure to grab the attention of many hip hop fans worldwide. Whether you’re a snap back and tattoos kind of guy, rhythmic beat boxer, back pack rapper or old school DJ, one thing is certain throughout – Emac’s delivery, rhythmic melodies, and detailed lyrical visuals will have you vibing and bobbing along with every beat and flow. Enjoy it !!!

Featuring “Long Run “ Impacting Radio Now

 

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Talib Kweli: Conscious Rap Used To Be An Ugly Trend

By D.H.

Talib Kweli_04-02-2014Talib Kweli says Kanye West, J. Cole, and Kendrick Lamar are successful with conscious music.

Brooklyn rapper Talib Kweli touched on conscious versus mainstream rap during a recent conversation with Vlad TV. The topic of conscious and mainstream rap was brought up in the discussion when Talib was asked if the rappers of today are saying anything in their lyrics.

He then revealed that in his opinion it’s hard for an artist to break into the mainstream if they have music with content. Talib later cited Kanye West, Kendrick Lamar, and J. Cole as artists who have managed to have successful careers with music he says is both conscious and content-heavy.

“I think it’s real easy to get caught up in generalizing Hip Hop,” Talib said. “You know, when you say ‘rappers are.’ Most of the time when people say ‘rappers’ they’re talking about the top ten mainstream, on the radio, videos-popping-on-TV rappers. Which is actually a very small percentage of what the majority of rappers is doing. So, the rappers who have the most light on them, yes, it’s very hard for music with content to bust through.

“But at the same time we can’t just look at the problems,” he added. “We gotta count our blessing. At any given time you’ll have an artist like a Kanye with a song like ‘New Slaves’ or Kendrick or J. Cole. You’ll have artists that are delivering conscious, content-heavy music that are still finding success. And I would venture to say that those are the artists that last long. You know, you’ll have a lot of artists right now with hot records in the club that people turning up to. But you ain’t gonna be checking for these records 20 years from now. And there’s certain rappers on the charts right now that you will be checking for.”

The Black Star lyricist later recalled conscious rap being a trend, one he says was an ugly one, years ago. He also encouraged artists to avoid trends regardless of what they may be.

“There was a time when conscious rap was trendy,” he said. “When that was the trend. And that was an ugly trend, man. You had people who were not conscious at all doing cocaine, eating pork, and whatnot. Walking around with dashikis on talking about ‘black power.’ You know what I’m saying? So, a trend is never something that any artist should try to follow. You should never be conscious cause it’s a trend. You should never be gangster cause it’s a trend. You should just be who you are.”

During an interview with Vlad TV in June of last year, Talib spoke on being labeled a conscious rapper, and eventually accepting the label despite the demonization of the term.

“Clearly, other people in this business, whether it be consumers or fans, or more importantly, the labels or the media, have the need to label me and package me as a conscious artist…The conscious rapper label correctly applies to me, because I am a conscious rapper…But this industry has demonized the term ‘consciousness,’ and has demonized the idea of positive message and music that can move people in a different direction other than debauchery,” he said.

RELATED: Talib Kweli Discusses The “Conscious Rapper” Label And “Papers Please”

 

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Fat Joe Says He Never Thought He’d Appear On A Song With 50 Cent

By D.H

Fat Joe_04-02-2014Fat Joe names his favorite baseball players, says his new show “Off The Bat” will end disconnect between baseball players and fans.

At the top of this year, Hip Hop fans may have been taken aback when former rivals Fat Joe and 50 Cent appeared on DJ Kay Slay’s, “Free Again.” The pair ended their feud almost two years ago at the BET Hip Hop Awards prior to the Chris Lighty tribute, but it was unclear if the two rappers would ever appear on a record together.

When asked about his collab with 50 and DJ Kay Slay during an interview with Complex, Fat Joe expressed his own shock at hearing a track that features both him and the Queens rapper. He then commented on the presence of unity and positivity in today’s Hip Hop.

“I never thought I’d hear a track with 50 Cent and Fat Joe. You would never hear that, right? And it’s great that there’s more unity in Hip Hop. More positivity,” he said.

The Bronx lyricist also spoke on “Off The Bat,” his new MTV show with Melanie Iglesias. On the show, which premieres tonight (April 2), the lives of Major League Baseball players outside of the field are detailed.

“The good folks at MTV contacted me,” Fat Joe said. “And I was like ‘Wow, baseball has been around for so many years as America’s past time.’ But believe it or not, throughout all those years they’ve never had a TV show like this. For years I loved the Yankees, but I never really knew what Reggie Jackson did. I never really knew what Mariano—What was his favorite music or what his hobby was…One thing I learned is that they love, love, love Hip Hop. We tend to think basketball, football, Hip Hop. There’s a big disconnect that we know that this show’s gonna bring together.”

Fat Joe later revealed the names of his favorite baseball players. Among the athletes he named were Thurman Munson, Reggie Jackson, and Derek Jeter.

During an interview with Complex last month, 50 Cent revealed that his beef with Fat Joe and a handful of other artists stemmed from his issues with fellow Queens rapper Ja Rule.

“My issues with Fat Joe. My issues with Jada and the entire LOX. These things came from my Ja Rule issue,” he said. “It came from them trying to help him. I can’t let you help him while I’m destroying him… Everybody gotta get some of this until they leave him alone and he just goes off to be buried.”

RELATED: 50 Cent Says He’s Open To Collaborating With Fat Joe

 

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Lord Jamar Says Justin Bieber Is “Leeching Off Black Music”

By D.H

Lord Jamar_04-01-2014Lord Jamar suggests that Justin Bieber may one day place the blame for his actions on Lil Twist.

Months after Brand Nubian rapper Lord Jamar referred to pop star Miley Cyrus as a “white Rihanna” and commented on the singer pulling from black music, the rapper has offered similar comments when asked about Canadian crooner Justin Bieber.

While speaking with Vlad TV about those who leech off of Bieber and his fame, Lord Jamar stated that the singer is a leech himself. According to Jamar, along with “a lot of other white artists,” Bieber leeches off of black music.

“I ain’t even as mad at him as a lot people are,” he said. “He’s a little fuckin kid…Do you know how much of a fuckin asshole you’d be at 18, 19 with however many millions of dollars and bitches on ya dick and all that type of shit? Are you kidding me…What I’m saying is the little mothafucka is young. Look who he got around him. He got a bunch of fuckin yes-men and people who’s trying to leech off of shit. But then that in turn is like karma because he’s a leech. He’s leeching off black music. Like a lot of other white artists are doing. But listen to his whole sound. Listen to who he’s trying to appeal to and influence. He got that white fan base, but he’s making essentially black music.”

Lord Jamar also addressed the cosign he believes white artists need from a black man in order to get into black music. He then commented on artists from other genres and professional athletes’ desire to live like rappers.

“I told you they all need a cosign from a black man to get into this shit initially,” Jamar said. “To get into black music you need that cosign somewhere, somehow. So yeah, but he came in as the cute, little, white kid from YouTube. From Canada singing his heart out and you know. They like that. White people like that. But he’s being influenced by Hip Hop culture and R&B culture. How it is nowadays, which has been influenced by Hip Hop…Just like sports players want to be rappers and shit like that. Like they’re not happy with just being famous and having that money. They want to have that extra little fuckin whatever it is that rap niggas have. They want that. And so he wants that too.”

The Brand Nubian lyricist later suggested that someone like Lil Twist, an artist who is a good friend of Bieber’s, may eventually take the fall for the pop stars actions.

“So, he surrounds himself with black people to try to—Association brings on assimilation,” he said. “But as soon as the shit hits the fan and now they’re looking at him bad. He’s not necessarily gonna blame it maybe on Lil Twist, but I bet you somebody who’s like ‘It was that Lil Twist wasn’t it? He’s the fuckin one that fuckin pulls you into this shit?’ And now he’s like ‘Yeah, it was Lil Twist. Yeah, yeah, yeah. He was the one.’”

Other artists Lord Jamar has criticized include Seattle, Washington emcee Macklemore and Memphis, Tennessee-born singer Justin Timberlake. In September of last year, he criticized Macklemore for pushing an agenda in a genre he feels the rapper doesn’t belong to.

“I can’t go to somebody else’s house and even though they let me wear their clothes and eat their food, that’s not my house,” he said while speaking to Vlad TV in September. “That’s their house. And I can’t get so comfortable in their house that I feel like I can now start talking house politics…To me when people like Macklemore come out with songs like that, I know he loves Hip Hop and all that, but he’s trying to push an agenda that him as a white man feels is acceptable.”

RELATED: Lord Jamar Says He Respects Eminem For “Worshipping Black Emcees”

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Eminem Details Almost Dissing Lil Wayne & Kanye West

By J.B

1-Eminem_1122013Eminem explains the story behind his “Talkin’ 2 Myself” lyrics and says, “I think that deep down I just wasn’t happy with myself.”

In an interview with Power 106’s Big Boy today (March 31),Eminem described wanting to dis Kanye West and Lil Wayne during his period of musical inactivity.

“When I made the record ‘Talkin’ 2 Myself,’ what I was basically talking about [was] with the time period that I was away,” Eminem says. “I was kind of watching what was going on in the game and it was like anything that was hot at that moment or anybody who was really killing shit at that moment I felt like—I felt so bad about myself and the music that I was creating, that I felt like I started to turn into a hater. And it wasn’t just—you know, singling Kanye and Wayne out at that time period, I mean they were the one’s who were the killing it the most to me. And it hurt. I’d pop the CD in and be like, ‘Fuck man, I’m not doing this no more.’ I felt like I came very close to like, for me it would have been career suicide because I felt like, ‘I should make a song just dissing everybody who’s doing in it the game right now.’”

“Talkin’ 2 Myself,” which appeared on Em’s 2010 album Recovery, references both Lil Wayne and Kanye West specifically. “Hatred was flowing through my veins, on the verge of going insane,” he raps, “I almost made a song dissing Lil Wayne.”

Asked if he ever wrote any explicit dis lyrics against the rappers, Em said he didn’t. “I just had the thoughts, just walking around the studio,” he said. “I think that deep down I just wasn’t happy with myself, man. I knew that there were some really dark moments in there. When I think about how my thought process was when I was high a lot, it wasn’t good, man, and it certainly wasn’t me ‘cause I’m not even that kind of person.”

During the interview Eminem also answered a question about not feeling comfortable returning to music without the use of drugs. “That was another thing,” he said. “It was like, ‘Nah. I didn’t.’ During that time period, I couldn’t see myself even being able to do anything sober: talk to people, have a conversation, go to the studio, record, watch movies. I couldn’t do anything without being high. It was to the point that I was taking pills just not to feel sick.”

Speaking on different hiatus periods throughout his career, Eminem talked about never stepping fully away from music despite not releasing new material.

“I never really left the business,” he said. “Actually, I am the type of person that does [have] to do music. This is my passion, this is what I’m so passionate about. I don’t know how long I”m gonna keep doing it for, I’ll take that as it comes. But I do need music…It’s my therapy. It just feels good to get it out.”

Talking about how he spent those non-release years, the rapper said he was often still in the studio. “It depends on what timeframe it was,” he says. “I would say from Encore to Relapse I think everybody knows that story as far what I spent a lot of time doing. Basically just in the lab, spent a lot of time trying to reassess my career, what I wanna do, how I wanna sound I guess, and just, you know, in the lab.”

Seemingly referencing his years of substance abuse, Eminem also said “right now it feels good to me” before recalling, “there were times where it didn’t feel good to be me.”

Read more on: hiphopdx.com

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50 Cent Says Jay Z & Drake Beef “Just Getting Started”

By S.B

2-50 Cent 30450 Cent says that lines may be drawn with Rihanna and Drake on one side and Jay Z and Beyonce on the other.

50 Cent says that Jay Z and Drake’s potential rivalry, which was potentially heightened Sunday (March 23) when Jay Z addressed Drake’s recent Rolling Stone comments about art references on his verse on Jay Electronica’s “We Made It,” may be in the early stages.

“I think it’s just getting started because we didn’t actually hear any verses or rap from Drake,” 50 Cent says on theRuss Parr Morning Show. “But you know what? It’s interesting. I think you’re supposed to rap about things that are in your actual life. But those are laws that were a part of our culture when I actually came in and fell in love with it. But it’s old school.”

Jay Z’s “Drizzy” reference likely stems from Drake’s Rolling Stone interview in February. In the article, Drake criticizes Jay Z’s references to art.

“It’s like Hov can’t drop bars these days without at least four art references,” Drake says in the article. “I would love to collect [art] at some point, but I think the whole Rap/art world thing is getting kind of corny.”

A rapper known for his high-profile beefs with Ja Rule and Fat Joe, among others, 50 Cent says that he might respond to Jay Z if he were Drake.

“I think I would respond to it,” he says. “I don’t know. It depends. Sometimes it has to be the right timing surrounding the response.”

Regardless, 50 Cent says that other parties may be drawn into the beef.

“You’ve got to see what kind of lines would come out relationshipwise,” 50 Cent says. “It might actually create a separation here, people, where there’s the team ReRe and Drake on one side and Jay and B on the other side.”

RELATED: Jay Z Addresses Drake On Jay Electronica’s “We Made It”

NEW !! The Brightlife Music App

bl music app 1Welcome To Our Mobile App! 

Brightlife Music A Community of Media & Entertainment “The Way Music Can Feel “ IS USA RECORD LABEL IN LOS ANGELES, California with the idea to open a music outlet for thriving artists who can contribute to the industry on a long term basis. Founded by entrepreneur, president and C.E.O Bright Enabulele aka L. A Bright. Not only is Brightlife a name, but a way of life. Brightlife Music, a label that believes in delivering only prime cuts to the proverbial musical table, which involve simplicity at its best, with a sound that encompasses the entire globe. We are not genre specific, Brightlife Music is universal. We want to touch as many lives as possible through this amazing gift of music throughout the universe, while continuously redefining the business models of projects around the globe. Our new mobile app allows the user to listen and buy music while staying informed through features like push-messaging. Download the app today and share with others on your social networks.

• One-Touch Calling – contact us directly or one of our team members with one click.
• Push Notification Messaging – receive messages containing important updates while on the go.
• Music – listen to snippets and buy music from our artist.
• Booking – book one of our artist right from the app.
• Events – view current and upcoming music events.
• Mailing List – join a specific artist mailing-list to receive important information.
• App Sharing – share “Bright Life” music app with others through several social media networks.
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New Album: Emaculent “15 Minutes to E ” OUT NOW !!

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EMACULENT – 15 Minutes to E is finally on iTunes: http://bit.do/emaculent

IMPACTING Mainstream Urban Radio NOW ON  WEAS- FM ,WFXE-FM, WFXM 

Listen to the new song “Long Run” now on Youtube:

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