WEEK 204: Inspired By: TCM Promos This week on Shuffle Play: you may know that TCM shows old movies, but they play some cool songs in their monthly promos. Listen now in the Blue Bowl at Fishbowl Radio Network!

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WEEK 204: Inspired By: TCM Promos This week on Shuffle Play: you may know that TCM shows old movies, but they play some cool songs in their monthly promos. Listen now in the Blue Bowl at Fishbowl Radio Network!
Some day, when I'm awfully low When the world is cold I will feel a glow just thinking of you And the way you look tonight
And so it is The shorter story No love, no glory No hero in her skies I can't take my eyes off of you I can't take my eyes off of you I can't take my eyes off of you I can't take my eyes off of you I can't take my eyes off of you I can't take my eyes
I am not throwing away my shot! I am not throwing away my shot! Hey yo, I’m just like my country I’m young, scrappy and hungry And I’m not throwing away my shot!
WEEK 197: Inspired By: Captain America This week on Shuffle Play, we’ve followed Steve Rogers to the end of the line. In honor of Chris Evans’s amazing portrayal of the First Avenger, this week’s all about Cap. Listen now in the Blue Stream at Fishbowl Radio Network!
WEEK 194: Inspired By: To All The Boys I’ve Loved Before This week on Shuffle Play, Candice makes a playlist to previous former flames. Listen now in the Blue Stream at Fishbowl Radio Network!
We might start riding to the music tonight A clever way to get by, oh The pops keep flowin' like it's fire and ice So give it a little blind, so, oh Open that soda pop, watch it fizz and pop The clock is tickin' and we can't stop Open that soda pop, bop-a shu-bop shu-bop The clock is tickin' and we can't stop
You taught me how to love I am all I am Because of you Just because of you Every time I lost my way You shine a light, you made my day You see me through Yes, you see me through So who's gonna come around to heal This broken heart? Show me how to laugh and cry But never how to say goodbye
Andy Gibb, about his brother Barry’s songwriting style:
"So, once we discussed it all and got the deal together, me and Barry locked ourselves in a bedroom and Barry just started writing. When Barry writes, it is very hard to collaborate with him, because he is so quick. And before I knew it he was starting to do the chorus of ['I Just Want to Be Your Everything'], and I thought, 'Wow what a hook!'. He's an expert at his craft. Within about 20 minutes, he'd written a number one record; and then we went right into another one, ['(Love Is) Thicker than Water']."
It's raising my adrenaline You're banging on a heart of tin Please don't make too much of it, baby (baby) You say the word "forevermore" That's not what I'm looking for All I can commit to is "maybe" (maybe)
Before Max Martin was Max Martin, he was a protege of another Swedish producer, Dennis PoP. The two of them helped produce and co-write songs with a teenage Robyn (before she was Robyn). After her debut album (featuring “Show Me Love”), Max attempted to pitch another song to her, but Robyn passed. That song would become Martin’s first #1 in the US: “Baby One More Time”.
WEEK 192: Bubblegum Pop This week on Shuffle Play, we’re celebrating Bubblegum Day by jamming to those sticky sweet tunes. Listen now in the Blue Stream at Fishbowl Radio Network!
WEEK 191: Don’t Panic This week on Shuffle Play, Candice needs some tunes to soothe her nerves. What songs calm you down a little? Listen now in the Blue Stream at Fishbowl Radio!
Rolling Stone asked Britney about her collaborations with Max Martin in 2011:
What is it about Max Martin that makes you so comfortable collaborating with him? How much bigger of a role did he take on this album than he did for “Circus”? Max played a huge role on this album and he has been there since the beginning so there is such a huge level of trust. He gets exactly what I am saying when I tell him what I want and don’t want musically. His melodies are incredible and he is always coming up with weird sounds, which I love. The whistle on “I Wanna Go” still gets me every time I hear it. Who would have thought of that? There is nobody I feel more comfortable collaborating with in the studio.
The star of Spears' brand-new single isn't the pop sensation herself, argues critic Jim Farber. "It's a burning, pulsing swath of synthesizer that oscillates throughout the track and pulls you into the chorus," Faber writes. "It may be nothing but a gimmick, but it's the kind that can't help but make you move." "Hold It" offers a promising hint of Britney's better efforts of yesteryear. "It's got the requisite double-entendre lyric, clever arrangement and careful usage of the star as an ornament rather than a driving force," Farber said.
Obvious jokes fit in well on "Circus": With its dominatrix rhythms and loud, highly compressed mix, it's meant to slap listeners in the face. Spears' favorite producers, including Max Martin, Dr. Luke and Nathaniel "Danja" Hills, have settled on a style that updates vampy show-tune melodies with sharp, metallic effects. The cartoonish sound compensates for Spears' lack of range and lung power by allowing her to ham it up.
She does so with the skill of a lifelong child star. But the overall effect is hardening as one bump-and-grind fades into another.
The lyrics about Britney as mannequin, sex object, paparazzi victim and leather-clad mistress have grown tedious. When the wittiest one is based around an adolescent text-message-style joke, you know it's time to refocus.
That might be why "Unusual You," a ballad from Bloodshy & Avant, stands out. It goes for that shimmering waterfall mood first popularized by Janet Jackson rather than strict Madonna-style workouts.