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pretty brown eyes cody simpson free mp3 download Cody Simpson. Cody Simpson (born 11 January 1997) is an Australian pop/R&B singer-songwriter from Gold Coast, Queensland, Australia who is currently signed to U.S. record label Atlantic Records. Simpson began to record songs in his bedroom during the summer of 2009 on YouTube, performing Jason Mraz's "I'm Yours", "Cry Me a River" by Justin Timberlake, and his own songs, "One" and "Perfect". He was subsequently discovered on YouTube by Shawn Campbell, a Grammy-nominated record producer who has produced for Jay-Z and other artists. Simpson's rise to recognition was featured on The 7.30 Report in December 2009. "iYiYi" is already a top 20 hit and "Summertime" is his second single. According to Songfacts, Cody performed "iYiYi" at the 2010 Australian Kids' Choice Awards as the closing act, where he won the Fresh Aussie Musos Award. Cody was a national-level swim champion before his rise to stardom. However, when he was asked to move to the U.S with his family to pursue his music career, he made the decision to give up his swimming. Pretty brown eyes cody simpson free mp3 download. Artist: Cody Simpson Album: Surfer’s Paradise Released: 2013 Style: Pop. Format: MP3 320Kbps / FLAC. Tracklist: 01 – La Da Dee 02 – Pretty Brown Eyes 03 – No Ceiling 04 – Sinkin’ In 05 – Summertime Of Our Lives 06 – Imma Be Cool (Ft. Asher Roth) 07 – If You Left Him For Me 08 – Love (Ft. Ziggy Marley) 09 – Better Be Mine (Bonus Track) 10 – Children Of The Ocean (Bonus Track) 11 – Rainy Day (Bonus Track) 12 – Awake All Night (Bonus Track) Pretty Brown Eyes (Acoustic) - Cody Robert Simpson (sinh ngày 11 tháng 1, 1997) là một pop Úc ca sĩ-nhạc sĩ từ Gold Coast, Queensland , người hiện đang ký hợp đồng với hãng thu âm Mỹ ghi Đại Tây Dương . Simpson đã bắt đầu cover các bài hát trong mùa hè năm 2009 trên YouTube, thực hiện "i'm Yours" của Jason Mraz, [7] "Cry Me a River" [8] và "Senõrita". Xem toàn bộ. Cody Robert Simpson (sinh ngày 11 tháng 1, 1997) là một pop Úc ca sĩ-nhạc sĩ từ Gold Coast, Queensland , người hiện đang ký hợp đồng với hãng thu âm Mỹ ghi Đại Tây Dương . Simpson đã bắt đầu cover các bài hát trong mùa hè năm 2009 trên YouTube, thực hiện "i'm Yours" của Jason Mraz, [7] "Cry Me a River" [8] và "Senõrita" [9] bởi Justin Timberlake, "I Want You Back" của Jackson 5, [10] và bài ​hát của riêng mình "One" [11] và "Perfect" [12] anh sau đó đã được phát hiện trên YouTube bởi Shawn Campbell, một nghệ sĩ giải Grammy được đề cử ghi nhà sản xuất đã sản xuất cho Jay-Z và các nghệ sĩ khác. SoundWave9 – New Music! SoundWave 9 starts off as per tradition with the uplifting synth-pop outing “Pretty Boy” from Montreal-based outfit Young Galaxy, the first single off their fourth and newest album, Ultramarine. Young Galaxy’s sound has matured, and the gorgeously crafted tracks on this album show a sophistication heretofore unseen. “Pretty Boy” starts off with one of the best backings of pitter-pattering drum machines and atmospheric synths that I’ve heard in a while. The 30- second intro initiates an effervescent, slow-burning aesthetic that drives the heart of this song, an austereness that serves mainly to showcase the warm vocals of lead singer Catherine McCandless. There is a fascinating dichotomy to this track, with McCandless’ earnest yet enigmatic lyrics drawing you into the emotional heart of the song while the fluorescent synth arrangements and minimalistic production hold you at a distance. This juxtaposition of yearning emotionality set within a stark, artistic musicality works perfectly here, giving “Pretty Boy” a sort of postmodern resonance that reveals universal human longings even in the most electronic of spheres. “I don’t care if the disbelievers don’t understand / You’re my pretty boy, always.” There is an addictive, hypnotic quality here that will draw you in and make you put this song on repeat, which I thoroughly encourage. AND THE BEAT GOES ON. London’s four-piece Clean Bandit are unlike anything I’ve heard before, and I’d bet the same holds true for you (dear listener). In “Mozart’s House,” they manage to blend together two fascinatingly disparate varieties of music – classical string arrangements and electronic beats – thereby crafting a seamless crossover genre all of their own. It’s music after my own heart, I must say, and I’m not even a huge Mozart fan (blasphemy, I know). Fused hip-hop beats, cut-up vocals, and strings comprise the body and soul of this electro-classical culture-clash-of-an-outing. Jack Patterson’s vocals sparsely pepper the song here and there, while a skipped beat drives the song, and a melodious and light Mozart theme, provided by group members Grace Chatto and Neil Amin-Smith, rounds out the track, giving it a unique spark that has rocketed the band to the top of the UK charts. Nerdily, my favorite part is the verse that follows the stand-alone classic interlude. “Live or die try pizzicato / Relax the tempo, sip some movato / And if I get too animato / Tan my face with that paggiato / Aliente, mezzoforte, allegro or andante / I can make this voice da-da-to one two – music for legato.” Yes. Music terminology for the win! Hopefully, this is a sign of the future of electronic music – or at least, this is a direction that music can go, and I look forward to more from the ever-innovative and incongruously named “Clean Bandit.” Oh, Jason Derulo – you do this to me every time. Ever since “Ridin’ Solo” premiered back in 2010, I’ve been hooked on this R&B singer/songwriter’s mindless pop escapades. “The Other Side” is the first single from his third studio album, and is quite the high-octane dance mix that will be sure to please steadfast fans and garner him some new ones. Don’t expect anything groundbreaking from this track, because you will be somewhat disappointed. “The Other Side” sees Jason on the same side of the musical scene as usual – which is somewhere in the urban-EDM-pop field – and it is in just such familiar musical territory that he thrives. Digital bass backs an acoustic guitar while Derulo croons about young love in the most simplistic and almost mundane of manners: “In the beginning / I never thought it would be you / When we were chillin’ / Smiling in the photo booth / But we got closer (Yeah) / ‘Til you were eating off my spoon.” Despite the somewhat lyrical banality, however, “The Other Side” is a fun pop confession for the week, chock full of upbeat verses and a roof- raising chorus slathered with dancehall synths and looped beats. No doubt this song will ease off relatively unnoticed into the sunset of musical retirement as the last days of summer die, but for now we can let Derulo “take [us] to the other side” – and fully enjoy the journey. How fun must it be to become a famous musician in an ensemble group and then be able to branch off on your own for a solo side project? That’s exactly what Joe King, the drummer for The Fray, has done to much success on “Need a Woman by Friday,” the standout track on his new EP “Breaking“. King and Isaac Slade have split songwriting duties for The Fray thus far in their 11 year career, and so it’s not much of a surprise that “Need a Woman by Friday” is a radio-ready single that isn’t saddled with the characteristic growing pains of musicians just establishing themselves. King jumps right into things with this track, featuring production skills reminiscent of Imagine Dragons and a playful lyricism and vocalization that conjure images of (a toned down) Mika. This lightheartedness is aided somewhat by the addition of a few riffs from Trombone Shorty’s trombone (oddly enough), which I could definitely do without, but it by no means ruins the track as a whole. King sings that he gets “addicted to beginnings,” but I think that will hold true as well for his listeners, who should give King’s first solo musical outing quite an enthusiastic reception. Australian born singer Brooke Addamo, the face and voice behind Owl Eyes, has been acquiring more and more underground notice the past few years, but it was not until now, with “Hurricane” and a few other tracks off of her debut album “Nightswim,” that she has finally burst fully onto the musical scene. Though she is still mainly under the mainstream radar, my prediction is that she won’t be for long! Musically, Owl Eyes is what you would get if you mixed the production prowess of (likewise Australian-based) The Presets with the fragile yet strident vocals of Lily Allen. Her music contains the best aspects of both – sleek production skills with varied beats and electronic programming alongside heartfelt and poignantly sung lyrics. The backing track, which includes a variety of beats, sound bytes, and instruments, lends a unique and refreshing newness to the song, while simultaneously remaining focused on showcasing the soaring lifts and sighs of Addamo’s voice. Couple that with the complex web of layered vocal lines, and “Hurricane” becomes a massively successful outing for the young singer with promise of much more to come in the future.

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