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Cherry Street - Love Songs [ALBUM THREAD] [ALL TRACKS NOW STREAMING]

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snap_itshannah		#1 Posted : 07 April 2014 07:51:05(UTC)
Rank: Advanced Member Groups: Registered Joined: 01/10/2012(UTC) Posts: 18,714 Thanks: 7752 times Was thanked: 6357 time(s) in 2889 post(s)		Title: Love Songs Artist: Cherry Street Genre: Indie pop, new wave, synthpop, dance-pop Length: 45:09 Recorded: August 2013 - March 2014 Label: Independent Writers: Tessa Laity, Aubrey Fabricant, Vanessa Lynn, Eva Chatburn Producer: Reza Vranitzky Personnel: Tessa Laity - vocals Aubrey Fabricant - vocals Vanessa Lynn - vocals Eva Chatburn - vocals Sam Good - guitar, keyboard Matthew Kaufman - guitar Jeffrey Kirkland - bass, synth, electric guitar, acoustic guitar, recorder Craig Byers - keyboard Pauline Workman - drums Nora Bolton - drums Thomas McCray - drums Joe McFadden - piano Howard Kidd - synth Dixie Holcomb - cello Elmer Goff - cello Stephanie McLeod - violin William Dale - violin Mary Carney - violin Brenda Cash - violin Betty Beach - violin Mary Levine - violin, viola Phillip Madden - viola Tracklist: 1. You Can't Escape (written by: Tessa Laity, Aubrey Fabricant, Vanessa Lynn, Eva Chatburn) 2. Never Learned (written by: Eva Chatburn) 3. Protest (written by: Vanessa Lynn, Eva Chatburn) 4. Breathing (written by: Aubrey Fabricant, Eva Chatburn) 5. Your Favorite (written by: Tessa Laity, Vanessa Lynn) 6. Everything I Treasure (written by: Vanessa Lynn, Eva Chatburn) 7. Sex City (Van She cover) (written by: Michael di Francesco, Matthew van Schie, Thomek Archer, Nicholas Routledge) 8. Warm At Night (written by: Tessa Laity, Aubrey Fabricant, Vanessa Lynn, Eva Chatburn) 9. Love Songs (written by: Tessa Laity, Aubrey Fabricant, Vanessa Lynn, Eva Chatburn) 10. At the Very Least (written by: Aubrey Fabricant) 11. Hypothetically Yours (written by: Aubrey Fabricant) 12. Fuck It All (written by: Tessa Laity, Vanessa Lynn) Edited by user 10 April 2014 11:49:04(UTC) \| Reason: Not specified

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snap_itshannah		#2 Posted : 10 April 2014 11:47:48(UTC)
Rank: Advanced Member Groups: Registered Joined: 01/10/2012(UTC) Posts: 18,714 Thanks: 7752 times Was thanked: 6357 time(s) in 2889 post(s)		TITLE: You Can't Escape ARTIST: Cherry Street WRITERS: Tessa Laity, Aubrey Fabricant, Vanessa Lynn, Eva Chatburn LENGTH: 4:20 GENRE: Art rock, indie rock, alternative rock PRODUCER: Reza Vranitzky Cherry Street's first song from their debut album is a basic attempt to set up the listeners for what kind of album they're about to listen to. There's no simple way to classify what genre the opening song is except to throw out some all-encompassing genre, like "art rock" or "alt-rock." But that's basically how Cherry Street's Love Songs is as a whole. There's no real genre to the album, or even any real direction. Although the songs do flow together very well, and there seems to be no major jumps between one genre to the next, it is very hard to classify what genre of album this is beyond anything simple. This first song, "You Can't Escape," was written by all four of the girls - a rarity on the album (there are only three songs that are written by all four of the girls) and rarity in girl groups as a whole. "We don't have one specific girl who is really good at writing music, so we let her write most of it, and then sometimes one of us chimes in, you know what I mean?" Tessa Laity said. "We're all pretty well-versed in different kinds of music, so we all bring something different to the table when we're writing. We kind of do want it to get to the point where somebody can listen to our album and be like, 'Oh, this is an Aubrey song,' or 'This is an Eva song, I like those best.' We want to be the band that has something for everybody, and I think the four of us put together make it that way." This first song tells the story of a woman who is leaving her hometown by train to leave behind a failing relationship. The themes of traveling away from something - especially hometowns - is used several times throughout the album, although why is unclear as the four girls of Cherry Street live and have always lived in Baltimore, and to most fans' knowledges have never left to live somewhere else for an extended period of time. Maybe the theme is so prominant because the four girls want to get away so badly, and they're seeing this album as a chance to get out? Perhaps. The song starts out with a low cellos softly being played before Tessa starts to sing, her low voice immediately drawing attention. A soft drum rhythm joins in as she sets the scene of the woman boarding the train to get away from her problems, but the train is late, like it always is - a small laugh and wink to the listener, as if Tessa were saying, 'You're trying to escape your problems, but problems are everywhere, sweetheart.' Vanessa starts singing right after Tessa, the difference between the two woman's voices shocking as Vanessa's is a very dramatic soprano while Tessa's is a definite alto. Vanessa sings about how the train is leaving the station now, and the woman immediately starts to regret her decision, wondering what would happen if she just tried to give her significant other another chance. After Vanessa's bit ends, the song starts to speed up a little bit, giving way into a guitar that leads the song into more of that indie rock tone that it seemed to be setting up for. Aubrey's voice comes in now, singing two longs verses, describing the woman's thoughts as she wonders how she will ever heal from this break-up. Aubrey continues, talking directly to the woman, telling her that one thought should cross her mind when she's in a hopeless prediciment like this. It's Eva that sings the thought, her dramatic almost musical theatre sounding voice perfect for the role of the inner monologue. "This sorry train could be the thing that brings you back to life as it takes you back home." The four women seem to be beckoning the woman in the song to return to her hometown and give her significant other another chance, because she obviously is having second thoughts about what she is doing. Aubrey continues on again with a piano joining the cocophany of instruments, her girlish voice - perfect for pop - describing the scene inside the train, making it seem like a single person's nightmare with couples openly making out in front of everybody, and a bitter lady asking them to show some class. As if mimicing the sound and movement of the train, all four of the girls harmonize together several "ooohs," each of them jumpy and fast, like the speed of a train and the woman's heart as it travels farther and farther away from home. The song becomes almost jazz sounding as Eva chimes in, her voice high as she sings describes the scene again, "Now the tracks are slowly winding into the countryside you can't escape." The name of the song is mentioned by each of the girls in their part in this section of the song. Tessa joins in, her voice higher but still not as high as the other three girls as she sings, "Now you're wondering and thinking every thought you know you can't escape." Then Vanessa: "Now you've been away for so long that you start to feel you can't escape." And then Eva again, repeating the same line that she sang before. Suddenly the jazz feel to the song fades out and the song goes to just the drums and a piano singing along with the girls as they now are the voice of the woman on the train, begging to go back to their significant other. All four of the girls sing part of the woman's lament, ending with Eva, who sings as the guitar is added back into the mix of instuments, "This chair for two is without you." She holds out two, her voice giving the single word a flair of drama - such is Eva's way. The "ooh's" come back in and the girls sing their, "you can't escape," verses again. The song ends, however, with all four of the women singing a "you can't escape" verse that wasn't heard before: "Now the train is taking you back to your hometown, back to the one place you know you can't escape." Take the train to platform number seven It's running late, again Navigate the crowded carriage, find your seat Your patience wears thin Pulling out of platform number seven Still running late, again Feel that little kick in your heart Try not to think of how it might have been And when you're thinking, "Just how will I heal this time?" Let this thought enter and cross your mind: This sorry train could be the thing to bring you back to life as it takes you home And the train smells like Desperation of the past And a couple kisses until they're asked By a lady humming an old tune if they could show a little bit of class (Ooooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh Ooooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh) Now the tracks are slowly winding into the countryside you can't escape (Ooooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh) Now you're wondering and thinking every thought that you know you can't escape (Ooooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh) Now you've been away for so long that you start to feel you can't escape (Ooooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh) Now the tracks are slowly winding into the countryside you can't escape Oh, go back to where I started And I won't care or accuse Old train, go back Take me to him This chair for two is without you (Ooooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh Ooooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh) (Ooooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh) Now the tracks are slowly winding into the countryside you can't escape (Ooooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh Now you're wondering and thinking every thought that you know you can't escape (Ooooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh Now you've been away for so long that you start to feel you can't escape (Ooooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh Now the train is taking you back to your hometown, back to the one place you know you can't escape You can't escape (Ooooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh Ooooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh) [b]SOUNDS LIKE: TV on the Radio - Second Song

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snap_itshannah		#3 Posted : 12 April 2014 10:15:03(UTC)
Rank: Advanced Member Groups: Registered Joined: 01/10/2012(UTC) Posts: 18,714 Thanks: 7752 times Was thanked: 6357 time(s) in 2889 post(s)		TITLE: Never Learned ARTIST: Cherry Street WRITERS: Eva Chatburn LENGTH: 4:07 GENRE: Dance punk, indie rock, post-punk revival PRODUCER: Reza Vranitzky The second song on the debut album, "Never Learned," was written exclusively by Eva Chatburn. Eva Chatburn and Aubrey Fabricant are the only two members of the group to have songs exclusively written by them on the album. "I think it's because when we were writing the album, we were the only two members of the group that weren't dating people," Eva Chatburn said jokingly about it. "I mean, we are now, but then, we... we had a lot of time on our hands, that's for sure." The song serves as a great representation of what exactly Eva does bring to the table when it comes to this group. Although it's obviously a very danceable song, it also has elements of rock and punk to it that makes it an extremely accessible song to several people who enjoy different genres. Eva, in an almost theatrical way, added many moments throughout the song where the lyrics are spoken - by Aubrey Fabricant - to give the song a more relaxed feeling. It's obvious that this is a song that the girls had a lot of fun singing, and it feels like the type of song that would play in upbeat Diablo Cody movie at any given time. The song, keeping with the theme and title of the album, is another sort of love song using the metaphor of sailing a boat as trying to get through life, and not being very good at it, and then finding somebody else that really isn't doing that well either, and realizing it's okay to just be "drifting" through life for a little bit. The song opens with the setup to an obvious dance punk beat, with Eva Chatburn's voice coming through loud and clear, overshadowing every instrument playing, singing about the amount of tears she's cried stinging her eyes. Not the happiest beginning to a song, but the beat is still pretty bouncy and happy, so there's some hope that the song will get more uplifting as it goes. Tessa Laity continues the verse, relating the amount of tears that she's cried to a "waterfall," throwing the song into the beginning of using water and sailing as a metaphor for life. The beat continues the same way, but in the second verse, Vanessa Lynn's voice is quieter as she sings, "And I could drown right here, oh, drown in my own tears, year." After that line is the first time we hear Aubrey's speaking voice, it sounding much like her singing voice - very girly, but pleasant to listen to - as she speaks, "Oh, I could float away." Vanessa, as if responding to Aubrey, then sings, "Here I am crying, and I'm gasping for air," and Aubrey responds with, "Oh, I'll try to wave goodbye to you." And then the song is launched into the chorus, which all four of the girls sing. The chorus sums up the song, basically telling about how they "never learned to row this boat" - or never really learned how to get through life - and they were really struggling and getting themselves into uncomfortable situations, just floating around, until they "crashed into you," - talking about the person that they met who is also just drifting through life. And now they feel better because they can both drift together. The chorus is the extremely uplifting and upbeat moment that the song has been building to the entire time. It's the type of song that the listener could dance to, but most of their dances would just be them jumping around to the beat of the song, because it's just the type of song that makes you happy. The song immediately slows down again, and the third verse opens with Aubrey quietly saying, "Okay..." and then Tessa starts singing. She sings about bringing this person that she found who helped her see that just floating around was alright a present from her "voyage." Aubrey speaks that the gift is so that person will remember that they did try to help when they were floating away, and that she appreciates that. In the fourth verse, it becomes the same as the second, with Vanessa and Aubrey singing/speaking back and forth to each other. This time, Vanessa opens with, "I'll try to streer my boat towards you," - like saying that she'll continue to try to stay with this person, although she doesn't know where her life is going to take her and she's not very good at controlling her life. Aubrey responds in her speaking voice, "Just keep the lighthouse on for me." Vanessa continues, "But my boat starts to float the other way, no," - meaning that her life has started to take her away from this person that she loves. Aubrey, almost humorously, mumbles, "Uh, wait. No, wait, wait..." like somebody who is trying to redirection a boat that they don't know how to sail. The chorus comes back in, kicking the song back into that more uplifting sound again. This time when it ends, the song slows down a considerable amount more than before, to the point where it's just the quiet electronic beat and the drums keeping the song going. We hear Aubrey's speaking voice again say, "It's sad..." and then for the first time in the song, she begins to sing, telling the listeners about how she feels like it's "too late to learn to sail," like it's too late to figure out how to control her life because she's already too far gone. She asks the person who was drifting with her before if it'll make it better if she pretends to try for him. The song starts to build up again to get ready to launch back into the chorus when Aubrey speaks, "Oh, I'm sure one day I'll figure it out," and then all four girls' voices join the song again. They sing the chorus once, and then the first verse of the chorus once together before Eva sings the first two lines of the song alone of the second verse of the chorus. The song has begun to slow down again, leaving it with just the electronic beat and the drums again as Eva sings. The line, "Right until I crashed into you," is sang by all four girls, but softly, to not disrupt the feeling of calm that the song has suddenly taken on. Eva sings the final verse of the chorus again, the song sounding even more calm and her voice becoming even more quiet as she does. All four girls join in again for the last line, their voice joined by a softly playing note on an electric keyboard as they sing together, "Look out, I never learned..." The song comes to an end as the electric keyboard plays them out. There's an obvious sound of a guitar being put down and drum sticks being put away as the piano plays out, continuing that relaxed feeling. The piano quickly plays one note higher before it completely cuts off and the album goes into the next song. I'll cry tears like these if I want to They sting my eyes like they're supposed to Let them flow a little, then I can bawl Let them flow some more, it's like a waterfall And I could drown right here, oh, drown in my own tears, yeah Oh, I could float away Here I am crying, and I'm gasping for air Oh, I'll try to wave goodbye to you Look out, I never learned to row this boat Oh, spinning around unevenly Oh, I never learned, you see Oh, my clothes are soaked through recently But really I was just drifting hopelessly Until I crashed into you I was just drifting this blue But now we can drift for two Okay I'll bring you back a gift from my voyage A small reminder, but one you cannot ignore So you can remember you tried to help When I floated away I'll try to steer my boat towards you Just keep the lighthouse on for me But my boat starts to float the other way, no Uh, wait. No, wait, wait... Look out I never learned to row this boat Oh, spinning around unevenly Oh, I never learned, you see Oh, my clothes are soaked through recently And, oh, I was just drifting hopelessly Right until I crashed into you I was just drifting this blue But now we can drift for two It's sad, but it's too late to learn to sail I'm already stuck out here now But for you I can pretend to try Will that make it better? Oh, I'm sure one day I'll figure it out Look out now I never learned to row this boat Oh, spinning around unevenly Oh, I never learned, you see Oh, my clothes are soaked through recently Oh, now I was just drifting hopelessly Right until I crashed into you I was just drifting this blue But now we can drift for two Oh, look out now I never learned to row this boat Oh, spinning around unevenly I was just drifting this blue But now we can drift for two Oh, now I was just drifting hopelessly Right until I crashed into you I was just drifting this blue But now we can drift for two Oh, look out now I never learned to row this boat Oh, spinning around unevenly I was just drifting this blue But now we can drift for two Look out, I never learned SOUNDS LIKE: Hockey - Too Fake Edited by user 12 April 2014 10:19:50(UTC) \| Reason: Not specified

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snap_itshannah		#4 Posted : 19 April 2014 08:51:30(UTC)
Rank: Advanced Member Groups: Registered Joined: 01/10/2012(UTC) Posts: 18,714 Thanks: 7752 times Was thanked: 6357 time(s) in 2889 post(s)		TITLE: Protest ARTIST: Cherry Street WRITERS: Vanessa Lynn, Eva Chatburn LENGTH: 2:30 GENRE: Indie rock, new wave, indie pop PRODUCER: Reza Vranitzky Track three on Cherry Street's debut album is titled "Protest," and it's the simplest and shortest song on the album. The song was written by both Eva Chatburn and Vanessa Lynn, who both decided that they wanted to add some more indie sounding songs to the album, but still keeping their same dance genre feeling to the entire production. This was one of the songs that was written later in the writing process, but it was assured a spot on the album once they began producing and editing it. "I think people hear this song, and want there to be some really deep message behind it, like we wrote it about the Egyptian Revolution or something like that," Eva Chatburn has said about the song. "It's not. Sorry, but... we don't really write songs like that." Vanessa Lynn was the one to explain the meaning behind the song: "It was really more of a conversation that Eva and I had after a New Years party. We're both pretty cynical people I would say, and one of us - I don't remember who - made the comment that, you know, at the beginning of every year, you always say something like, 'This year is going to be better than the last, I'm sure of it!' but in the end, it's usually just the same, and you still feel beaten and dragged through shit. And no matter what you do, no matter how much you try to protest against the world, it's still going to happen, so you should probably just accept it to begin with. (laughs) It sounds really bad, I know, but almost immediately after the conversation, we were like, 'Man, we should write this into a song...' And then we did. I mean, what else are you supposed to do with your miserable thoughts and emotions?" This song, although a bit more subtle than just simply 'life sucks, so get over it,' does echo the same dreary feeling as what Vanessa described. The track starts with a simple guitar, playing the main chords to the track. The song immediately takes on an almost militaristic feeling to it when the girls - all four of them - start to sing. Their voices are monotone and dry, and slightly altered to sound scratchy and over-edited. All four of the girls sing the entire song together, except for a few quick parts when it's just Vanessa singing. The lyrics are simple and repeat themselves constantly throughout the song, each lyric professing that the subject of the song - humanity as a whole - knows what is going to happen to them (You know that they will break you / You know that they will beat you / They will drag you out, drag you out), so when the chorus comes in (You can protest all you want / You can cry, cry and shout out), it's almost like Cherry Street is singing it with pity, saying 'You could do this, but it won't change a thing.' In the chorus, when "cry" is repeated, Vanessa sings it alone the first time, her high voice giving the word a dramatic flair. As the song goes on, the music becomes much louder and more enthusiastic, following in the lead of the girls' equally loud and enthusiastic voices. When they start repeating the, "You know that they will break you / You know that they will beat you" verse, the song is in full swing, adding in an ardent drum to keep the beat of the song. They repeat, "You can protest all you want," twice before going into the repetitive, "They will drag you out, drag you out / Drag you out, drag you out..." that only Tessa Laity, Aubrey Fabricant and Eva Chatburn while Vanessa Lynn harmonizes, "You can cry," with them. This not only continues to give that very dramatic feeling to the song, but it adds they new wave sound that they were going for to keep with their dance themed album. Vanessa repeats "You can cry," twice before joining the other three girls again in the end, where they repeat, "Drag you out," eight more times, and then sing, "You can protest all you want," six times. By the third, "You can protest all you want," more than half of the instruments have faded out and left just the guitar and a light drumming with the girls' voices. They sing the last line, and the instruments come to a sudden stop soon after, leaving a few moments of silence between the tracks. You know that they will break you You know that they will beat you They will drag you out, drag you out Drag you out, drag you out You can protest all you want You can cry, cry and shout out You can protest all you want You can cry, cry and shout out You know that they will break you You know that they will beat you They will drag you out, drag you out Drag you out, drag you out You can protest all you want You can cry, cry and shout out You can protest all you want You can cry, cry and shout out You know that they will break you You know that they will beat you They will drag you out, drag you out Drag you out, drag you out You can protest all you want You can protest all you want They will drag you out, drag you out (You can cry) Drag you out, drag you out (You can cry) They will drag you out, drag you out Drag you out, drag you out Drag you out, drag you out Drag you out, drag you out You can protest all you want You can protest all you want You can protest all you want You can protest all you want You can protest all you want You can protest all you want SOUNDS LIKE: Tegan and Sara - Walking With a Ghost TITLE: Breathing ARTIST: Cherry Street WRITERS: Aubrey Fabricant, Eva Chatburn LENGTH: 3:28 GENRE: Indie pop, new wave, synthpop PRODUCER: Reza Vranitzky Cherry Street Streams First Song On Band Website After six months of writing, the all-girl band finally releases a song Band pictured above (L to R): Vanessa, Aubrey, Tessa, and Eva Remember around six months ago when AllMusic interviewed this up-and-coming all-female band, describing them as a "truly inspired pop act with tons of potential?" If not, I'm sure nobody would blame you for that. After that small interview, the girls seemed to completely disappear, making no effort to stay in any sort of limelight or keep their names on anybody's lips. It was almost as if their career had ended before it even began. But the band has apparently decided that six months later, the iron is still hot and they're going to stike at it now, and release their first song - 'Breathing' - for free download on their website. The song is more of the indie pop/new wave variety, which wasn't exactly what we were expecting, but we actually don't know what we were expecting from them anyway, so I guess we'll take it. The four girls each play a significant role in the song, making it difficult to tell which singer could be considered the "leader" of the group and which ones are just there for back-up. Each one of the girls also seems to have a very distinct sound to their voice, which does make it easy for listeners to tell which one is singing, but also extremely easy for each listener to pick out which girl is their favorite: Are you into more the of the low, sultry sounds of Tessa? Or maybe the smooth, girlish voice of Aubrey? The dramatic soprano range of Vanessa? Or Eva, with a voice seeming perfect for musical theatre - almost out of place with the rest of the group, who have voices that are so trained for the pop variety. No matter which girl you like the most, it looks like all of them are going to be around for the long-run. The song they decide to release as their first steps into the music world is a song about a distant, failing relationship, which doesn't especially seem all that new for an act that's suppose to be so inspiring and groundbreaking, but whatever. I suppose where you truly start to see their musical accomplishments shine isn't through their writing - although the lyrics aren't bad - but through their ability to harmonize and break up the lines perfectly to match what each girl is able to bring to the table, vocal wise. For four girls who claim that they've never had any musical training outside of a few years in high school choir, they seem to have songwriting and music theory down pretty well. The song - and the band, for as much shit as I've given them for waiting this long after that initial interview to release anything - is pretty great. They managed to make their first release a memorable song with decent lyrics and wonderful instrumentals, switching between a simple piano ballad heartwrencher to a first-class new wave classic sound. And while I certainly don't think we can count them among the ranks of girl groups like GirlSpice, they definitely have their own girl group sound, unrelated to any pop variety that we've heard in a while. I'll leave you with what Tessa Laity posted this morning right after 'Breathing' started steaming on Cherry Street's website: Quote: "We know people have been waiting to hear more about Cherry Street ever since AllMusic did that interview with us. We've kind of been pissing away our time lately because we wanted to make our first song fucking perfect. It's really difficult to know what the public wants to hear from you when you're not even completely sure what you have to offer them. The lyrics went through six different rewrites, and we didn't completely agree on how it sounded until two hours before recording it. If there had actually been a time limit on when we needed to release 'Breathing,' we would have still gotten done at the final hour. I hope what we lack in time management skills, we make up for in musical talent." Click here to download Cherry Street's 'Breathing': Tessa Aubrey Vanessa Eva All Sorry I wasn't around when the heat struck you down I'm thinking that you never liked the sun anyhow I know your dancing is bad so you can't go fast But we'll move slowly and make this beat last Words are falling right out of your mouth We'll make up a language to go with the sound We are just breathing I want to fix up all the broken bones That we've never told anyone about We are just breathing I want the scars to show what we have been through You and me, me and you Your arms falling, oh, off of me every time you cough I am picking up the pieces and tying them off That lump in your throat, it has to go I'm bringing my tools tonight, you should just let it know You're just bruising yourself up now Every time I'm around Just tell me while I'm counting one, two, three Why you're always on the ground I wake, I wake up alone, alone each morning You always leave without warning I'll bask in your glow until I'm no longer loved I'm no longer required The lines you give are ever uninspired We are just breathing Don't you worry, don't you fear, I won't stay Just one kiss from you, I'll be on my way We are just breathing But I've taken one kiss too many for our last day I'll give a sigh as you decay We are just breathing Don't you worry, don't you fear, I won't stay Just one kiss from you, I'll be on my way We are just breathing But I've taken one kiss too many for our last day I'll give a sigh as you decay We are just breathing (As you decay, you decay) We are just breathing (You decay, you decay, you decay, decay) Sorry I wasn't around when the heat struck you down I'm thinking that you never liked the sun anyhow SOUNDS LIKE: Marina and the Diamonds - Obsessions Edited by user 19 April 2014 08:52:03(UTC) \| Reason: Not specified

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Princess_Valentine		#5 Posted : 20 April 2014 02:34:36(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 16/04/2011(UTC) Posts: 6,598 Location: Storybrooke Thanks: 4684 times Was thanked: 2517 time(s) in 1482 post(s)		Kourtney: When I first heard your name, I thought it was going to be a guy band but I'm glad to see that I was completely wrong. Ooc: Great job so far. :)
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snap_itshannah		#6 Posted : 20 April 2014 03:22:20(UTC)
Rank: Advanced Member Groups: Registered Joined: 01/10/2012(UTC) Posts: 18,714 Thanks: 7752 times Was thanked: 6357 time(s) in 2889 post(s)		Quote: Kourtney: When I first heard your name, I thought it was going to be a guy band but I'm glad to see that I was completely wrong. Ooc: Great job so far. :) Tessa: Oh! Hahahah, no, we're definitely not a guy band... Thanks for listening, though! OOC: Thank you! :)


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snap_itshannah		#7 Posted : 21 April 2014 09:58:08(UTC)
Rank: Advanced Member Groups: Registered Joined: 01/10/2012(UTC) Posts: 18,714 Thanks: 7752 times Was thanked: 6357 time(s) in 2889 post(s)		TITLE: Your Favorite ARTIST: Cherry Street WRITERS: Tessa Laity, Vanessa Lynn LENGTH: 3:31 GENRE: Indie rock, new wave, electronic rock PRODUCER: Reza Vranitzky The fifth song on the album is "Your Favorite," written by Tessa Laity and Vanessa Lynn. Although other songs on the album could easily be classified as dance songs, and several of them could be heard at any club that promotes dancing, "Your Favorite," is one of the few songs that seems to be specifically made for dance clubs or anything of that variety. The lyrics are not the top-notch lyrics that several of Cherry Street's songs are, but that's fine because the lyrics seem to come second to the beat of the song. In fact, while what the girls in the song are doing can be classified as singing, they more seem to be speaking in rhythm, definitely making the song the type that isn't easily sung along to - but definitely the type of song that can be danced to. The song starts off with an obvious dance beat. There's an almost obvious 70s influence to the song, which features a theremin to give the song an almost futuristic - yet retro - edge to it. Tessa starts the song off, talking about walking with somebody that she has strong feelings with. She sings that she's been trying to tell this person something for a long time, but the words keep getting stuck in her throat. Her voice is very monotone, almost as if she's extremely focused on keeping with the beat of the song, not wanting to lose herself in the extremely complicated rhythm. Vanessa takes the next verse, her voice in the exact same state as Tessa's, although much higher pitched. She tells basically the same story about not being able to tell this person how she feels about them even though they're standing right in front of them, and nothing is interrupting them. The chorus is next, featuring all four of the Cherry Street girls. While normally their voices are well-organized and precise when they're all singing together, this time they seem to have taken a kind of sloppy approach to the chorus. They seem to shrug off harmonizing together, so each one of their voices is very obvious. It's not out of laziness that they did this - it was intentional to give the song a very laid-back feeling. It's not one to be taken seriously since it's specifically made for clubs, where nothing is taken particularly seriously. The chorus are the words that the voice of the song so badly wants to tell the person they're with: That this person is their favorite person in the world, no matter what, and that they hope that they're that person's favorite as well. There's a pause between the main section of the chorus and where all the girls repeat the ending line like, "And I hope / And I hope that I am your favorite, too." There's a dance pause in the song in between the chorus and the third verse that sounds much like the beginning of the song before Aubrey starts with her verse, her voice monotone and almost robotic like Vanessa and Tessa's before. She sings about the aftermath of admitting to being in love with this person, who apparently has not taken it as well as she has hoped. In the third line of Aubrey's verse, she sings, "I'm just so glad I met you now," her voice -while still monotone - takes on a sort of wavy feeling, with every other word being emphasized. All four girls join in on the next line, doing the exact same wavy feel as before and almost repeating the same line, but changing it to, "I'm just so glad I met you then." And then the next verse is Eva's. The verse starts off with all four girls singing, "You, you, you," and then just Eva sings, "...are amazing to me," and then again with, "Kiss, kiss, kisses," and "help me to see." Eva finishes the verse alone by confessing that she's given this person to key to her heart because she's so sure of what she's saying to him. Aubrey sings the verse right after that, having a little bit of a different reaction to this person not responding the way that she would have hoped. Aubrey, instead, gets a little desperate sounding as she begs for this person to forgive her for acting like a love-stricken fool and asks if there's anyway that this person could ever love her back. She ends the verse with, "You're just my favorite, I love you," and all four of the girls sing, "And I hope that I am your favorite, too." Again, they quietly repeat, "And I hope / And I hope that I am your favorite, too." Eva sings another verse, this verse seeming to take place sometime in the future, a little while after this awkward and embarrassing moment when feelings were not reciprocated. She sings about how she doesn't feel that way about this person anymore after this experience because now she feels like that person's heart is black and unlovable. There's a small dance pause in between the verse, but it slowly starts to fade out until there's almost to music, and you hear all four of the girls sing, "I am your favorite, too," before the song starts up again. In the final part of the song, it starts to take on a whole other feeling, as if a lot of time has passed now. In the dance pause between the last line and the next verse, the music sounds almost sinister and there's an electronic beat that is mimicking what a heart beat monitor sounds like. At the end of the dance pause, the heart beat monitor sound seems to flatline, giving that solid line of a single note noise before completely fading out and going back into the sound that the song had before. Tessa starts it off, singing about how even though she thought that she was completely over this person who has broken her heart, she's not because she finds that she can't move on from him. Vanessa sings the next verse, which is almost a repeat of a verse earlier in the song. While earlier in the song, Vanessa sang, "Stop and struggle with the words you can't hear / I lack courage, and all I can say is," this time she sings, "I do not struggle, my words are clear / With all my courage, I say to you," and then the chorus repeats. The girls sing, "And I hope / And I hope that I am your favorite, too," three times at the end before the song begins to do the sinister sounding music again, along with the heartbeat monitor sound again, but this time when it fades out, the song has ended. It's a bit of a distressing ending, especially for people who want the situation in the song to end well for the women in it. Although it's never explicitly said, it's pretty safe to assume that it didn't go well the second time they approached this person about how they feel judging by how the music sounded at the end. The words have been sitting on my tongue Since we started walking I've been needing to tell for so long So long that the words get stuck in my throat You're looking me in the eye You're looking as the world goes by Stop and struggle with the words you can't hear I lack courage, and all I can say is: "You are, by far, my absolute favorite Stop and hear, what I have to say is true Love me, hate me, but you are my favorite And I hope that I am your favorite, too" And I hope And I hope that I am your favorite, too Please stop looking at me like I am so strange I guess it's time I should explain I'm just so glad I met you now I'm just so glad I met you then ]You, you, you are amazing me Kiss, kiss, kisses help me to see My heart beats for you, so here is the key I'm just so sure of what I'm saying Forgive, I'm such a fool Could you love me? Please don't be cruel You're just my favorite, I love you And I hope that I am your favorite, too And I hope And I hope that I am your favorite, too Then you turned your back and showed me your heart was black I tried to speak, but my voice was so meek You started to turn to me again, but I left I took my heart back, it was a pure theft I am your favorite, too I'm still thinking about you all night My friends say I'm quite a sight I still have my heart, but I lost the key Could you please give it back to me? You're looking me in the eye You're looking as the world goes by I do not struggle, my words are clear With all my courage, I say to you: "You are, by far, my absolute favorite Stop and hear, what I have to say is true Love me, hate me, but you are my favorite And I hope that I am your favorite, too" And I hope And I hope that I am your favorite, too And I hope And I hope that I am your favorite, too And I hope And I hope that I am your favorite, too SOUNDS LIKE: CSS - Let's Make Love and Listen to Death From Above Edited by user 21 April 2014 09:59:15(UTC) \| Reason: Not specified

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genocidal king		#8 Posted : 22 April 2014 19:33:26(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 21/07/2009(UTC) Posts: 54,407 Location: Leeds, England Thanks: 3469 times Was thanked: 11549 time(s) in 5886 post(s)		OOC: The consistency of your lyrics is always amazing. Great work as always :)



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snap_itshannah		#9 Posted : 23 April 2014 05:49:26(UTC)
Rank: Advanced Member Groups: Registered Joined: 01/10/2012(UTC) Posts: 18,714 Thanks: 7752 times Was thanked: 6357 time(s) in 2889 post(s)		Quote: OOC: The consistency of your lyrics is always amazing. Great work as always :) OOC: Ah, thank you so much, Scott. :)


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snap_itshannah		#10 Posted : 27 April 2014 02:32:19(UTC)
Rank: Advanced Member Groups: Registered Joined: 01/10/2012(UTC) Posts: 18,714 Thanks: 7752 times Was thanked: 6357 time(s) in 2889 post(s)		TITLE: Everything I Treasure ARTIST: Cherry Street WRITERS: Vanessa Lynn, Eva Chatburn LENGTH: 3:40 GENRE: Alternative rock, indie rock, art punk PRODUCER: Reza Vranitzky The sixth track on Cherry Street's debut album is titled "Everything I Treasure," and is another song written by Vanessa Lynn and Eva Chatburn. Like their song before, "Protest," this song is also pretty simply in it's lyrics, but has a lot of meaning behind the words. In "Protest," the song had a very cynical quality to it, saying that no matter what, life isn't going to turn out to be as wonderful and happy as you want it to be, so you should just lie back and think of England - in "Everything I Treasure," there's a bit different feeling to the song. While there's still a bit of a cynical quality to it, it's the nicer side of cynical, making the negative side of life seem almost attractive by comparison. The song starts with a guitar note quickly being played over and over again. It's just that one note for the first 14 seconds of the song, immediately giving the song an eerie and uncomfortable feeling before the drums come in, playing a very mellow beat with the guitar. Just these two instruments play for the first 30 seconds of the song - playing the same note and the same beat over and over again - before Vanessa starts singing. When she starts her first verse, another guitar comes in, echoing the same notes that her voice hits but at a lower octave. The words she sings are simple: "Look up / I've won / Your smile," her high voice in a lower register than has been heard before on the album, continuing to give that song that sort of 'eerie, yet relaxing feeling' before all four girls join in, singing, "Oh, please please please." They repeat that line five time together with no change in the music that accompanies them except for the guitar that has been echoing their voice continues to do so, its notes going higher and higher until finally the girls reach the chorus, where the entire composition of the instruments seems to radically change. As Eva Chatburn sings her first, "Stay," the drums speed up and the song takes on a completely different feeling. While the girls' voices are still the focus, the music sounds more like a slow rock ballad rather than an ambient art rock song. Eva Chatburn and Tessa Laity sing back and forth to each other, with Eva singing, "Stay," and Tessa returning with, "you are everything I treasure." They do this twice before all four girls sing the single word - "Love" - together. They hold the word out, there voices moving up and down in a melodic and hypnotizing way before Eva and Tessa sing their bit again. The music slows down again and seems to be transitioning back into the same sound that it had at the beginning of the song. There's a small instrumental pause between the chorus and the second verse, where the guitar that was originally following the sound of the girls' voices is now the star of the show, giving a simple solo before completing the transition and turning the song back into how it sounded in the first verse. Vanessa starts the verse off again, her dramatic high voice singing the simple words again: "Nearly / Enough." It seems like a small part to give her, but it makes the transition into Aubrey Fabricant's voice in the next line more dramatic. Aubrey seems to momentarily take over the song, giving her couple of lines a passionate feeling - "You're worth the hurt / My broken heart" - before giving the song back to Vanessa, who repeats, "Look up / I've won," from the first verse. Aubrey's part in the middle of the verse gives the song a building feeling, like the listener knows that while now the song feels very low-key and calm, it's about to start building up again - and probably higher than before. All four girls now come in, singing, "Oh, please please please," twice, their voices much more ardent and fervent than they were before. When the chorus comes back in, Eva and Tessa's voices seem to have gone back to their normal, calm selves, which could be a bit disappointing to the listen who was expecting a big explosion of energy from the song. But if the listener keeps with the song for a little bit longer, after the girls' "Love" line, Eva sings, "Stay," and Tessa comes in with the big guns, giving her all when she sings her, "you are everything I treasure." While the instruments seem to keep their same tone, the girls' voices completely change, now all of them giving a passionate performance, especially when they all sing, "Love," together, which is probably the highlight of the song for most listeners. In the last line of the verse, Eva sings her, "Stay," her voice still zealous and true, but Tessa takes it down a notch, responding to her word with a chill and mellow, "you are everything I treasure." There's a short instrumental break before the girls repeat exactly what they had sang before - starting low, then rising a thundering performance, and then going back to the low again. The band plays out, echoing the girl's performance of starting out low, then getting stronger, before completely fading out, leaving only that guitar playing that single note over and over again to finish the song out. Tessa Aubrey Vanessa Eva All Look up I've won Your smile Oh, please please please Oh, please please please Oh, please please please Oh, please please please Oh, please please please Stay... you are everything I treasure Stay... you are everything I treasure Love Stay... you are everything I treasure Nearly Enough You're worth the hurt My broken heart Look up I've won Oh, please please please Oh, please please please Stay... you are everything I treasure Stay... you are everything I treasure Love Stay... you are everything I treasure Stay... you are everything I treasure Love Stay... you are everything I treasure Stay... you are everything I treasure Stay... you are everything I treasure Love Stay... you are everything I treasure Stay... you are everything I treasure Love Stay... you are everything I treasure SOUNDS LIKE: Yeah Yeah Yeahs - Maps TITLE: Sex City (Van She cover) ARTIST: Cherry Street WRITERS: Michael di Francesco, Matthew van Schie, Thomek Archer, Nicholas Routledge LENGTH: 4:03 GENRE: Alternative dance, synthpop, folk PRODUCER: Reza Vranitzky "We wanted to a cover of something," Tessa Laity said. "We went through a bunch of different songs, looking for one that we thought would fit our sound. MGMT songs, La Roux songs, CSS songs... We loved all of them, but, you know... they have their own sound that I don't think we could have duplicated easily. Then one day, the four of us were driving home from dinner in Vanessa's car, and she had her Pandora going, and Van She's Sex City came on, and we were immediately like, 'This is it. We can do this.'" Sex City, written by the Australian nu gaze band Van She, was originally written as a fairly electropop sounding song. Cherry Street changed the composition of the song greatly, giving it more of an alternative dance sound, fitting into their album perfectly. The lyrics of the song are extremely dark and disturbing, and Cherry Street's version of the song shows that perfectly, while in Van She's original version of the song, the lyrics and the music don't seem to fit together that well - while was probably Van She's intention in the first place. The lyrics tell the story of a group of vampires, feeding off of the teenagers and young adults that are in love with the party world in the city that they live in. While that's the simple way to look at it, another way is to say that the 'vampires' in the song are a metaphor for how the party world seems to drain you of yourself, and that the whole 'sex and drugs' life isn't as wonderful as we want to believe it is. All four of the girls' voices are used perfectly throughout the song to capture not only what Van She was trying to say, but also what Cherry Street thought the song was about as well. All four of their voices singing alone helps with the image of the group dynamic of the party scene, showing that this isn't just something that happens to one person in this world, but to everybody that enters the land of sex and pleasure. "We're not, like... against sex and parties," Vanessa said about the song. "But we get what Van She was trying to say. Like, after you're in that world for a long time, it becomes less about having fun and more about the fact that this party scene is who you are now and you don't have anywhere else to go. When you begin to focus your whole life around the idea that getting drunk and high and having sex is the only things that are fun and are the only ways to have fun, then you're really just stuck in this cycle and doing more and more of it until you really have nothing left... Not that I'm speaking from personal experience or anything," she finished sarcastically. In the dark, we come out and play We are its children, and were here to stay Running through, hungry for strays No invitation, take me away I'm not cruel, but that's still what you see Club to club, come see this city with me Hungry for life, without your pity I don't want it, but you give it Still can't say she won't start up Still can't say she won't start up a fight You go, city 'Cause in the city of life, she can't, she can't wait In the darkness, a killer awaits To kill a life and the lies you make You do another so this death can live Just keeping on dancing to the movie you're in The smell of your sweat just lures me in Your heartbeat does sing to me Running feet beats my blood My ghost inside you, soon will be Still can't say she won't start up Still can't say she won't start up a fight You go, city 'Cause in the city of life, she can't, she can't wait Hungry for strays, hungry for life, don't innovate your pity Hungry for strays, hungry for life, don't innovate your pity Hungry for strays, hungry for life, don't innovate your pity Hungry for strays, hungry for life, don't innovate your pity Hungry for strays, hungry for life, don't innovate your pity Hungry for strays, hungry for life, don't innovate your pity Hungry for strays, hungry for life, don't innovate your pity Hungry for strays, hungry for life, don't innovate your pity I don't want sex, but you give it Still can't say she won't start up Still can't say she won't start up a fight You go, city 'Cause in the city of life, she can't, she can't wait Still can't say she won't start up Still can't say she won't start up a fight You go, city 'Cause in the city of life, she can't, she can't wait Now it's over, you've taken your life The dark grows thin and I'm left to hide I don't regret it, but it's sad, anyway Now we're both dead and scared of the black This life of games and diligent trust It's the things we do or the things we must I'm now tired of being cussed So go sleep forever, end to dust SOUNDS LIKE: Crystal Fighters - Vanished Edited by user 27 April 2014 02:33:53(UTC) \| Reason: Not specified

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snap_itshannah		#11 Posted : 04 May 2014 10:19:55(UTC)
Rank: Advanced Member Groups: Registered Joined: 01/10/2012(UTC) Posts: 18,714 Thanks: 7752 times Was thanked: 6357 time(s) in 2889 post(s)		TITLE: Warm At Night ARTIST: Cherry Street WRITERS: Tessa Laity, Aubrey Fabricant, Vanessa Lynn, Eva Chatburn LENGTH: 5:06 GENRE: Alternative dance, synthpop, folk, folktronica PRODUCER: Reza Vranitzky After only a little over a month since their first release, Cherry Street gives us another taste of their almost polyphonic sound with their second single, "Warm At Night." Normally if a newer band like Cherry Street released a couple songs in their first year, nobody would be surprised, but with a band like Cherry Street, who took a little over six months to release their first single - "Breathing" - after a First Look interview with AllMusic, most expected not to hear anything from the Baltimore quartet for another half year. But this quartet is full of surprises, and this was just another one they're releasing onto the listening masses. "Warm At Night" shows that the girls definitely learned what works and what doesn't from their first single, and they're using the knowledge to try to woo their moderate audience into a larger one. The song is a story of a girl who is in either a long-distance relationship or is in a relationship that is just very distant in it's nature, and she's declaring that she's done with all the distance, and that the relationship is over unless the person she's dating can change their ways and they become closer. The song starts out with all four girls harmonizing together with a repetition of "No, no, no, no, no, no / Yeah, yeah!" four times before Tessa jumps into the song with her low, sultry, jazz-club like voice, singing the first verse of the girl who seems to have accepted the way that her relationship with all it's distance and lack of communication. It is only until Tessa sings, "I'm still lost and alone, but I will pray / I am still lost and alone, but I will find you again and I'll say:" that she seems to come to the realization that she doesn't have to live with a relationship like this, and she can give her partner an ultimatum instead. It's Eva that sings this ultimatum, asking, "Who's going to make this right? Who's going to make this right all over again?" - asking which one of them is going to make the first move in changing the relationship: The girl, who's plan of action would be to leave, or the partner, who's only other plan of action could be to restore communication between the two of them and try to help the relationship again. Eva and Tessa seem to be the leaders of this song, using both of their very distinct voices to drive the message of separation and anxiety home. It's Aubrey's voice, however, that ultimately changes the course of the song in the first verse, singing in her smooth voice, "I'm going to try to lose my thin skin / I am going to make you feel like loving me is a sin." The line give the song an almost sexy feel to it, but is coupled with Aubrey's innocent-sounding vocals. The mixture of the two makes the listener realize that although the woman in the song is trying to be very strong in telling her partner what she wants and that she will leave if she doesn't get it, she is still very scared about the possibility of losing her partner, and is anxious about the outcome and reaction to her making this very strong move. All four of the girls sing the chorus together, their voices harmonizing perfectly the same way that they did at the beginning of the song. The chorus brings the entire premise of the song together, still using the metaphor of warmth. The girl proclaims that she's going to write her partner a letter, telling them how she feels about their relationship, but she won't send it. She written it for herself, like when you write an angry letter to somebody and don't send it. And although the letter will make her feel better about their relationship, they sing at the end of the chorus, "I can't deny, I will need more than a letter / To protect me from this loneliness / To keep me warm at night." Simply put, although she does feel better about the relationship now that she's written the letter, the letter didn't change the situation at all. Her partner is still distant and she still feels lonely. Vanessa's takes the reigns at the beginning of the next verse. Her dramatic soprano voice helps to set up the story behind the couple, explaining in one line that the girl is very much in love with her partner because her partner has seen her through tough times, and has only recently become this distant person. She tells him that the passing days that she doesn't seem him are starting to mean less and less to her, and are beginning to become the norm. She has nothing left to say to her partner that she hasn't said before, which is why this confrontation "... might take all night, take my night's all." Eventually it should become obvious to the listener that her partner is terribly stubborn when it comes to changing or the topic of their distance, so when Eva chimes in with her theatrical voice, asking, "Tell me when you become the man you were before / Please shake me awake / When you become the person I knew before," it's not so much begging for him to change back to the way that he was as it is her saying that she's frustrated with what he is and that she won't be speaking to him anymore until he changes. All four of the girls sing, "knew before," together, the music going dead and only the sound of their voice being heard, making it a dramatic moment in the song. The last verse repeats, and then the chorus repeats, leading into the "No, no, no, no, no, no / Yeah, yeah!" again as the song starts to end. The last thing you hear in Tessa's low voice singing one of the, "No, no, no, no, no, no / Yeah, yeah!" lines alone. Although it's never explicitly said in the song what might have happened to this couple, judging by the lone singer in the end, it could be interpreted that the couple did eventually break up, or that nothing came of the argument and there's still major distance between the two. The music itself is a great addition to the song, keeping the song upbeat and almost confrontational sounding as the girls sing their song to their distant lover. It uses a mixture of electronica/dance sounds and folk sounds, creating a folktronica genre song, if you will. It's highly different from Cherry Street's first song, Breathing, which was very down beat and melancholy sounding. This change in sound doesn't mean that Cherry Street has changed their direction completely, but instead means that they have a lot of different types of music to offer the world, and are now showing everything that they can do, trying to see which sound will work best for their audience. Which ever one the general public likes more: "Breathing" or "Warm At Night," they're sure to hear a lot more from Cherry Street in the coming months. Tessa Aubrey Vanessa Eva All No, no, no, no, no, no Yeah, yeah! No, no, no, no, no, no Yeah, yeah! No, no, no, no, no, no Yeah, yeah! No, no, no, no, no, no Yeah, yeah! I'd knit myself a sweater to stay warm, baby I'll need one to prepare for the next rainy day I'm just waiting here until you take me away And I'm going to stay warm, baby I'm still lost and alone, but I will pray I am still lost and alone, but I will find you again and I'll say: Who's going to make this right again? Who's going to make this right all over again? I'm going to try to lose my thin skin I am going to make you feel like loving me is a sin I'm gonna write, I'm gonna write you a letter To make myself feel so much better I'll read it while I knit that sweater I can't deny, I will need more than a letter To protect me from this loneliness To keep me warm at night No, no, no, no, no, no Yeah, yeah! Nine days don't mean too much when you mark them off a wall I was out of luck when you made me fall But now I have nothing left to say at all This might take all night, take my night's all Tell me when you become the man you were before Please shake me awake When you become the person I knew before Nine days don't mean too much when you mark them off a wall I was out of luck when you made me fall But now I have nothing left to say at all This might take all night, take my night's all Tell me when you become the man you were before Please shake me awake When you become the person I knew before I'm gonna write, I'm gonna write you a letter To make myself feel so much better I'll write it while I knit that sweater I can't deny, I will need more than a letter To protect me from this loneliness To keep me warm at night No, no, no, no, no, no Yeah, yeah! No, no, no, no, no, no Yeah, yeah! No, no, no, no, no, no Yeah, yeah! No, no, no, no, no, no Yeah, yeah! No, no, no, no, no, no Yeah, yeah! No, no, no, no, no, no Yeah, yeah! No, no, no, no, no, no Yeah, yeah! No, no, no, no, no, no Yeah, yeah! No, no, no, no, no, no Yeah, yeah! SOUNDS LIKE: Crystal Fighters - At Home TITLE: Love Songs ARTIST: Cherry Street WRITERS: Tessa Laity, Aubrey Fabricant, Vanessa Lynn, Eva Chatburn LENGTH: 2:44 GENRE: Psychedelic rock, neo-psychedelia, indie pop, synthpop PRODUCER: Reza Vranitzky The ninth song on Cherry Street's debut album is one out of three songs on the album that is written by all four girls in the group. While this is highly unusual with many other musical groups, it doesn't seem to be too unusual with Cherry Street. "We have meetings every week or so where we all sit down and discuss ideas we have for songs or for shows or albums, stuff like that..." Aubrey Fabricant explained about how the group writes together. "We're all pretty good at being able to understand each other when we explain our ideas. I think that's why we work so well together as a group. When we bounce ideas off of each other, it's really easy for one of us to just say, 'Oh, yeah, and...' and then just run with the idea." It's not often that a group has that much chemistry together, which is probably why Cherry Street will never be the type of girl group or band whose name will be found in scandelous headlines and articles. They're the type of band who looks out for each other and truly cares about each other. The song starts out immediately with the sound of Tessa Laity's voice singing along with a guitar. There is no intro music before the girls start singing or anything like that. Just BAM! voices. There seems to be some sort of effect put on all four of the girls' voices throughout the song that makes it sound like they're in an echo-y tunnel or something along those lines. The instruments that are playing with them - especially the acoustic guitar that starts the song with Tessa - seem to have that effect on them as well. Tessa starts off by singing about writing songs, and how she tried to write a song about hate, but she just couldn't. Vanessa Lynn picks up the next verse after Tessa, her voice echoing almost exactly the same style that Tessa had - except with the soprano dramatic flair that Vanessa always gives when she's singing. Vanessa continues the same story that Tessa was telling in her verse, singing that the words of hate that she was trying to write just weren't working because she couldn't stop herself from writing a song about who the song they are now singing is addressed to. Although it is not stated in that verse, it is easy for the listen to tell by how the course of most songs on this album have gone - and by the way that the song and the album is called Love Songs - that they are in love with this person and have probably lost their relationship with them recently. The chorus starts, with all four girls singing, "A song about what? / Song about what? / Song about what I love so much about you." In the third verse, after the chorus, the song seems to pick up more instruments, no longer sounding so acoustic as it did at the beginning. A piano joins in now and another guitar does as well, adding some background rhythm to the song. Aubrey Fabricant starts the third verse, singing about how, even though she had written this beautiful song that sounded beautiful, none of the words sounded right when she tried to sing them to the person she loves - like all of the words got stuck in her mouth. With all the other instuments that are added in to the song now, they seem to almost overpower the sound of Aubrey's voice, which continues into the fourth verse, which Eva Chatburn sings. Eva sings directly to the person that the song is addressed to, asking for him to not really listen to the words that she's singing, but just to hear her sing to him. She finishes her verse by confessing that all she knows is cliches, so that's all she's able to sing. They go into the chorus again, all of their voices singing together - sounding much louder than they did apart, so now they are clearly heard over the instruments. This time instead of singing, "Song about what I love so much about you," they sing, "Song about how I love to kiss you." There's a small pause and then they all sing together again, "Song about how I used to kiss you." Although it was probably pretty obvious to any listener that has been listening to the album all the way through, this was the big reveal that they're no longer with the people that they love anymore. The song goes into full swing now, adding in percussion and taking the effect on the girls' voices and instruments off so now they sound very close and very clear. They sing the finally verse together, confessing to the person that they love that every since they broke up, they haven't been able to stop writing songs about them. "The music I knew / Is just another game," they sing together, the final line of the song. The music gears up to make it sound like they're about to start singing the chorus again, but instead of the girls' voices, an electric piano plays the melody of the chorus for them, adding a high, psychedelic effect to the song as all the other instruments seem to be calming down for the end of the song. The instruments play out the last few notes of the song before completely fading out. Sat down on my bed Got out my guitar Tried to write a song about hate But it didn't work Words didn't ring true And I couldn't stop Myself from writing a song A song about you A song about what? Song about what? Song about what I love so much about you I sang you the tune Melody was sweet But the words just came out all wrong Stuck in my mouth like heat Don't listen to me I'll just sing for you I'll sing all the old cliches Everything we knew A song about what? Song about what? Song about how I love to kiss you Song about how I used to kiss you Since you went away Every song is your name The music I knew Is just another game SOUNDS LIKE: MGMT - Pieces of What Edited by user 04 May 2014 10:20:34(UTC) \| Reason: Not specified

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snap_itshannah		#12 Posted : 08 May 2014 10:36:21(UTC)
Rank: Advanced Member Groups: Registered Joined: 01/10/2012(UTC) Posts: 18,714 Thanks: 7752 times Was thanked: 6357 time(s) in 2889 post(s)		TITLE: At the Very Least ARTIST: Cherry Street WRITERS: Aubrey Fabricant LENGTH: 6:10 GENRE: Synthpop PRODUCER: Reza Vranitzky The tenth track on Cherry Street's Love Songs is titled "At the Very Least" and was written by only one girl of the group, Aubrey Fabricant, who has been best known throughout the album for her girlish voice, and her edgy lyrics and writing. Although none of the girls have ever claimed to be stronger writers than the other one, the two strongest seem to be most Aubrey and Eva Chatburn - who both have tracks written solely by them on the album (although Aubrey has two: "At the Very Least," and track 11 "Hypothetically Yours"). The song pulls subject matter and topics from past songs, almost as if referencing them, such as the imagery of sailing together with somebody you love (like in "Never Learned") or talking about how that person is "the song that I sing," very much like "Your Favorite," where the lyrics speak of the significant other being their muse. Although the lyrics are somewhat overshadowed by the music in this song, they're still very much Cherry Street lyrics - somewhat sappy and definitely about love. The song starts off with a dance intro that last over a minute. The song was specifically made for the club or dance atmosphere, and the listener can tell by the way the song was produced and composed. It has a quick tempo, using mostly sythesizers and electric keyboards to create an idiosyncratic sound. The beat quicks just a bit more when percussion is added to the song - while still keeping the sound overall sounding very synthpop. The writer of the song, Aubrey, starts the song off with her metaphor of sailing with her significant other - although in this song, the sailing is used less as a metaphor and more as a story device. She sings about how her and her lover were sailing together in a homemade boat, swaying with the currents and not going very quickly. Eva follows with her own story, telling how her and her lover were flying over the desert with only ten dollars to their name, knowing that things will probably go wrong, but for now they're just enjoying themselves. Both stories have the theme of being in an environment that could be very lethal if you're unprepared, and being - in fact - very unprepared in those environments. And although they know that there is danger, they are happy to be with who they're with and would rather not think about the consequences of their actions. Both of the girls' voices are heavily edited, making them fit more with the general techno-dance feeling of the song. Through the song, all four of the girls harmonize an "Oooooh," breaking up each line of the song to give it more of a storytelling feel rather than just a song. The chorus is, "If I could take you with me / Think of everything we'd see / Oh, we could tame the wildest beasts / Or love them, at the very least." It's sung twice before the third verse starts. The chorus is calling out to their signficant others, saying that they wish that they could take them with them everywhere because they always seem to get into wild - if not dangerous - adventures together when they do. The ending of the chorus seems to play into the dangerous side, saying that together they could tame the wildest beast - or maybe not, but if not, they would learn to love those beasts and their wild nature anyway. The second verse starts off with another adventure in an environment: this time, the snow. Tessa Laity sings it, telling the significant other that it feels like that adventure was so long ago because now they've started to grow apart. She says that now, if she were in real danger, she feels that her significant other would treat her like a stranger and wouldn't come to her rescue, like he would before. Eva sings the next part of the verse, telling her significant other that although he seems to be drifting away from her, they're still bound together by promise and experience, and because of that, they'll never be able to be apart. The song seems to be reaching a climax as Eva's voice becomes more and more dramatic - one of her voice's recognizable traits. She sings, "That our plan was almost flawless..." and let's out an almost sorrowful sounding, "Yeah..." afterwards before transitioning into her next line, where she sings her own "Oooooh," before the rest of the girls do. The last line of her verse is, "Remember, to me, you're bound," and before the bridge starts, she sings again in her almost sorrowful sounding voice again, "You're bound." There's an echo effect put on her voice, and the sound of the last word drifts out before the bridge starts. All four of the girls sing the bridge together, all of them going into a higher register with their voices as they harmonize together, explaining to their others that if they stay true to each other, then everything will be fine, telling them that they are the song that they sing and the smile that their face brings. They all sing the chorus together once more, the last "least" echoing quietly as the song starts to end. Like in the beginning, there is a dance beat outro that goes for about a minute long until the song completely ends in sudden silence. Tessa Aubrey Vanessa Eva All We were sailing the ocean (Ooooh) We were moving in slow motion And our boat was homemade (Ooooh) With the current we did sway We were flying over the desert (Ooooh) The wind was caught in my skirt We had ten dollars left to our names (to our names) (Oooooh) We were waiting to go out in hot flames If I could take you with me Think of everything we'd see Oh, we could tame the wildest beast Or love them, at the very least If I could take you with me Think of everything we'd see Oh, we could tame the wildest beast Or love them, at the very least We took our chances in the snow (Ooooh) But that seems like twenty years ago I could be in real danger (Ooooh) And you'd still be my stranger I made you make me a promise (Ooooh) That our plan was almost flawless (yeah...) And that you'd always be around (Oooooh) (Ooooh) Remember, to me, you're bound You're bound (you're bound, you're bound, you're bound) Stay true to me I will, too In my heart You're in my head You are the song That I sing And you are the smile that my face brings If I could take you with me Think of everything we'd see Oh, we could tame the wildest beast Or love them, at the very least SOUNDS LIKE: La Roux - In for the Kill (Lifelike Remix) Edited by user 08 May 2014 10:37:35(UTC) \| Reason: Not specified

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snap_itshannah		#13 Posted : 12 May 2014 12:09:15(UTC)
Rank: Advanced Member Groups: Registered Joined: 01/10/2012(UTC) Posts: 18,714 Thanks: 7752 times Was thanked: 6357 time(s) in 2889 post(s)		TITLE: Hypothetically Yours ARTIST: Cherry Street WRITERS: Aubrey Fabricant LENGTH: 3:39 GENRE: Indie rock, blues rock, blue-eyed soul PRODUCER: Reza Vranitzky The penultimate track on Cherry Street's Love Songs is another song composed entirely by Aubrey Fabricant, titled "Hypothetically Yours." The song takes on a much more blue-styled sound than the other tracks on the album, but this most likely doesn't come as a surprise to most listeners by now, as many of the songs so far have varied in genre and sound. Cherry Street has done their best in this album to show how diverse they are, and they have succeeded in doing so. The song, like many songs in Love Songs is - SURPRISE - a love song, but this one has a bit different approach to it. Although the song is saying, "I like you a lot and I want to be with you," it's also saying, "But if you don't want to be with me, I'm not going to fall to pieces over you." "It's almost like my personal response to the other songs that we've written for this album," Aubrey explained. "I'm not as much of a hopeless romantic as the other girls in my group. If I like you, but you don't like me, then that's just the way it is, and I can't really do a lot to change. That's the way I look at it anyhow." The song is almost acoustic sounding in how stripped down the instruments and general sound is. There are several moments in the songs where it sounds like the people playing the instruments just gave up and started playing random keys for no reason. Of course, this is the way Aubrey wanted it. "Of course, getting turned down by somebody you like is still a pretty discombobulating experience, and I wanted to show that in the music. But you'll see at the end that everything is cleared up and fine - showing that you're okay with or without a significant other in your life." The song starts with a low bass guitar playing a simple bluesy beat before Aubrey's voice is heard, accompained by a few other rhythm instruments, like a drum playing along with the beat of the bass, and a guitar softly playing harmony. Her voice, while normally very girly and cute, is now a bit deeper, and while still retaining a bit of that girlishness to it, seems to have an almost seductive quality to it's sound. She asks that if she were to swim to her love's home and knock on his door, would he open it to her. She repeats this twice - an ongoing event in this song. There's a short musical pause before Eva starts her verse, her voice taking on that same seductive quality that Aubrey was using before. Eva keeps with the same mentality of Aubrey's verse, explaining that she's already given him her soul and that she's pretty sold on being with him. She finishes the verse with a, "Fucking hell," as if remarking on everything she is going through for this person, and how she already feels like it's too much. When the chorus starts, all of the intruments fall out of the song except for the bass guitar, which continutes to play the same rhythm it was playing since the beginning of the song. All four girls sing the chorus, their voices much more passionate and emotional than how Aubrey and Eva's sounded before. The chorus follows the sentimate that Aubrey explained about the song: Hypothetically, they could be with the person that they love, if that person wanted to be with them as well. But they're not going to settle for a one-sided relationship because they know that they're better than that. In the second part of the chorus, after they repeat "Hypothetically yours," again, all the instruments come back into the mix, including a piano - which had not been there before - playing along with the sound of the bass guitar. There's a small instrumental pause in between the chorus and the third verse, in which the piano continues to play. All the instruments seem to be sounding and doing alright until the piano starts playing random keys and out of tune notes. It almost seems like the pianist is just banging on the keys while every other sound around it continues on normally. There's no explanation for why this is happening except for that Aubrey wanted to give the song a sense of confusion because love is a such a confusing emotion. The piano fades out and the song goes back to normal before Tessa Laity starts singing the third verse. Tessa basically pulls the entire song together, explaining that if her love says that he's doesn't feel the same way about her, she isn't going to come apart at the seams over it. It's basically the thesis of the song - that no matter how their relationship ends up, she isn't going to die over it because it's just not something worth dying over. The four girls do the chorus again, sounding basically the same way it did before, except for this time, instead of the piano joining the song, the drums start playing louder and faster, pulling in some rock influence into the song. The piano comes back after the chorus is over in a fifteen second instrumental break, where the guitar takes the lead in the sound, playing a heavily blues rock influenced solo while being accompained by the piano and drums. Although the guitar is the center of the focus in this instrumental break, the piano plays just loud enough to steal some focus, as if all the listeners were waiting for it to start playing some crazy notes again. It obliges near the end of the break, the sound of banging keys drowning out of the rest of the instruments before completely stopping right before the girls start singing the chorus again. The chorus takes on a different sound this time around - the girls' voices are accompained with the bass guitar and drums, but also with some odd clicking sounds, almost sounding like somebody is building something in the studio while they were recording this song. At one point, you can hear somebody whistle, like they're calling their dog. It's completely unexplained why these noises are suddenly heard in the song, but they work pretty well, almost as if nobody needs to question why these noises were there because they sound good anyway. There is also a soft squeaking sound sometimes heard, like the squeaking of an old swingset rocking back and forth. When the girls finish this chorus, Eva steps up and sings the chorus again, but this time alone. Most of the instruments have dropped out by the time, leaving only the bass guitar, the drums, and the weird, unexplained noises to join her in the chorus, but by the second "Hypothetically yours," it's just the strange noises with her as she sings almost a capella. The song ends the moment Eva sings the last word. Tessa Aubrey Vanessa Eva All If I could swim to your shore And walk right up to your door, would it open? If I could swim to your shore And walk right up to your door, would it open? I gave up my soul Changed my sign to "Sold" Fucking hell Hypothetically yours If you want me I'm, I'm, I'm at your door Hypothetically yours Are you second guessing who Wh-who I care for I'm not saying I'll die If you make like a tree and leave I'm not saying I'll die If you make like a tree and leave Hypothetically yours If you want me I'm, I'm, I'm at your door Hypothetically yours Are you second guessing who Wh-who I care for Hypothetically yours If you want me I'm, I'm, I'm at your door Hypothetically yours Are you second guessing Wh-who I care for Hypothetically yours If you want me I'm, I'm, I'm at your door Hypothetically yours Are you second guessing who Wh-who I care for SOUNDS LIKE: Cold War Kids - Hang Me Up to Dry TITLE: Fuck It All ARTIST: Cherry Street WRITERS: Tessa Laity, Vanessa Lynn LENGTH: 3:11 GENRE: Indie rock, indie pop, dance-punk PRODUCER: Reza Vranitzky While most bands would start to slow down after finally achieving some amount of the fame and recognition that they'd been craving for years, Cherry Street continues to churn out another single that's sure to do much better than the two before. They truely are a growing band, as each single seems to build on top of the other one, creating not only better songs, but also just a better group in general. While their general direction in music genre may seem all-over-the-place - like they're still looking for what specific genre of music they want to make - it's really just Cherry Street showing off what they can do now that they have a mass audience. The four girls all have different sounds and different tastes in music, and combining different ideas on a song together is difficult - even when everybody generally has the same idea on what they want to do. The girls' music and their fearlessness to venture into other sub-genres just shows how inspired and hard-working they are as a group. The song "Fuck It All" is more of an anthem for the 21st century modern young woman than anything else. Because women are - and always have been - constantly pressured into immediately finding their 'true love' after high school by books and movies, when they don't seem to find some special someone soon, they tend to get anxious and frustrated with themselves and the world around them. The worst is when they think they've found somebody, but then it doesn't last. Cherry Street tries to explain their views on love in the song, explaining that although it's something that the heart wants - and although it's something that can hurt us - it's something that will eventually happen to us whether we want it to or not. To love is simply human nature. So while it's okay to hate love, you shouldn't hate yourself for falling in love, and you shouldn't hate yourself for suddenly enjoying being in love after it happens. The song uses a mixture of peaceful imagery that could be scenes from romantic movies ("If you come, you could follow me / Lose ourselves in a sea of dreams" and "You could take my arms and wrap them around yours / Move to the rhythms we've never heard before"), and other lyrics that show more of a penchant for lust ("You can breathe in deep that sweet air / It could soothe our souls, like a love affair," and "The moments between dusk and dawn / Make you sing like you've been turned on"). Both examples take something that could have romantic connotations - "sweet air" and the "moments between dusk and dawn" - and corrupts the innocence of them a bit by adding something lustful, like affairs or anything sexual. The tones of the girls' voices, along with the beat of the song also adds another layer of wildness to the song. Unlike the two singles released by the group before - "Breathing" and "Warm At Night" - this song does not have such a mellow tone to it. The girls' voices sound passionate and fierce as they almost practically spit the words at the listeners. The beat is loud, utilizing mostly bass throughout the song to keep that same feeling of intensity. As Tessa Laity, one of the members of the group, explained before, the group is trying to bring something different to each song at least for this first album, so this time, they're trying to show how they sound when they add something much more chipper and quick to their catalogue of songs. It's the chorus of the song that really brings the whole song together, with all the girls in their loudest - while still controlled - voices singing, "Just say 'fuck it all,'" to their audience. The idea behind it is not to say that you should just say fuck it all to love, but that you should say fuck it all to anybody who tries to pressure you into falling in love, or makes you feel like love is the only thing that's worth it. If you stop focusing on love and stop trying to make falling in love your main goal in life, then you'll be so much happier and more open to other things around you - and you'll stop worrying about what other people think about you. Basically, you'll be saying 'fuck it all,' and then you can... well, fuck them all. Or whatever floats your boat. It's Eva Chatburn that really gets to show off her voice in this song as she's given two whole verses to herself, singing the real meaning of the song as a whole: "Fake it, hate it, really know I do / Hate love, but don't hate yourself for loving, too / It's in vain, no shame, but don't you let go / Remember love doesn't play by quid pro quo / Hearts beat, but they can also bludgeon / No, pumping blood is not their main function / It's rough, but you know what to say / When love starts to get in the way." Of course, if you've been listening to the song, you'd know that what you should say when love starts to get in the way is 'fuck it all,' but if you didn't know, the song repeats the chorus to remind you. The song had to be edited, obviously, for radio play, so there is a clean version and the original version of the song. "We never even thought about having to censor our songs," Aubrey Fabricant explains. "She [Reza Vranitzky, producer of the song] told us one day while recording, 'You couldn't play this on the radio,' and at first, all four of us were like, 'So?' And then we remembered that there was actually a chance of this song going on the radio now. (laughs) We're still getting used to that fact." The song's clean version holds basically the same principals as the original version. Not much of the meaning behind the song is lost by changing 'fuck' to 'forget.' In the end, it's still basically sending out the same message of living your life for yourself and not for the love that you're supposedly supposed to find in your early twenties. Chase those troubles from your head, in your head To somewhere you can live instead You can breathe in deep that sweet air It could soothe our souls, like a love affair If you come, you could follow me Lose ourselves in a sea of dreams The moments between dusk and dawn Make you sing like you've been turned on You could find your face in a warm embrace Follow the cautious beat of the human race Leave your hometowns and live your lives You know, girls like us will never be wives You could take my arms and wrap them around yours Move to the rhythms we've never heard before See all the distant smiles As they live through the daily trials Hearts can break just as easily as thin glass When you only date snakes in the grass See what happens when you let your life unfold Same, not same, never the same So we'll search all night for our songs In red bikini tops and thongs Forget about the noisy world Stop and watch the ravage unfurl Leave your hometowns and live your lives You know, girls like us will never be wives And just say, "fuck it all", and just say, "fuck it all" Come on, baby, just say, "fuck it all" Just say, "fuck it all," and you can fuck it all Come on, baby, just say, "fuck it all" Just say, "fuck it all," and you can fuck it all Come on, baby, just say, "fuck it all" Just say, "fuck it all," and you can fuck them all Come on, baby, just say, "fuck it all" Fucking love might fade, but we'll never leave We'll all party like it's New Years Eve And if anybody has a problem, you know what to say It is none of their fucking business anyway We know you'll make your own mistakes You won't learn from them, because that's what it takes For you to find what you need You know, girls like us will never be wives Fake it, hate it, really know I do Hate love, but don't hate yourself for loving, too It's in vain, no shame, but don't you let go Remember love doesn't play by quid pro quo (La la la la la) Hearts beat, but they can also bludgeon No, pumping blood is not their main function It's rough, but you know what to say When love starts to get in the way And just say, "fuck it all", and just say, "fuck it all" Come on, baby, just say, "fuck it all" Just say, "fuck it all," and you can fuck it all Come on, baby, just say, "fuck it all" Just say, "fuck it all," and you can fuck it all Come on, baby, just say, "fuck it all" Just say, "fuck it all," and you can fuck them all Come on, baby, just say, "fuck it all" SOUNDS LIKE: The Ting Tings - Hang It Up Edited by user 12 May 2014 12:09:48(UTC) \| Reason: Not specified

3 users thanked snap_itshannah for this useful post.		RoseJapanFan on 12/05/2014(UTC), erich hess on 12/05/2014(UTC), AmyJayneXoX on 14/05/2014(UTC)
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erich hess		#14 Posted : 12 May 2014 13:17:23(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 09/04/2010(UTC) Posts: 42,818 Location: representing the 954 Thanks: 21857 times Was thanked: 18084 time(s) in 10505 post(s)		Erich: i am a sucker for a girl group.I cut my teeth on the crystals and th Dixie cups. So I am very into this whole cherry street thing. My favorite is still" fuck it all." It's a perfect closer for a perfect album. This is the album you use to decapitate "tool" fans. The pretentious bastards.
		"I'm not saying its even a good thing to own a chimpanzee. But that's freedom, folks." Alex Jones.


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snap_itshannah		#15 Posted : 13 May 2014 04:28:26(UTC)
Rank: Advanced Member Groups: Registered Joined: 01/10/2012(UTC) Posts: 18,714 Thanks: 7752 times Was thanked: 6357 time(s) in 2889 post(s)		Quote: Erich: i am a sucker for a girl group.I cut my teeth on the crystals and th Dixie cups. So I am very into this whole cherry street thing. My favorite is still" fuck it all." It's a perfect closer for a perfect album. This is the album you use to decapitate "tool" fans. The pretentious bastards. Vanessa: I think that's the best fucking way I've ever heard our album being described. Thank you so much, man!

1 user thanked snap_itshannah for this useful post.		erich hess on 13/05/2014(UTC)
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RoseJapanFan		#16 Posted : 13 May 2014 09:01:58(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 24/08/2009(UTC) Posts: 45,471 Location: ククルー=マウンテン Thanks: 21340 times Was thanked: 14999 time(s) in 6774 post(s)		OOC: Excellent job on this, I can tell Cherry Street are one of your favorite acts :) Hannah Beth: I can say I've never heard or seen a group of girls quite like you before and that's great! I loved this album, every song and even my twins loved it. The censored version of course :P Do you girls consider yourself a girl group or just a group of girls?
		Do you like reading reviews on anime? Manga? Games? Do you wanna support a fellow black nerd? Then click above. Isabel-Pixie-Nova-Jennifer Armstrong-Dylan Shaw-Eden Pryce-Taara Jay-Jupiter Jones-Imani Kato-Eilidh-Nothing But Trouble-Hayden-Serenity Scott-Anaísz-Kimi Kubo "My God! We truly are a talented bunch. The fact that we write entire albums all on our own while the biggest stars in the world have 45 co-writers on ONE track?? Where the hell are OUR record deals and GRAMMYS?" -BrownSugar
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snap_itshannah		#17 Posted : 14 May 2014 05:59:37(UTC)
Rank: Advanced Member Groups: Registered Joined: 01/10/2012(UTC) Posts: 18,714 Thanks: 7752 times Was thanked: 6357 time(s) in 2889 post(s)		Quote: OOC: Excellent job on this, I can tell Cherry Street are one of your favorite acts :) Hannah Beth: I can say I've never heard or seen a group of girls quite like you before and that's great! I loved this album, every song and even my twins loved it. The censored version of course :P Do you girls consider yourself a girl group or just a group of girls? OOC: Thank you so so much! :) Tessa: Oh, thank you very much, Hannah Beth! :) we're so happy to hear that we appeal to a range of people, especially a wide age range. ;) Vanessa: We've never fully embraced the term 'girl group,' because we're not crazy about the connotations of it - mostly because we just think about ourselves as a group of girls who sing together and do a damn good job of it - but we don't mind it when people refer to us as a girl group. I guess that's what we are. Thank you again!


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AmyJayneXoX		#18 Posted : 14 May 2014 05:59:41(UTC)
Rank: Advanced Member Groups: Registered Joined: 22/02/2013(UTC) Posts: 8,410 Location: Ashford Thanks: 4344 times Was thanked: 4045 time(s) in 1382 post(s)		OOC - I really enjoyed reading through the whole of this over the last few days I love these girls :D Elyar - I this album ladies, too many good songs to choose from, also to much beauty to choose from sorry I simply can't pick :D

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snap_itshannah		#19 Posted : 14 May 2014 06:03:05(UTC)
Rank: Advanced Member Groups: Registered Joined: 01/10/2012(UTC) Posts: 18,714 Thanks: 7752 times Was thanked: 6357 time(s) in 2889 post(s)		Quote: OOC - I really enjoyed reading through the whole of this over the last few days I love these girls :D Elyar - I this album ladies, too many good songs to choose from, also to much beauty to choose from sorry I simply can't pick :D OOC: Thank you so much. :) I love them, too. Aubrey: Aw, thanks, Elyar. We were hoping it would be the type of album that it would be difficult to pick just one favorite song out of. :)


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