You Finally Knew (Slowed Remixes) Chad Lawson
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- Finneas O'Connell (b. 1997):
- 1O'Connell: when the party's over (Slowed Remix)03:54
- Chad Lawson (b. 1975):
- 2Lawson: Stay (Slowed Remix)04:01
- 3Lawson: One Day You Finally Knew (Slowed Remix)03:26
Info for You Finally Knew (Slowed Remixes)
Chad Lawson presents a 3-track collection of "Slowed Remixes" from his studio album You Finally Knew, featuring meditative new versions of "when the party's over", "Stay", and "One Day You Finally Knew".
Sit back and relax with the slowed remix of my cover of Billie Eilish’s “when the party’s over”.
Chad Lawson is able to reinvent things in his very own way. For example, there are his remarkable interpretations of Bach and Chopin, with which he climbed to the top of the charts. But there is also his unconventional approach to his instrument, the piano. With the help of iPads and electronic loops, Lawson creates atmospheres that appeal to fans of EDM, neo-classical and traditionalists alike. Besides the keyboard of his Steinway grand piano, the keyboard of his Mac Mini was also part of his finger exercises.
is just about the polar opposite of every other solo pianist out there. He has toured the world with Julio Iglesias, is an official Steinway performing artist, recipient of “Album of the Year” on Whisperings Solo Piano Radio and has scored several films.
Earlier, Lawson’s trio recorded two wildly-successful albums for Summit Records. Dear Dorothy; the Oz Sessions—brought music from the Wizard of Oz to the national jazz charts. The CD was featured in Starbucks, showed up in Dawson’s Creek, and the trio even toured Japan. Unforeseen, their second album, jumped to #8 on the national jazz charts, and included songs by the Police, Soundgarden, and the Beatles. However, all these successes were a blur, leading up to one night on tour in Spain with Iglesias—in yet another sold-out 10,000 seat venue. It was here that Lawson suddenly felt absolutely alone on stage and said, “It’s time to do my own thing again.”
Imagine standing in the middle of NYC, engulfed by all its energy. That same pulse stems from Lawson’s music, in a more slow-burn sorta way. That’s the kind of music Lawson writes: with listening—real listening—in mind. Listeners get the feeling they’re participating in a musical conversation. That’s because—unlike just about every other solo pianist out there—Lawson’s music has a strong organic, improvisatory element to it. Chad Lawson is sort of like George Winston, but the audience Lawson’s going for probably won’t get that reference anyway. (Lawson has always made a habit of bringing jazz to new audiences, as if you couldn’t tell by his credits.)
All Lawson’s songs, in fact, give you the chance to hear the music, and simply exhale, to breathe. His music affords the time that most of us never take in the day to rest our mind—as if to say, things can be put on pause—even for just a few moments.
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