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Music Travel Love – Stand By Me

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Here's a song by the Global Musical band “ Music Travel Love “. This  song  is titled “ Stand By Me ”, as it was released alongside its video. You'll enjoy as you listen.

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• Music Travel Love – Have I Told You Lately
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Love listening to music that goes with all your mood? Tune into the Travel with Me with 1 trending song that let you enjoy diverse genres of music. The melodic voice of artists like which are sung by artists like Synthe that makes Travel with Me album a “go-to-medicine” for your different types of moods. Wynk Music lets you play MP3 songs of Travel with Me online for free or you can download songs for offline listening.

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Billie Eilish's Explorative and Reflective Nature on 'HIT ME HARD AND SOFT' Makes It Her Best Album Yet: Review

The 10-track effort is produced entirely by her brother, finneas..

Billie Eilish officially releases her third studio album,  HIT ME HARD AND SOFT.

Clocking in at approximately 45 minutes, the 10-track effort is once again produced in its entirety by her brother, FINNEAS, and follows 2021’s GRAMMY-nominated  Happier Than Ever.  While  HIT ME HARD AND SOFT’s  predecessor mainly centered on Eilish’s grip on teenage fame, her latest release dives into more personal issues — her sexuality and gender identity, body dysmorphia and emotional ups and downs with intimate partners.

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What Sabrina Carpenter's "Espresso" Is Really About

The "Feather" singer has a hit on her hands, thanks to its caffeinated beat.

If you can't stop humming Sabrina Carpenter 's new song "Espresso," you're not alone. The bop has been climbing the charts since its release date of April 11, 2024 — barely a month ahead of her debut as Musical Guest for the Saturday Night Live Season 49 finale with Host Jake Gyllenhaal.

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It's ridiculously catchy and so upbeat, making it the perfect song for beach parties and your morning mood-lift (and then there's that viral " I'm working late, 'cause I'm a singer " lyric). But what exactly does "that's that me espresso" mean? 

RELATED: What to Know About Ariana Grande's "We Can't Be Friends"

What Sabrina Carpenter's new song "Espresso" means

Espresso is an Italian coffee drink made by forcing boiling water through tightly packed coffee grounds to create a dense and highly caffeinated beverage. It's essentially a "shot" of pure coffee, as undiluted by water as possible.

Carpenter is singing that her "me espresso" is the effect she has on boys: They can't sleep because they're up all night thinking about her. Instead, they lie awake moving it "up, down, left, right," as in a Nintendo Switch game.

Later in the song, she also compares herself to Mountain Dew, a caffeinated soda.

The pop star   explained to Apple Music that the song is all about feeling good and not taking things too seriously. 

Carpenter said she began writing then song during "one of those times in my life where it was just like, I just thought I was the sh-- in the moment. And I think you don't always feel that way, so you kind of have to capture those moments that you do."

She added, "For me, equating it to caffeine and that addiction was really fun and I definitely have a caffeine addiction as it is. So it really ends up being a full circle for me."

RELATED: The Real Meaning of Miley Cyrus' "Flowers" and Its Connection to Virginia Woolf

The lyrics to "Espresso" by Sabrina Carpenter

Written by Sabrina Carpenter, Amy Allen, Steph Jones, and Julian Bunetta.

Now he's thinkin' 'bout me every night, oh Is it that sweet? I guess so Say you can't sleep, baby, I know That's that me, espresso Move it up, down, left, right, oh Switch it up like Nintendo Say you can't sleep, baby, I know That's that me, espresso

I can't relate to desperation My "give a f-cks" are on vacation And I got this one boy and he won't stop calling When they act this way, I know I got 'em

Too bad your ex don't do it for ya Walked in and dream-came-trued it for ya Soft skin and I perfumed it for ya (yes) I know I Mountain Dew it for ya (yes) That morning coffee, brewed it for ya (yes) One touch and I brand-newed it for ya

Holy shit Is it that sweet? I guess so

I'm working late 'cause I'm a singer Oh, he looks so cute wrapped 'round my finger My twisted humor make him laugh so often My honeybee, come and get this pollen

Too bad your ex don't do it for ya Walked in and dream-came-trued it for ya Soft skin and I perfumed it for ya (yes) I know I Mountain Dew it for ya (yes) That morning coffee, brewed it for ya (yes) One touch and I brand-newed it for ya (stupid)

Now he's thinkin' 'bout me every night, oh Is it that sweet? I guess so Say you can't sleep, baby, I know That's that me, espresso Move it up, down, left, right, oh Switch it up like Nintendo Say you can't sleep, baby, I know That's that me, espresso (yes) Thinkin' 'bout me every night, oh Is it that sweet? I guess so (yes) Say you can't sleep, baby, I know That's that me, espresso (yes) Move it up, down, left, right, oh Switch it up like Nintendo (yes) Say you can't sleep, baby, I know That's that me, espresso

Is it that sweet? I guess so Mm, that's that me, espresso

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Billie Eilish Keeps Up Her Winning Streak With the Surprising and Intimate ‘Hit Me Hard and Soft’: Album Review

By Chris Willman

Chris Willman

Senior Music Writer and Chief Music Critic

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Are there any simple pleasures in “Hit Me Hard and Soft,” you may be wondering, after reading that list of left turns? There are — she doesn’t overindulge her suite tooth. There’s a wonderful track in a progressive R&B vein that might have a better chance of being a hit if she hadn’t titled it “Chihiro,” apparently named after the protagonist of Ghibli’s “Spirited Away.” Right after that comes the album’s purest pop, “Birds of a Feather,” which, from its chimey opening synth line to its rhapsody over true love (“Might not be forever / But if it’s forever / It’s even better”), gives us a rare vision of an Eilish so blissful, it’s as if depression never touched her mind. Well, maybe the lyrics’ repeated avowals that her lover should stay alive “till I rot away dead and buried / Till I’m in the casket you carry” offer a hint of that. But at the end, when she blurts out, “I love you, don’t act so surprised”… it’s still surprising, as the ray of pure sunlight filtering into one of her records.

Eros, actually, is something that hasn’t been a major player in Eilish’s albums to date… and perhaps that’s as it should have been for someone who was putting out masses of material at 16 and 17. But she makes up for any lost time with “Lunch,” destined to be the album’s most-talked about track, as an ode to the joys of delivering cunnilingus. (Eilish said in her revealing recent Rolling Stone interview that she hadn’t actually had any such same-sex experiences when she started writing the tune, but from its vividness, it may not have ended up being purely aspirational.) With a Finneas bass line that won’t quit (now is probably not the time to describe that or his closing guitar solo as “tasty”), “Lunch” is the album’s obvious and unabashed banger, and something that will be stirring up lots of fights as it comes up for request on family driving trips all summer long.

“Wildflower” is the most conventional-sounding song on the record, with a light acoustic guitar start opening up into a full-band sound with live drums. (Andrew Marshall, the siblings’ touring drummer, puts in a surprising amount of time on this album, given how handy Finneas is with the beats.) If there is a skip on this particular collection, “Wildflower” might come closest. But even a song as traditional and “organic” as this one gets set up with a curious and interesting coda after a false ending — one in which Eilish turns out to be sadder about having taken up with a friend’s ex-lover than she made herself out to be in the blither tune that preceded it.

“The Diner” is a delightful and also kind of scary outlier here — a track from the point of view of a stalker, set prosaically to a tune that sounds almost right out of a French café. Coming after the previous album addressed it more succinctly as a verse in “NDA,” “The Diner” goes full-scale into the psyche of a disturbed personality, and you have to admire her cojones in going there, even if probably not everyone would advise her to write a song like this. “Just bring a veil / And come visit me in jail” — that is some serious black comedy. (So is the lyric sheet’s inclusion of a 310-area-code phone number that, if you call it, brings up a voice recording of Eilish saying she can’t hear you.)

But here’s to saving the best for last. There’s a near-straight flush of great songs in the album’s back half that may not get the attention of a “Lunch” but go even farther toward establishing again what a proficient and masterful team Eilish and Finneas are. “The Greatest” may be the most anguished, unadorned and successfully dramatic song here. It begins with some extremely soft plucking — you might mistake it for an Aaron Dessner production, for a minute — before the drums and wailing kick it up a notch a full three minutes in. “Man, am I the greatest,” Billie belts, giving herself a series of gold medals for all the ways she subjugated herself in a relationship, to no avail — “all the times I waited/ For you to want me naked / Made it all look painless… Just wanted passion from you / Just wanted what I gave you.” She was shameless in love, and is no less shameless in coming up with a song that builds to a big finish — it really does live up to its name.

Parts of “Hit Me Hard and Soft” are completely transparent in their blatant themes and melodies, and parts are more mysterious and elusive… which all contributes to it feeling like a much fuller meal than the 10-song track list would indicate. Eilish’s first two full albums arrived as what felt like instant classics. After about a dozen first-day listens, I’m not certain if this album counts as that or not. But I do know I can’t wait to dive into it about 50 more times. Eilish and Finneas are as good a combo platter of songwriter/record-makers as anyone doing it today, and their willingness to change things up — between albums; within an album; within a song — has put them on a hell of an introductory roll. As the song says, it “might not be forever / But if it’s forever / It’s even better.”

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Taylor Swift sings 'The Alchemy' as Travis Kelce attends Eras Tour in Paris

PARIS — Taylor Swift sang "The Alchemy" as part of her acoustic set of surprise songs during Sunday's Eras Tour show with boyfriend Travis Kelce in attendance. Several football metaphors in the song have led fans to believe Swift wrote it about the Kansas City Chiefs tight end.

"Can you believe this is the 87th show?" Swift asked during her acoustic set in La Défense Arena. Kelce wears No. 87. She then played a mashup on guitar of "The Alchemy" from her new album "The Tortured Poets Department" with "Treacherous" from "Red."

Kelce stood in his box as Swift glanced up at him and the crowd looked back and forth between the two.

"This happens once every few lifetimes," Swift sang. "These chemicals hit me like white wine.”

The crowd roared.

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Kelce joined 40,000-plus fans for the fourth and final night of Taylor Swift 's Eras Tour in Paris. He watched from a box seat alongside actor Bradley Cooper, super model Gigi Hadid and rock star Lenny Kravitz.

The concert marks the fifth time Kelce has appeared at the tour since the couple went public last year. His first stop was Buenos Aires, Argentina, followed by Sydney, Australia, and two nights in Singapore . Swift has changed the “Karma” lyrics to "guy on the Chiefs" every time Kelce has cheered her on from the sidelines.

Kelce hadn’t seen the new set list live since Swift switched up the eras and added her 11th era, “ The Tortured Poets Department .” The singer-songwriter said she’s been working on the changes for 8-9 months (since last fall).

Hadid has famously been a member of Swift's squad for years now and has been dating Cooper for several months.

Other celebrities spotted in the crowd included Grey's Anatomy actor Jessica Capshaw and singer Christina Milian.

Her next stop is Stockholm, Sweden, as she continues the European leg of the tour.

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