The Asian Music Invasion: Anime’s Role as a Cultural Gateway
The rise of songs from Asia, beyond established pop acts, in the global music sphere is a defining cultural phenomenon of the 21st century. While K-Pop acts like BTS and BLACKPINK have certainly dominated international charts, another seismic cultural force has been consistently paving the way: anime. The phenomenal worldwide popularity of Japanese animation (anime), and increasingly, of South Korean animation (aeni) and Chinese animation (donghua) is steadily part of the popularisation of what is known as the anisong.
Anime music, or “Anisong,” has acted as a crucial cultural gateway, providing catchy, high-quality tracks from Japanese, Korean, and Chinese artists to millions of international viewers. Songs that are integral to a hit series – like those from Demon Slayer or Jujutsu Kaisen – become inextricably linked to the media, creating massive streaming success and viral trends that transcend language barriers. This powerful, visual connection has allowed Asian music to enter the mainstream global psyche, leading to international chart placements and massive sales.
Top 100 Popular Anisongs
The popularity of this music is proof of a massive cultural shift, where a song’s country of origin is no longer a barrier to mainstream global success (thank goodness, although there is still some work there), provided the accompanying content – like a blockbuster anime series or just a movie – is compelling enough. These songs often achieve huge streaming numbers, with tracks like LiSA’s “Gurenge” boasting hundreds of millions of streams.
Furthermore, their impact is visible through worldwide charting success, viral internet dances (like the craze for “Bling-Bang-Bang-Born”), and classics like “A Cruel Angel’s Thesis” remaining karaoke staples in Japan decades after their release. Even the Asian diaspora is creating or co-creating such beautiful music in the country of adoption, as the smash hit Golden showcases.
The following video lists a top 100 most streamed anime openings and arguably among the most impacttful that have capture the anime community’s and the world’s attention.
The Crossover Phenomenon: How Asian Animation Dominates Global Music
No longer niche, these soundtracks now deliver chart-topping hits that command massive global streaming figures, often surpassing Western and regional pop rivals. Global streams of anime music have surged by nearly 400% on platforms like Spotify since 2021. This article breaks down the 50 most powerful tracks that are shaping the global soundscape, categorised by their unique impact and genre.
Category 1. The Modern Global Viral Phenomena (The New Chart Toppers)
These are the immediate global smash hits (post-2020) that achieved mainstream success via streaming and viral social media trends, quickly climbing international charts like the Billboard Global 200. My fav is still Hana ni Natte…
Category 2: The Action & Shōnen Anthems (Epic Crossovers)
Iconic rock and pop-rock tracks that serve as the musical backbone for the biggest action-adventure anime, acting as a gateway to J-Rock for a global audience.
Category 4: The Sound of the Early 2000s (Nostalgia Rock)
The foundational hits from the 2000s that established anime’s worldwide distribution and cemented J-Rock bands as global musical entities including some early 2000s crossover hit for the genre.
These tracks are characterised by their massive, dramatic, and often orchestral soundscapes, essential to the identity of cinematic and high-stakes series.
Category 8: Korean & Chinese Animation Power (Aeni & Donghua Hits)
Highlighting the growing influence of non-Japanese Asian media, particularly the tracks driven by K-Pop idols or high-production Chinese animation themes.
Songs that are musical chameleons, successfully blending high-energy pop, rock, electronic, or idol-style music that set them apart from traditional anime rock.
The success of tracks like “Golden” from KPop Demon Hunters has shown that animated films are now a powerful way to launch songs onto the global music charts, with one source detailing how the soundtrack dominated the Billboard Hot 100 K-pop Demon Hunters soundtrack dominates Billboard charts.
1 In Music favourite
1 In Music has its own list of favourites, including those forgotten in time. We decided to focus on one anisong that pumped us up for one of the best anime out there, The Apothecary Diaries. While “Golden” by Huntrix (Ejae, Audrey Nuna, Rei Ami) from KPop Demon Hunters (Film) South Korea/USA deservedly topped global music charts, including Billboard Hot 100, one undeniable earworm was “Hana ni Natte” by Ryokuoushoku Shakai.
This clip provides the original non-credit opening for The Apothecary Diaries, allowing viewers to fully appreciate the highly dynamic animation and the unique sound of “Hana ni Natte”: 『薬屋のひとりごと』ノンクレジットOP：緑黄色社会『花になって』.
About Barb Jungr’s new release “Hallelujah on Desolation Row”
Yes, Barb Jungr’s “Hallelujah on Desolation Row” is subtitled The Songs of Bob Dylan and Leonard Cohen. However, Barb Jungr’s “Hallelujah on Desolation Row” isn’t merely a collection of covers; it’s a profound exploration of the human condition, delivered with the raw emotional honesty that has become Jungr’s hallmark. In this latest offering, Jungr delves into the works of Leonard Cohen and Bob Dylan, two titans of songwriting, and emerges with something uniquely her own.
The album’s title, a deliberate juxtaposition of Cohen’s spiritual yearning and Dylan’s acerbic social commentary, sets the stage for a journey through themes of love, loss, disillusionment, and resilience. Jungr navigates these emotional landscapes with remarkable sensitivity, her voice a weathered instrument that conveys both fragility and strength.
Slow – Leonard Cohen
Yes, I am starting with track 2. Why? Because, it is my absolute favourite. I am an absolute fan of the songwriting of both Cohen and Dylan and I believe it takes unique voice and arrangements to give a great song new life that make them sound like it is the first time you ever hear them. Not only does Barb Jungr manage to do that, she also layers the velvet and palpable emotion in her voice, plucking at the listeners’ heartstrings while doing so. The cover is sublime and the jazzy arrangements a perfect match to the masterful voice gliding over its notes.
Tonight will be fine – Leonard Cohen
Other songs delight with the subtlety of their craft. Tonight will be fine is a win in the way it aptly pairs the fragility of Jungr’s voice with the optimism of the rapid backing sounds of exotic shakers replacing the rapid almost muffled guitar strum in the original song. I am not sure there could have been a better way to express the tentative, almost whispered reassurance, the fragile hope that manages to surface despite the underlying melancholy. Barb Jungr manages to rekindle classic Cohen: finding slivers of light in the midst of shadows.
Handle (me) With Care
Barb Jungr definitely handles this classic (Handle With Care) from the Traveling Wilburys including Bob Dylan with the utmost care, infusing it with her stamp and a crafty Jazz arrangement. There is a quality in Desolation Row: Jungr respects the storytelling art of Bob Dylan, not just barely singing the words but painting vivid portraits of the characters who populate this surreal landscape with a certain vividity in the voice that resounds so expertly here and there in the song. Love Minus Zero/No Limit, a cover of Bob Dylan’s song transports you into a jazz lounge environment. Jungr’s rendition is a slow burn, a late-night confession whispered over a languid bassline and the gentle brush of soft percussions echoing the occasional bluesy flourish. Mississipi is unrushed even when it feels sllightly faster than its original maker, Dylan, made it. And does it have its own unique voice beyond Jungr’s vocals, as the arrangements give it a new breath of life and encourages listeners to nod their heads and click their fingers to the beat, in rhythmic approval.
Singing more than “the same old songs”
“Kansas City… honey, let me tell you about Kansas City. It ain’t just a place on a map, it’s a feeling. ” and Jungr clearly understood that as she gives us a Kansas City dripping with raw emotion that would remind his maker why he wrote it. In the same way, Kansas City’s all at once introspective and outward-looking lyric seem to allow Jungr, like it justified its maker, to open up her musical repertoire. So while her traditional stamp shows throughout her work, Jungr does bring newness in her work, with an infusion of Blues in the jazz renditions and even more.
Tower of song is one of my favourite songs of Leonard Cohen. I would have easily said until today that covers could easily stop with Tom Jones‘. Barb Jungr proves me wrong with this track. Yes, the lady is a champ. Her playfulness with the song adds to its quality to a level that previous covers did not explore, giving it its own added sonic and rhythmic value. You will want to hear that one a few more times as I did. More than that, her covers make a point of being new and enabling the rediscovery of classics beyond what is known of them, and the rediscovery of artists beyond a point in time, an album in (time)line, beyond a mere track in a release.
New morning (with you) and You Got Me Singing
… And as if responding to her last question, the track New morning comes after Kansas City. There is no more fragile optimism but a clear brightness in the voice, instrumentation and arrangements and the pace picks up. The listener smiles (I might be generalising my case here but well it felt very much like that), almost feeling that “sun shining” taking me right out of the English grey weather outside. The result is unequivocal: “You got me singing” not only has a spiritual poignancy with its blend of Gospel and its positive final period but a brightness in its instrumentation starting with the vocals.
Hallelujah – Leonard Cohen
It is after these last two tracks that the first track resonated properly for me. “Hallelujah” actually works so much better in my ear after the last song when you go back to the beginning. The song, dissected, reinterpreted, and reborn countless times, often performed with soaring grandeur to highlight its underlying vulnerability, here dares to be a take, even a tale intriguingly different.
The rhythmic of the percussion would have you think that the vulnerability is gone, at first potentially repelling this listener. Gone is the aching, almost unbearable vulnerability that often clings to the original arrangements. In its place, a subtle but persistent pulse of a lightly faster, more upbeat percussion has transformed the song’s emotional landscape. It’s not a complete departure from the sorrow, but rather an attempt to transcend it. Yes, once the whole album is discovered, the rhythmic can now be seen for what it most likely is: a rendition determined to climb out of the song’s emotional depths, reminding us of the fragile optimism of the earlier songs of the track that precede the uplift at the end of the album journey. The usual explicit melancholic drawl is replaced by a more forward-leaning phrasing that leaves the melancholy to a more subtle and implicit tone, testifying to the deeper complexity of the song. The piano, too, dances with a lighter touch, emphasising the major chords that offer glimmers of hope amidst the minor-key shadows.
“Hallelujah on Desolation Row” Verdict
“Hallelujah on Desolation Row” is not an album for casual listening. It demands attention, inviting the listener to delve into its depths. These songs are not just great covers. They’re a testament to Barb Jungr’s artistry, a reminder of the remarkable place she has carved herself in the song cover realm, besides her own songwriting craft, in bringing the voice, minds and hearts of music artists to the audiences as a force for healing and understanding. Even their order itself tells a story, creating a sonic journey that takes us to its uplifting end. More than that, Barb Jungr continues to spread the artistry of two of the best music artists of all time, ensuring that new generations rediscover the depths and beauty of their compositions and lyricism.
The making of it is also intricate. The arrangements are sometimes sparse and intimate, allowing Jungr’s vocals to take center stage, sometimes more present but never taking over her vocals. The instrumentation creates a sense of quiet intensity, drawing the listener into the emotional core of each song and linking each song to make up the journey that is the album. The mix is really well done, giving their place to the instruments while amplifying the power of Jungr’s delivery, highlighting the nuances of her phrasing and the depth of her emotional connection to the material.
What truly sets Barb Jungr apart is both her ability to find new musical and emotional meaning in familiar songs and the bravery to express her unique sonic reflection on them. She doesn’t simply replicate the original versions; she reimagines them, imbuing them with her own unique perspective and life experience. Each track becomes a personal reflection, a testament to the enduring power of these timeless compositions and of her unique stamp.
Hear Barb Jungr – Hallelujah on Desolation Row Tour dates
If you want to hear more of the songstress, you can meet and experience her very soon on (get your tickets now):
Mar. 8, 2025 in Faversham, United Kingdom – and what better way to start the live tour and celebrate International Women’s Day
No You Don’t: NY PodCat’s Fight against eroding freedoms
In a powerful outpouring of frustration and anger, NY PodCat, a band known for their songs cultivating love around the world through powerful and beautiful music, has released a new song as a direct response to the recent Dobbs US Supreme Court decision.
The song, a scathing critique of the decision’s potential impact on American women’s health and rights, was born out of a deep sense of despair and outrage. Li Mann, half of the band explained, “It’s heartbreaking to see the country move backward. Women are being denied basic healthcare rights, and it’s absolutely unacceptable.” This is all the more heartbreaking as this sets back not just human’s rights in America but the potential impact this decision has for those watching the US around the world.
The song delves into the broader issue of eroding freedoms and the growing threat to civil liberties. NY PodCat expressed concern over book bans and other forms of censorship, highlighting the importance of protecting freedom of expression. The repeated message brought about by the chorus is clear “No You Don’t”
No You Don’t song Production
The band’s passionate performance and the song’s raw energy reflect the urgency of the moment. The recording process was a cathartic experience, allowing the duo to channel their outrage into music, with a similar production to NY PodCat’s previous efforts, where both band members Pete and Li take the lead on building the song with guitars and bass at their home audio setup.
The production is expertly enhanced through a collaboration with talented musicians like live drummer Adam Alesi of Musiversal, the musical burst as the duo and their guests have a blast together screaming the “crowd vocals” in the chorus and breakdowns and the expert mixing and mastering by Doug Wayne Holmquist, which altogether helped bring the song to life.
No You Don’t Music Video
Accompanying the powerful song is a fitting video no less profound. The music video is now available to watch right here and now via YouTube.
As the nation grapples with the far-reaching consequences of the Supreme Court’s decision, NY PodCat’s song serves as a powerful reminder of the need to fight for justice and equality. The musicians urge listeners to take action and use their voices to demand a better future.
Singer and songwriter Jeff Christie, born in Leeds in 1946, began his musical journey at a young age. After gaining experience with bands from age 13 and turning pro at 18 with his band Outer Limits, he formed Christie in 1970. Their debut single Yellow River became a worldwide hit, reaching number one in 26 countries and earning them various accolades including the prestigious UK’s Ivor Novello Award and a record 32 weeks on the Billboard. Christie has continued to make music throughout his career, touring with the likes of Jimi Hendrix and Pink Floyd abd releasing albums and singles like his new album Here and Now. 1 In Music emeets the chart-topper.
What would you say is unique about you and your music?
Jeff Christie [JC]: I’m unique in the sense that nobody sounds like or looks like me. Nobody has exactly the same set of emotional aspects to their personality as me and nobody has experienced the same life journey as me. As much as I’d like to be labelled unique musically, I’d be more comfortable with the label of a singer-songwriter in a long line of songwriters committed to the pursuit of excellence in that craft.
It would be indulgent to think of myself as musically unique, apart from having the odd song that in a portfolio of several hundred songs sounds like no other song I’m aware of, but all songwriters are influenced subconsciously if not consciously by other songs and we’re all magpies wittingly or not.
The sound of Jeff Christie
What or who shaped your music and who supports you?
Originally my mother, by exposing me to the beauty and magic of music from my very early childhood. My support base is my family, close friends and fans.
When did you realize you were going to make music professionally?
From the age of 13
Jeff Christie’s Inspiration
What type of music do you listen to?
A wide range from the great classical symphonic composers, to operatic arias, the great American Songbook, Jazz, Blues, Vintage Rock ‘n’ Roll, early Motown, Soul, Country and quality Pop/Rock.
Who, to you, is the most undervalued music artist?
Too many to mention
Getting inspiration from Jeff Christie
How do you prepare for your performances?
Try to rest my voice and find a little space for calm
What do you do when you don’t do music (creative or otherwise) and that you are passionate about?
I never don’t do music as it’s my default position for sanity! Walking Swimming, eating, sleeping, foreign movies, theatre, reading and loyalty.
Success to you is…?
A life well lived.
What do you wish you were told when you started out and that you think would help anyone who starts out?
Don’t put off tomorrow what you can do today and failing to plan is planning to fail. Believe in yourself and be the best you can be.
What is next for Jeff Christie?
Any upcoming projects?
My new album Here And Now released September 13th 2024
Where do we find you music?
On Sony Records, Cherry Red Records, MTS, Spotify, Apple, Deezer etc.
1 In Music talked to The Saxiest Man Alive before in our standard exclusive interview with Richie Love. But it was obvious then that there was so much more to this amazing musician which is why we had to have him again. And thankfully for 1 In Music, Richie Love, the Saxiest Man Alive, was up for the in-depth audio interview we reserved for the artist. Tiki Black met the saxophonist for a “double-take” where virtually the same questions are asked on paper and verbally. The double-take is a way to get an artist to directly answer the actual question (which happens when they have it on paper) and to allow them to wander off as they wish, in order to take us on an exciting and impromptu journey into their lives. This creates 2 interviews from virtually the same questions, with the audio interview allowing the artist to “improvise”. Listen to the interview while watching the video montage of this artist’s incredible lifetrack and check the “paper” version of the interview at the end.
The audio interview and its video montage
Connecting the Past to the Present
I always consciously and unconsciously include and am engulfed by the influences of the Greats. They are a Part of me. I consciously include them to make sure I pay tribute. Their struggles, contributions and fingerprints they left on so many lives should Never be forgotten or overlooked.
Q: Your musical lineage is impressive. How did growing up surrounded by such an accomplished musician as your father and presumably at one point or another by the people he played with, shape your own musical approach and your choice of instrument?
Richie Love, The Saxiest Man Alive [TSMA]: Well my instrument choice was undoubtedly influenced partially unconsciously because of my father and being I was so young when I started. My earliest memory of him performing, I was probably 5 years old. But as I always iterate, I was around Johnny Otis a lot growing up and his influence was immense. Seeing and being around Motown artists was enormous and phenomenal. These events shaped the rest of my life.
Q: Many Jazz artists revere the masters who came before them. Are there specific players from previous generations whose influence you feel most acutely in your own playing beyond your father?
TSMA: Actually there is quite a list. Clifford Solomon, Hank Crawford, Charlie Parker Coltrane, Hank Mobley, Lester Young, James Moody, Louis Jordan, Oscar Peterson, Art Tatum, Lee Morgan, McCoy Tyner and On and On..
Q: How do you balance honouring the traditions of jazz with forging your own unique musical voice?
TSMA: I always consciously and unconsciously include and am engulfed by the influences of the Greats. They are a Part of me. I consciously include them to make sure I pay tribute. Their struggles, contributions and fingerprints they left on so many lives should Never be forgotten or overlooked.
Collaboration and Innovation
Q: The spirit of improvisation is central to jazz. Can you tell us about a particularly memorable collaboration where the music took you and your fellow musicians to unexpected places?
Richie Love, The Saxiest Man Alive [TSMA]: As a Jazz artist we are always striving to push the boundaries within ourselves and our instruments. So there’s a few shows I remember reaching plateaus while improvising. One of them that stands out is a show in Carson Ca. a group I’d assembled that included the great Wali Ali on Guitar and my mentor Stemsy Hunter. We struck up a nice tune/groove and began our solos. When I stepped up, I was really feeling the music and I burned through the changes, I heard Stemsy holler “Yeah, Yeah, That’s It” Not only was I hearing myself, as I lit up that space in real time, almost like I’d never done before but hearing Stemsy verify it Took my confidence to new levels. My next practice sessions, that night was in the forefront of my brain and gave me a new energy, focus and approach.
Q: The jazz scene is constantly evolving. Are there any contemporary trends or movements in jazz that particularly excite you? How might these influences be reflected in your future work?
TSMA: I am happy that Rap/Hiphop artists are incorporating real music and musicians in their music. Before it was done with DJ’s and Sampling. Now there’s actual musicians. One of my protoje’s Terrace Martin, is part of that movement. I continue to push this practice and have been since I started producing and mentoring Rap Artist in the 80’s in Los Angeles.
Q: Beyond jazz, are there any other musical genres that inspire you or that you’d like to explore through your own work?
TSMA: Pretty much All good music inspires me. I can be inspired by even one sound, like a chime or a bell, it can spark a whole idea. I think from a young age I’ve been in tune with sounds. Birds, water and the sounds of the earth. Which can be very inspirational to some composers. Being African american it is in our blood, from our roots in the Motherland. Then when you add an acoustic instrument, a guitar, Kalimba, congo, piano and so on, the layers become arkestral.
Personal Growth and the Creative Process
Have Fun with your music, it’s important too
Q: What does your practice routine look like? How do you maintain a balance between technical mastery and creative exploration?
Richie Love, The Saxiest Man Alive [TSMA]: I always try to split my practices up, between the two. Technical/Reading Exploration/Improvisation and what I always stress to my students, “Have Fun with your music, it’s important too.”
Q: As a musician, how do you approach overcoming creative roadblocks? Where do you find inspiration when the well seems to run dry?
TSMA: Roadblocks are weird, composing and/or playing. I have learned sometimes you just have to walk away for a few days. You can’t make it happen. Natural is better.
Q: Looking back on your career, what has been the most significant moment of growth or artistic breakthrough for you as a jazz musician?
TSMA: An amazing musician and great friend/brother of mine, Bassist Norman Johnson gave me my latest Growth and Breakthrough in theory a couple years ago. He gave me some theory exercises to work on that he said will change my way of thinking and That it Did. He specifically prescribed this exercise for me. Every since, I’ve continued to grow everytime I pick up a woodwind instrument or sit in front of a piano. But before that I found the more I practised naturally the more I understood and the better I sounded. My lifelong mentors Bobby Griffo aka Shbaka and Stemsy Hunter continue to constantly uplift my consciousness as well.
What is next for the Saxiest Man Alive?
I Hope to never retire as my father did not.
Q: Your achievements are truly impressive. Do you feel sometimes like you have done your part and you are about to retire or is every achievement a motivation to go further, deeper, and better?
Richie Love, The Saxiest Man Alive [TSMA]: Every achievement inspires, uplifts and motivates me to continue my journey and hopefully I inspire others. Young musicians are always on my radar. I Hope to never retire as my father did not. He played and performed better at 80 than he almost ever did. I saw him practising more and more as he aged and you could hear it in his performances. It was inspiring. He performed until he just could not. Being signed by the MRDG Record Label recently has definitely been another great inspiration.
Q: What is your next musical project and what can we expect in terms of creative explorations and/or collaborations?
TSMA: I’m always exploring musically. Always travelling between genres, always looking for a sound, a feeling and another unsung artist to introduce and/or inspire. I have a lot of unreleased music that I want to release, so my projects list are endless. There are several phenomenal artists I’m interested in working with also, to add to this list. Finishing my new CD, coming in 2025 is first in line up.
Composer, Arranger, Producer, Vocalist, Teacher and Mentor Richie Love is a gifted saxophonist and innovative virtuoso music artist. Love was nurtured deep in the genre roots of “Jazz”, “Blues”, “Rhythm and blues”, and “Funk”. The youngest son of world-renowned saxophonist PRESTON LOVE, who performed with such greats from Count Basie and Billie Holiday, to Marvin Gaye and the Jackson 5, and was MOTOWN’S First West Coast Orchestra Leader/Contractor in the 60s. Love is a multi-talented saxophonist known for his captivating performances, soulful sound and his ability to craft music that blend his innovative personal touches to the nostalgic sounds of classic Motown, Blues and Jazz. With a career spanning decades and a coveted pedigree, the multi-award musician has captivated audiences across prestigious venues and rubbed shoulders with many of the greats. His passion for music is evident in his inspiring musical creations and style and his ability to connect with music lovers. 1 In Music meets Richie Love, rightfully dubbed The Saxiest Man Alive, after the release of the awaited “Come Back”, the first single from his much anticipated album.
Q: With an impressive pedigree and the many Jazz musicians around, what would you say is unique about you and your music?
Richie Love, The Saxiest Man Alive [RL]: I was raised in and around the music business. My father Preston Love performed with some of the greatest music icons in the History of music. Like Count Basie, Duke Ellington and Billie Holiday to all the Motown artists. He was the First West Coast Orchestra Band Leader/Contractor appointed by Berry Gordy for Motown in the 60’s. So I experienced one of the Greatest music stories ever written first hand. Also watching my Godfather Johnny Otis the godfather of R&B was equally phenomenal and influential. These music influences shaped my Love of Songwriting and performing from a very young age. I believe I’m able to naturally harness all of these genres and artists in my composing and performances.
Q: What or who shaped your music and who supports you? In your family, are all your siblings into music too?
RL: A couple of my Greatest influences in Life, Music and Arts was Johnny Otis, my Godfather and Mentor and in music of course my Father World renowned saxophonist Preston Love. Most of my family have supported me from a young age and without the support of my wife I wouldn’t be where I am today.
My Sisters and my brothers are all into music. My cousin Lester Abrams is the composer of the Doobie Brothers classic Minute by Minute co-written with Michael Mcdonald. My half sister Laura Love has done very well in the business. Many of my nieces and nephews are musically inclined and active.
Q: When did you realise you were going to make music professionally?
RL: I started playing sax at age 6, I did my first paid performances at age 14. That started my quest. Being that young, I was automatically hoping for the life of a professional saxophonist/musician like my father and godfather.
Q: What type of music do you listen to?
Richie Love, The Saxiest Man Alive [RL]: I listen to a Wide range of music Genres. Being influenced by Soul and R&B and then Big Band Jazz, Traditional Jazz at a very young age gave me a wider range of music interest then most of the kids around me. Growing up partly in Nebraska I was introduced to pop music. I found that I also was very attracted to some of these artists and songs. A good song is a good song, a good artist its a good artist.
Q: Who, to you, is/are the most undervalued music artist(s)?
RL: I believe that there are countless Black Jazz, Smooth Jazz and R&B/Soul artists today that are undervalued and unrecognised because of the systems in place in the music business. We are also sometimes devalued when it comes to Headlining Shows and Jazz Cruises. It is a sad but true reality. I could make an extensive list of undervalued and unrecognised musicians.
How do you prepare for your performances?
RL: My main preparation is to always know and be well rehearsed on the material to be performed. I believe in being well prepared. Fans and audiences deserve the best an artist can give.
What do you do when you don’t do music (creative or otherwise) and that you are passionate about?
RL: My Mother was an accomplished Artist and I inherited my art talents and Love of Art from her. So I paint as much as possible. I also create videos for my and other artists’ music releases. I teach and mentor young musicians and have done so for over 35 years. It is one of my greatest passions. Some of my mentees have excelled and continue to strive in the music business.
Success to you is…?
Richie Love, The Saxiest Man Alive [RL]: To me, success is…
“Being able to maintain a decent living doing what you Love”
“Being happy and able to spread Love, Joy and Happiness to others around you. Uplifting others in Life. Being a positive influence on young people as I do with my mentoring”
Q: What do you wish you were told when you started out and that you think would help anyone who starts out?
Music is nothard to learn. Don’t make it harder than it is. It can seem very complicated and can be frustrating when it’s not explained in the right manner. When I teach I stress this, it seems to reach young artists in a way they understand.
Q: I kind of want to learn from you now! You have just released the much anticipated “Come Back”. Can you share the story behind the title and how it reflects the overall theme of the record?
I wrote Come Back in 2001. It was one of the songs in a series of about 50 that began flowing through me one after another for almost a year. I truly believe these songs were being channelled through me because they just kept coming with words and music with Hardly any effort. Come Back was always one of the most special. Everyone who heard it, loved it and urged me to release it. I’m so happy to finally introduce it to the World.
Q: Any upcoming projects before the album comes out?
I am currently working on the second single and completing the songs that will be on my upcoming CD for the MRDG Label.
Q: Thank you so much for taking the time to answer our questions. Before we leave, where can we find you and your music?
My music is available worldwide on most major streaming platforms. Keep up with me at Richielove.com
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Yes, I am starting with track 2. Why? Because, it is my absolute favourite. I am an absolute fan of the songwriting of both 
Barb Jungr definitely handles this classic (Handle With Care) from the Traveling Wilburys including Bob Dylan with the utmost care, infusing it with her stamp and a crafty Jazz arrangement. There is a quality in Desolation Row: Jungr respects the storytelling art of Bob Dylan, not just barely singing the words but painting vivid portraits of the characters who populate this surreal landscape with a certain vividity in the voice that resounds so expertly here and there in the song. Love Minus Zero/No Limit, a cover of Bob Dylan’s song transports you into a jazz lounge environment. Jungr’s rendition is a slow burn, a late-night confession whispered over a languid bassline and the gentle brush of soft percussions echoing the occasional bluesy flourish. Mississipi is unrushed even when it feels sllightly faster than its original maker, Dylan, made it. And does it have its own unique voice beyond Jungr’s vocals, as the arrangements give it a new breath of life and encourages listeners to nod their heads and click their fingers to the beat, in rhythmic approval.
It is after these last two tracks that the first track resonated properly for me. “Hallelujah” actually works so much better in my ear after the last song when you go back to the beginning. The song, dissected, reinterpreted, and reborn countless times, often performed with soaring grandeur to highlight its underlying vulnerability, here dares to be a take, even a tale intriguingly different.
If you want to hear more of the songstress, you can meet and experience her very soon on (get your tickets now):
How do you prepare for your performances?
Connecting the Past to the Present
RL: A couple of my Greatest influences in Life, Music and Arts was Johnny Otis, my Godfather and Mentor and in music of course my Father World renowned saxophonist Preston Love. Most of my family have supported me from a young age and without the support of my wife I wouldn’t be where I am today.
I wrote