Latest news with #EndlessSummerVacation
Yahoo
2 days ago
- Entertainment
- Yahoo
Friday Music Guide: New Music From Miley Cyrus, Lorde, Tate McRae and More
Billboard's Friday Music Guide serves as a handy guide to this Friday's most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond. This week, Miley Cyrus finds new pop beauty, Lorde upends expectations and Tate McRae revs up for F1. Check out all of this week's picks below: More from Billboard The Amity Affliction Cover Turnstile's 'Holiday' for 'Like a Version' Mariah Carey Celebrates 20 Years of 'The Emancipation of Mimi': Stream It Now Miley Cyrus' New Album 'Something Beautiful' This Way Comes: Stream It Now Miley Cyrus, Drawing upon classic pop influences while also letting her freak flag fly, Miley Cyrus offers a singular accomplishment on Something Beautiful — moving on from 2023's Endless Summer Vacation, which included the biggest hit of her career in 'Flowers,' with her most satisfying front-to-back listen to date, unbothered with trying to recreate radio success but still finding revealing hooks along the way. Lorde, 'Man of the Year' In the past, Lorde has liked to preview a new album with an uptempo lead single and a ballad-leaning follow-up — think Melodrama with 'Green Light' and 'Liability,' or Solar Power with the title track and 'Stoned at the Nail Salon' — but 'Man of the Year,' which comes after the fleet-footed 'What Was That,' is actually a red herring, starting off as a sparse reflection over bass plucks but then widening its stance, and ending with a fuzzed-out boom. Tate McRae, 'Just Keep Watching' Continuing a year in which she's leveled up as a pop star — as well as a week where she earned her first career Hot 100 chart-topper, alongside Morgan Wallen on 'What I Want' — Tate McRae hops into the F1 soundtrack mobile with 'Just Keep Watching,' a fast-moving club track with the type of quick-twitch percussion that could inspire more kinetic choreography if McRae incorporates the song into her live show. Leon Thomas, 'MUTT' may have marked Leon Thomas' arrival as a compelling new voice in popular R&B, its host album of the same name was just as sumptuous as its standout hit; now, MUTT contains even more acrobatic vocal takes by Thomas on its deluxe edition, which includes team-ups with Kehlani and Big Sean, as well as engrossing new solo cuts like 'HEEL' and 'NOT FAIR.' Mt. Joy, The 2020s have seen indie rock quintet Mt. Joy continuously graduate to bigger touring venues, culminating in a Madison Square Garden headlining gig on their last live trek — and instead of simply acting as another excuse for the group to hit the road, new album Hope We Have Fun translates the band's live energy to the studio, with songs like 'Highway Queen' and 'Pink Lady' jangling forward with blissed-out style. Clipse, 'Ace Trumpets' In the 2000s, Virginia hip-hop duo Clipse would regularly release Pharrell Williams-produced bangers that made their listeners scrunch up their noses in delight; then, Malice quit music to explore religion, and his brother Pusha T moved on to solo stardom. Now, Clipse (and Pharrell) are back, recapturing the magic on 'Ace Trumpets,' the head-knocking first track from long-awaited new album, Let God Sort Em Out. Ava Max, 'Lovin Myself' Across pop hits like 'Sweet But Psycho,' 'My Head & My Heart' and 'Kings & Queens,' Ava Max has prioritized electro-pop fun while offering a streak of self-empowerment; new single 'Lovin Myself' doubles down on the second half of that equation, with the singer declaring, 'I don't need nobody, I'm lovin' myself!' as warm synths rain down on her voice. Editor's Pick: Yeule, If Yeule's 2022 album Glitch Princess was their critical breakthrough, Evangelic Girl is a Gun is the first time we receive a full glimpse of the daring singer-songwriter: the hyperpop from years past has morphed into trip-hop, alt-rock and affecting balladry, but across the most vulnerable lyricism of Yeule's career, they still toss out mesmerizing pop ideas, as their song craft serves as a foundation for their roaming spirit. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
Yahoo
2 days ago
- Entertainment
- Yahoo
Miley Cyrus Releases Ninth Album, ‘Something Beautiful'
Miley Cyrus's latest album is finally here, as the pop superstar released her much-anticipated Something Beautiful on Friday. Something Beautiful is Cyrus's ninth album in her nearly 20-year career and follows 2023's Endless Summer Vacation, which featured her global smash hit 'Flowers.' Cyrus previously described the new album as 'a unique visual experience fueled by fantasy' and a 'one of a kind pop opera.' She's also set to release an accompanying film for the record for one night only on June 12, and the movie will premiere next week at Tribeca. More from The Hollywood Reporter Who's Who in the Sean "Diddy" Combs Trial: Key Witnesses, Industry Enablers and Victims So Far Documentary About Blackpink's Lisa in Production SM Entertainment Artists Celebrate 30 Years With SMTown Live L.A. The album has been widely expected to be one of the biggest releases of 2025. Earlier this week, Cyrus shared the album for a crowd of about 100 fans at a listening party at the Chateau Marmont, surprising attendees with an intimate performance as well, where she performed Something Beautiful tracks 'Easy Lover,' 'More to Lose' and ''End of the World,' along with 'Flowers' and an impromptu performance of 'The Climb.' During the event, Cyrus told her fans Something Beautiful 'is about taking these experiences, even when they're painful or we want to throw them away because they're just too much to bear, and wrapping them in beautiful bows and ribbons and appreciating all these gifts and experiences that we can't understand how they're going to serve us later in our life.' Cyrus also teased more music during the release party, telling the crowd that 'Something Beautiful is just the appetizer.' 'My next album is about to be extremely experimental, so have fun with that,' Cyrus said. Best of The Hollywood Reporter Most Anticipated Concert Tours of 2025: Beyoncé, Billie Eilish, Kendrick Lamar & SZA, Sabrina Carpenter and More Hollywood's Most Notable Deaths of 2025 Hollywood's Highest-Profile Harris Endorsements: Taylor Swift, George Clooney, Bruce Springsteen and More
Elle
2 days ago
- Entertainment
- Elle
The Biggest Takeaways From Miley Cyrus's 'Something Beautiful,' According to ELLE Editors
If anyone's long overdue for an eras tour, it's Miley Cyrus. The 32-year-old artist has gone from Disney child star to rebellious teen, to experimental oddball, to a bonafide Grammy winner. Her latest album, Something Beautiful, marks the next stage of her evolution, one with a high-fashion wardrobe, artistic visuals, and a theatrical film to boot. It's sophisticated and mature, emotional but playful—a side of Cyrus we might not have ever seen, or heard, before. But how does it stack up following her chart-topping, award-winning previous album, Endless Summer Vacation? After a recent screening of the Something Beautiful film, which brings all 13 tracks on the album to the screen, two ELLE editors broke down Cyrus's latest offering. There are '80s influences (a saxophone solo and Joan Jett and Pat Benatar vibes); collaborations with her musician boyfriend, Maxx Morando; and even a feature from the one and only Naomi Campbell. As she told fans at the event, this LP is about her finding beauty in destruction, imperfection, and even in pain. Here's how it turned out. Samuel Maude, content strategy manager: So, I'm a Bangerz and Miley Cyrus & Her Dead Petz apologist. And, by apologist, I mean I think that Bangerz is good music. I have some issues with the era and a lot of the things she did. However, I think it is my favorite Miley album, and after [listening to Something Beautiful], that will stay true. I do think this album is probably what Miley Cyrus has always wanted to make. Erica Gonzales, deputy editor, culture: It seems like that. I think she hinted at saying that in her Zane Lowe interview. SM: Yes. It feels like this is, to her, her best album, and I think that's great. Her albums have really all had a different sound to me. You had Bangerz, which was definitely like that era of pop. You had Dead Petz, which was just experimental. You had Younger Now, which was country, folky, and then you had Plastic Hearts, which— EG: I love Plastic Hearts. I was going to say, that's what I'm an apologist for. SM: I've actually been listening a lot to that album recently, like 'Night Crawler.' EG: I was just listening to that before! SM: And then you have Endless Summer Vacation, which I think is her biggest hit. And coming off of an album like Endless Summer Vacation, this almost feels like a sophomore album in a way, merging her entire past. There are moments of Younger Now. There are moments of Plastic Hearts. There are moments of Endless Summer Vacation. Maybe no moments of Bangerz. But if I had to distill what I think Miley Cyrus wants to sound like as an artist, it is this album, which was exciting. Is it my personal favorite Miley album? It's not. I think there were snoozy elements of it. EG: I hear you. I have never been a diehard 'Smiler.' But I did grow up alongside her. I was in middle school when she was on Hannah Montana, and she's only a year older than me, so we did kind of grow up together, even though she has no idea who I am. SM: I remember when she was in High School Musical 2. EG: And her Jonas Brothers era. We can go on and on. So I think it is interesting seeing this part of her evolution as an artist. It does feel, visually and sonically, like her most mature album. I liked it. I feel like I was more impressed with it because I didn't know what to expect, and I didn't love Endless Summer Vacation as much as everybody else did. Even 'Flowers,' though it's a big hit and a total crowd-pleaser, I feel like it could have been a little more surprising melodically, but it was very simple and approachable. But as a lover of Plastic Hearts, which did not get enough noise as it deserved, the '80s elements [on this record] resonated with me. There were some '80s funk pop vibes on it, funk guitars, and things like that that I thought were interesting. Even visually, the video for the Naomi Campbell song, 'Every Girl You Ever Loved,' kind of looked like the George Michael 'Freedom! '90' music video with the supermodels in the warehouse. I was like, Oh, I see the references here. I feel like there were some moments where the sound felt very big, and maybe that's just because we saw it in a theater. And also re-listening to the 'Prelude' just now, there's a narration; there's an overture, basically. That feels cinematic to me. There were parts that I did find interesting, even though right now, a week out from when we heard it, I don't remember every single song. But I do remember there were certain moments that surprised me, like the Brittany Howard feature. I was like, 'That's so interesting. And you guys do sound good together,' because when Miley does a rock vocal, she sounds so good. She's playing around with her voice and her sound in ways that I find amusing and surprising. SM: I find it fascinating she's marketing this as a capital 'F' film when, as she said, a lot of it is just her posing in Mugler, which, slay. All for it. But is there a story in the film? No. EG: I agree. I don't really know if it counts as a film narratively, but the wardrobe— SM: Ate. EG: Wardrobe department ate, makeup department ate, hair ate, but also had interesting choices. The high ponytail. SM: The high ponytail was really shocking to me. EG: And the three pointy spikes. That was very fun. SM: I've been thinking about how I have friends who are Swifties, Little Monsters, members of Rihanna's Navy, but I don't have friends who are Smilers. Maybe that's on me, but they seem harder to identify. In that case, I don't see this as an album that welcomes new fans in. I don't know if there's a hit that does that. Maybe it's the Naomi Campbell song or 'Walk of Fame,' but I don't think she has a 'Flowers' here. Her 2024 Grammys performance felt so celebratory, and I don't know if this will continue the hype. SM: I'm going to say something bold: I think we need to start recognizing Miley Cyrus as one of the best vocalists of our generation. I think she is often overlooked, but her vocals are so unmatched. She has this growl that is incredible. The notes she hits are insane. I actually don't know if I've ever heard her off-pitch. I think she is a phenomenal vocalist with such an incredible range and ability to do a variety of genres. When we're talking about the great vocalists, we often forget about her. And I think this album showcased her voice in a really great way. EG: There were parts of 'More to Lose' or one of the other ballads where you could really feel the emotion. I love hearing her on a rock or folky sound. I will always remember her backyard session cover of 'Jolene.' It's so good. It was 12 years ago, and I remember at that time thinking, 'Oh my gosh, this is the direction she's going to go in and it will fit so well. She's going to be a folky singer-songwriter-y artist.' But she really kept me on my toes because she went on to do Bangerz, Younger Now, Plastic Hearts, Endless Summer Vacation, and now this. It just says that there's so much in her, and she has so much to explore. SM: That's a really good track. It's wild to me that, before the album came out, she was releasing songs in order [of the track list]. She did not pick the singles correctly. EG: Right. And something we've discussed a lot is to not release your best song as your first single, but like, release it as one of them. SM: It shouldn't be the first single, but the second, sure. EG: Like 'Abracadabra.' SM: I literally wrote, 'Very '80s Joan Jett, Billy Idol.' EG: And those are two features on Plastic Hearts! EG: I did like 'Easy Lover.' SM: I said it was 'jazz country.' EG: It had an upbeat vibe, but it was also kind of rustic at the same time. Her voice was raspy there, and that was really cool. I also wrote, 'She's making a ponytail comeback.' SM: I did not enjoy, unfortunately, 'Golden Burning Sun.' And I do think a lot of the songs melded together, and that was one where I was like, 'Let's go, let's go, let's go [move it along].' Unfortunately, this album reminds me a bit of Radical Optimism. I think there are pure bangers on that album. I loved 'Falling Forever.' I was listening to 'Training Season' this morning. I love 'Houdini.' But then the rest of it, I'm like, 'Okay.' I felt very similarly about Something Beautiful too, where I love certain ones, but I was like, 'This album's falling a little flat for me.' I'm curious if it's going to have a similar treatment where it's like, you have this hit album—for Miley, Endless Summer Vacation, for Dua, Future Nostalgia—then you release a follow-up that doesn't hit the zeitgeist as much. SM: 'Every Girl You've Ever Loved' with Naomi is incredible. That is going to become a 'Sam in his underwear at 1 A.M. with a glass of whiskey, dancing with my microphone' song. EG: The living room concert series. I need to know how she got Naomi Campbell not just in the video, but as a feature on the song. SM: The crowd gasped when she showed up. EG: And then was fully screaming when they strutted together. SM: I mean, it was iconic. I have had this experience with Normani on 'Take My Time,' Dua Lipa with 'Falling Forever,' when you're not 100-percent vibing with an album, and then a song comes, and you're just like, 'We're back.' I was like, 'Pose.' EG: Obviously the Madonna inspiration seems so present there. Again, another '80s influence. SM: And ballroom, which, she said this is her gayest album. EG: It was interesting that not only was he in the videos, but he was also credited with writing a lot of the songs. They're really in it. SM: I mean, that's such a trend right now: Fall in love and write music with your person, like Lady Gaga and Michael Polansky. SM: I think she's a really cool celebrity. She seems down-to-earth. Seeing her in person, she really seems to care about her fans. I just think she has a great persona. Hit me up, Miley. Let's be friends. This interview has been edited and condensed for clarity.
Yahoo
3 days ago
- Entertainment
- Yahoo
Miley Cyrus Shares Video for New Song 'More to Lose': Watch
Miley Cyrus, photo by Glen Luchford Miley Cyrus' ninth studio album, Something Beautiful, arrives at the end of the month. Now, she's shared another single from the record: 'More to Lose' follows 'Prelude,' 'Something Beautiful' and 'End of the World.' Cyrus co-wrote the new song with Autumn Rowe and Michael Pollack, and she directed the accompanying music video with Jacob Bixenman and Brendan Walter. Watch it below. Cyrus co-produced 'More to Lose' with Pollack, BJ Burton, Shawn Everett, and Foxygen's Jonathan Rado. The track also features contributions from bassist Pino Palladino, multi-instrumentalist Drew Erickson, and others. Something Beautiful, the follow-up to 2023's Endless Summer Vacation, is out May 30 via Columbia. A companion film also directed by Cyrus, Bixenman, and Walter will receive a theatrical release in June. She has previously described Something Beautiful as like Pink Floyd's The Wall, 'but with a better wardrobe and more glamorous and filled with pop culture.' Revisit Jill Mapes' column 'The Miley Cyrus Black Mirror Episode Makes a Tired Argument About Pop.' Originally Appeared on Pitchfork
Yahoo
3 days ago
- Entertainment
- Yahoo
Miley Cyrus Releases New Album Something Beautiful : Listen and Read the Full Credits
All products featured on Pitchfork are independently selected by Pitchfork editors. However, when you buy something through our retail links, Condé Nast may earn an affiliate commission. Miley Cyrus in 'Easy Lover,' directed by Miley Cyrus, Jacob Bixenman, and Brendan Walter Miley Cyrus has released her new album, Something Beautiful. The follow-up to 2023's Endless Summer Vacation boasts contributions from a slew of notable musicians, including Foxygen's Jonathan Rado, Alabama Shakes' Brittany Howard, and the War on Drugs' Adam Granduciel. Cyrus executive-produced Something Beautiful with Shawn Everett, who also plays a number of instruments on the album. In addition, Everett mixed and mastered the LP at his own Subtle McNugget Studios in Los Angeles. Listen to Something Beautiful, see the new music video for 'Easy Lover,' and find the full list of album credits below. Something Beautiful is really filled with big names. Here are some more: Bibi Bourelly, Nick Hakim, Alvvays' Molly Rankin and Alec O'Hanley, Tobias Jesso Jr., Kenny Segal, bassist Pino Palladino, saxophonist Joseph Shabason, Yeah Yeah Yeahs' Nick Zinner, Model/Actriz's Cole Haden, BJ Burton, the Lemon Twigs' Brian D'Addario, Red Hot Chili Peppers' Flea, Atoms for Peace's Joey Waronker, high-profile songwriters Tyler Johnson, Kid Harpoon, Ryan Beatty, and Emile Haynie, Miike Snow's Andrew Wyatt, Haim's Danielle Haim, Sad Sax of Shit's Nelson Devereaux, and Money Mark. Plus, Cyrus samples Marie Davidson's 'Work It (Soulwax Remix).' Cyrus announced Something Beautiful back in March; the album arrives with a companion film directed by Cyrus, Jacob Bixenman, and Brendan Walter. The film will get a theatrical release in June. Cyrus released the singles 'Prelude,' 'Something Beautiful,' 'End of the World,' and 'More to Lose' ahead of the record. Cyrus has said that Something Beautiful was inspired by Pink Floyd's The Wall. 'My idea was making The Wall, but with a better wardrobe and more glamorous and filled with pop culture,' she said in an interview with Harper's Bazaar. Writer: Miley Cyrus, Maxx Morando, Cole Haden, Shawn Everett, Jonathan Rado, and Michael Pollack Producer: Miley Cyrus, Maxx Morando, Shawn Everett, Jonathan Rado, and Michael Pollack Engineer: Shawn Everett, Ian Gold, and Pièce Eatah Assistant Engineer: JC LeResche Vocal Engineer: Pièce Eatah and Shawn Everett Tape Operator: JC LeResche Strings and Organ recorded at Bandrika Studios (Los Angeles, CA) with the Barr-Fox Wurlitzer Theater Organ 1st Assistant Engineer: Harry Risoleo 2nd Assistant Engineers: Joyie Lai and Tristan Curbishley Studio Assistant: Teo Suarez Synth and Drum Programming, SFX and Foley: Shawn Everett Bass: Pino Palladino, Jules Levy, and Eric Shetzen EMS Synthi, Barr-Fox Wurlitzer Theater Organ programming, MS 20, Fairlight CMI, Moog System 55, SFX and Foley: Jonathan Rado OB6, ARP Solina String Ensemble, Minimoog, and Drum Programming: Maxx Morando Saxophone: Henry Solomon Fairlight CMI Programming and Moog System 55 programming: Tim Curtis Barr-Fox Wurlitzer Theater Organ Programming, SFX, and Foley: Ian Gold SFX and Foley: Pièce Eatah Violin I: Alyssa Park, Luanne Homzy, Ben Jacobson, Wynton Grant, Molly Rogers, and Andrew Kwon Violin II: Jessica Guideri, Maya Magub, Aiko Richter, Stephanie Yu, Eun Mee Ahn, and Clayton Penrose-Whitmore Viola: Luke Maurer, Zach Dellinger, Rita Andrade, and Drew Forde Cello: Jake Braun, Charlie Tyler, Caleb Vaughn-Jones, and Christine Kim Organ: Ty Woodward Leader and Arranger: Maxwell Karmazyn AFM Contractor: Jules Levy - Savage Music Productions Conductor: Tim Davies Admin: Haji Goto Lead Orchestrator, Librarian, and Copyist: Niall Ferguson Orchestrator, Librarian, and Copyist: Alex Williams Barr-Fox Wurlitzer Theater Organ Engineer: Harry Risoleo Writer: Miley Cyrus, Maxx Morando, Max Taylor-Sheppard, Michael Pollack, and Ryan Beatty Producer: Miley Cyrus, Maxx Morando, Max Taylor-Sheppard, Shawn Everett, Jonathan Rado, and Michael Pollack Engineer: Shawn Everett, Ian Gold, Ivan Wayman, and Pièce Eatah Assistant Engineer: JC LeResche, Ben Miller, and Alisse Laymac Vocal Engineer: Pièce Eatah and Shawn Everett Tape Operator: JC LeResche Drums, Bass, Pulsar-23 Drum Machine, and Electric Guitar: Maxx Morando Electric Guitar: Adam Granduciel Omnichord: Kenny Segal Bass: Pino Palladino Piano, EMS Synthi, CS 80, Lexicon Prime Time, Mellotron, Vibraphone, SFX, and Foley: Jonathan Rado Modor NF-1, Prophet 10, Hammond B3: Max Sheppard Tenor Saxophone: Adam Schatz Alto Saxophone and Solo: Josh Johnson Baritone Saxophone: Jon Natchez Rhodes and Moog Model D: Nick Hakim Vocals: Xoco Everett SFX and Foley: Shawn Everett, Ian Gold, and Pièce Eatah Writer: Miley Cyrus, Michael Pollack, Gregory Aldae Hein, Shawn Everett, Jonathan Rado, Molly Rankin, and Alec O'Hanley Producer: Miley Cyrus, Shawn Everett, Michael Pollack, Jonathan Rado, Maxx Morando, Max Taylor-Sheppard, Molly Rankin, and Alec O'Hanley Engineer: Shawn Everett, Ian Gold, Ivan Wayman, and Pièce Eatah Assistant Engineer: JC LeResche, Alisse Laymac, and JC Chiam Vocal Engineer: Pièce Eatah and Shawn Everett Tape Operator: JC LeResche Drums, Bass, OB-6: Maxx Morando Bass: Pino Palladino Teenage Engineering Choir Programming, Drum Programming, and Claps Programming: Shawn Everett CP 80, Yamaha CP70, Mellotron, EMS Synthi, Six String Bass, Juno 106, LinnDrum, Acoustic Guitar, High Strung Acoustic Guitar, Electric Guitar, Glockenspiel, Bass, and Percussion: Jonathan Rado Juno, Electric Guitar, ARP, Prophet, Various Synths, Acoustic Guitar, Piano, and Emulator: Alec O'Hanley Vocals: Molly Rankin Rhodes Piano, and OB-6: Max Sheppard Violin, Transcription, Arranger, and Orchestration: Maxwell Karmazyn Violin: Adam Millstein Viola: Molly Rogers Cello: Dennis Karmazyn AFM Contractor: Jules Levy - Savage Music Productions Writer: Miley Cyrus, Michael Pollack, and Autumn Rowe Producer: Miley Cyrus, Shawn Everett, Michael Pollack, Jonathan Rado, and BJ Burton Engineer: Shawn Everett, Ian Gold, BJ Burton, and Pièce Eatah Assistant Engineer: JC LeResche and JC Chiam Vocal Engineer: Pièce Eatah and Shawn Everett Tape Operator: JC LeResche Vocal Loop Pad: Miley Cyrus Drums, Acoustic Guitar, Electric Guitar, EMS Synthi, Choir Sample Programming, Hammond B3, Marxophone, Piano, Vibraphone, Fender Rhodes, Tubular Bells, Tape Loops, Treatments, SFX, and Foley: Jonathan Rado Bass and Fretless Bass: Pino Palladino Vocal Loop Pad Programming: Shawn Everett Saxophone Programming, Violin Programming, and Modular Piano: BJ Burton Saxophone: Nelson Devereaux Violin: Bed Gaunt Piano, Wurlitzer 200a, Choir Sample Programming, and Harpsichord: Michael Pollack Harpsichord and Hammond B3: Larry Goldings and Drew Erickson Harp: Sara Kawai Choir Vocals: Sarah Barthel SFX and Foley: Ian Gold and Pièce Eatah Rhythmic Programming: Nate Smith Writer: Miley Cyrus, Maxx Morando, Max Taylor-Sheppard, Shawn Everett, Jonathan Rado, and Michael Pollack Producer: Miley Cyrus, Maxx Morando, Shawn Everett, Max Taylor-Sheppard, Jonathan Rado, and Michael Pollack Engineer: Shawn Everett, Ian Gold, and Pièce Eatah Assistant Engineer: JC LeResche Vocal Engineer: Pièce Eatah and Shawn Everett Tape Operator: JC LeResche Strings and Organ recorded at Bandrika Studios (Los Angeles, CA) with the Barr-Fox Wurlitzer Theater Organ 1st Assistant Engineer: Harry Risoleo 2nd Assistant Engineer: Joyie Lai and Tristan Curbishley Studio Assistant: Teo Suarez Drums: Bob Everett Guitar, Bass, Drums, Moog DFAM, Pulsar 23, and Tascam PortaStudio 424 MK2: Maxx Morando Bass, Drums, Waldorf Quantum, Kurzweil K2000, Modor NF-1, and Prophet 10: Max Sheppard Bass: Pino Palladino Synth programming, SFX, and Foley: Shawn Everett Vibraphone, Synth Programming, Fairlight CMI, Moog System 55, EMS Synthi, SFX and Foley, and Treatments: Jonathan Rado Alto Saxophone, Baritone Saxophone, Clarinet, and Bass Clarinet: Henry Solomon Bass: Charlie Anastasis Guitar: Sam De La Torre Fairlight CMI Programming and Moog System 55 Programming: Tim Curtis SFX and Foley: Ian Gold and Pièce Eatah Violin I: Alyssa Park, Luanne Homzy, Ben Jacobson, Wynton Grant, Molly Rogers, and Andrew Kwon Violin II: Jessica Guideri, Maya Magub, Aiko Richter, Stephanie Yu, Eun Mee Ahn, and Clayton Penrose-Whitmore Viola: Luke Maurer, Zach Dellinger, Rita Andrade, and Drew Forde Cello: Jake Braun, Charlie Tyler, Caleb Vaughn-Jones, and Christine Kim Bass: Jules Levy and Eric Shetzen Leader and Arranger: Maxwell Karmazyn AFM Contractor: Jules Levy - Savage Music Productions Conductor: Tim Davies Admin: Haji Goto Lead Orchestrator, Librarian, and Copyist: Niall Ferguson Orchestrator, Librarian, and Copyist: Alex Williams Barr-Fox Wurlitzer Theater Organ Engineering: Harry Risoleo Writer: Miley Cyrus, Michael Pollack, Ryan Tedder, and Omer Fedi Producer: Miley Cyrus, Shawn Everett, Michael Pollack, and Jonathan Rado Engineer: Shawn Everett, Ian Gold, and Pièce Eatah Assistant Engineer: JC LeResche Fiddle Engineer: Tim Reitnouer Vocal Engineer: Pièce Eatah and Shawn Everett Tape Operator: JC LeResche Drums: Justin Brown Bass: Pino Palladino Guitar, stomps, SFX, and Foley: Jonathan Rado Fiddle: Sara Watkins Pedal Steel: Matt Pynn Stomps and Wurlitzer 200a: Michael Pollack Stomps, String Synths, Programming, SFX, and Foley: Shawn Everett Electric Guitar: Brittany Howard Stomps, BG Vocal FX, SFX, and Foley: Ian Gold Background Vocal FX: Bronte Araghi SFX and Foley: Pièce Eatah Writer: Miley Cyrus, Maxx Morando, Shawn Everett, Jonathan Rado, and Michael Pollack Producer: Miley Cyrus, Maxx Morando, Shawn Everett, Jonathan Rado, and Michael Pollack Engineer: by Shawn Everett, Ian Gold, and Pièce Eatah Assistant Engineer: JC LeResche Vocal Engineer: Pièce Eatah and Shawn Everett Tape Operator: JC LeResche Strings and Organ recorded at Bandrika Studios (Los Angeles, CA) with the Barr-Fox Wurlitzer Theater Organ 1st Assistant Engineer: Harry Risoleo 2nd Assistant Engineer: Joyie Lai and Tristan Curbishley Studio Assistant: Teo Suarez OB-6, Prophet 5, Minimoog, Pulsar 23 & PERKONS HD-01, and Overstayer Modular Channel: Maxx Morando Synth Programming, SFX, and Foley: Shawn Everett Barr-Fox Wurlitzer Theater Organ Programming, Vibraphone, Fairlight CMI, EMS Synthi, Moog System 55, Treatments, SFX, and Foley: Jonathan Rado Saxophones and Clarinets: Henry Solomon String Programming, SFX, and Foley: Ian Gold SFX and Foley: Pièce Eatah and JC LeResche Fairlight CMI Programming, and Moog System 55 Programming: Tim Curtis Violin I: Alyssa Park, Luanne Homzy, Ben Jacobson, Wynton Grant, Molly Rogers, and Andrew Kwon Violin II: Jessica Guideri, Maya Magub, Aiko Richter, Stephanie Yu, Eun Mee Ahn, and Clayton Penrose-Whitmore Viola: Luke Maurer, Zach Dellinger, Rita Andrade, and Drew Forde Cello: Jake Braun, Charlie Tyler, Caleb Vaughn-Jones, and Christine Kim Bass: Jules Levy and Eric Shetzen Organ: Ty Woodward Leader and Arranger: Maxwell Karmazyn AFM Contractor: Jules Levy - Savage Music Productions Conductor: Tim Davies Admin: Haji Goto Lead Orchestrator, Librarian, and Copyist: Niall Ferguson Orchestrator, Librarian, and Copyist: Alex Williams Barr-Fox Wurlitzer Theater Organ Engineering: Harry Risoleo Writer: Miley Cyrus, Michael Pollack, Shawn Everett, Jonathan Rado, Bibi Bourelly, and Tobias Jesso Jr. Producer: Miley Cyrus, Shawn Everett, Jonathan Rado, Michael Pollack, and BJ Burton Engineer: Shawn Everett, Ian Gold, and Pièce Eatah Assistant Engineer: JC LeResche Vocal Engineer: Pièce Eatah and Shawn Everett Tape Operator: JC LeResche Drums: Joey Waronker Bass: Pino Palladino MS 20 Bass, Acoustic Guitar, EMS Synthi, Hammond B3, CS 80, Wurlitzer 200a, Vibraphone, Electric Guitar, Tape Loops, and Treatments: Jonathan Rado Drum Programming and Ambient Sculpture: Shawn Everett Electric Guitar: Nick Zinner Violin, Transcription, Arranger, and Orchestration: Maxwell Karmazyn Violin: Adam Millstein Viola: Molly Rogers Cello: Dennis Karmazyn AFM Contractor: Jules Levy - Savage Music Productions Motorcycle: Fabienne Grisel SFX and Foley: Ian Gold and Pièce Eatah Writer: Miley Cyrus, Maxx Morando, Michael Pollack, Shawn Everett, Brittany Howard, and Jonathan Rado Producer: Miley Cyrus, Shawn Everett, Michael Pollack, Jonathan Rado, and Maxx Morando Additional Production: Brittany Howard Engineer: Shawn Everett, Ian Gold, Ivan Wayman, and Pièce Eatah Assistant Engineer: JC LeResche and JC Chiam Vocal Engineer: Pièce Eatah, Shawn Everett, and Ian Gold Tape Operator: JC LeResche Drums, Bass, Electric Guitar, and PERKONS HD-01: Maxx Morando Bass: Pino Palladino MS 20, Electric Guitar, CS80, Waldorf Wave, JP 8000, Synth Programming, Clav, JP 8000, JV1080, ARP Quartet, Juno 60, and Treatments: Jonathan Rado Drum Programming, Synth Programming, and TB 303 Bass Programming: Shawn Everett Clav: Money Mark Electric Guitar: Danielle Haim Juno 60, Waldorf Wave, ARP Quartet: Michael Pollack Vocals and Electric Guitar: Brittany Howard Synth: Alec O'Hanley Syndrum and Vermona DRM-1: Jay Rudolph Writer: Miley Cyrus, Maxx Morando, Gregory Aldae Hein, Michael Pollack, Andrew Wyatt, Emile Haynie, Shawn Everett, and Jonathan Rado Producer: Miley Cyrus, Shawn Everett, Jonathan Rado, Michael Pollack, and Maxx Morando Additional Production: Kenny Segal Engineer: Shawn Everett, Ian Gold, and Pièce Eatah Assistant Engineer: JC LeResche and Nick Hodges Vocal Engineer: Pièce Eatah and Shawn Everett Tape Operator: JC LeResche Drums, OB-6, and Electric Guitar: Maxx Morando Bass: Pino Palladino Omnichord and Sampler: Kenny Segal Electric Guitar: Adam Granduciel Wurlitzer 200a, Moog System 55, CS 80, Acoustic Guitar, Slide Guitar, MS 20, and Marxophone: Jonathan Rado Drum programming and MS 20 Programming: Shawn Everett Writer: Miley Cyrus, Michael Pollack, Shawn Everett, Jonathan Rado, Marie Davidson, David Dewaele, Stephen Dewaele, and Pierre Guerineau Producer: Miley Cyrus, Shawn Everett, Jonathan Rado, Michael Pollack, and Ian Gold Engineer: Shawn Everett, Ian Gold, and Pièce Eatah Assistant Engineer: JC LeResche, Ben Miller, and Nicole Schmidt Vocal Engineer: Pièce Eatah and Shawn Everett Tape Operator: JC LeResche Strings and Organ recorded at Bandrika Studios with the Barr-Fox Wurlitzer Theater Organ 1st Assistant Engineer: Harry Risoleo 2nd Assistant Engineer: Joyie Lai and Tristan Curbishley Studio Assistant: Teo Suarez Drums: Joey Waronker and Kane Ritchotte Bass: Pino Palladino and Flea LinnDrum Programming, MPC Programming, Electric Guitar, Wurlitzer 200a, Melodic Bass, TR-808 Programming, Fairlight CMI, Moog System 55, MS 20, Elka Synthex, and ARP Quartet: Jonathan Rado LinnDrum Programming, Drum Programming, Vocoder Programming, and TB 303 Programming: Shawn Everett Wurlitzer 200a, ARP Quartet, and MS 20: Michael Pollack Cristal Baschet and Ondes Martenot: Thomas Bloch Spoken Words: Naomi Campbell Saxophone: Henry Solomon Oberheim DMX, and Synths: Alec O'Hanley Vocals: Molly Rankin Saxophone: Joseph Shabason Bass Sample: Soulwax Fairlight CMI Programming and Moog System 55 Programming: Tim Curtis TR-808 Programming: Ian Gold Violin I: Alyssa Park, Luanne Homzy, Ben Jacobson, Wynton Grant, Molly Rogers, and Andrew Kwon Violin II: Jessica Guideri, Maya Magub, Aiko Richter, Stephanie Yu, Eun Mee Ahn, and Clayton Penrose-Whitmore Viola: Luke Maurer, Zach Dellinger, Rita Andrade, and Drew Forde Cello: Jake Braun, Charlie Tyler, Caleb Vaughn-Jones, and Christine Kim Bass: Jules Levy and Eric Shetzen Organ: Ty Woodward Leader, Arranger, Transcription, and Orchestration: Maxwell Karmazyn AFM Contractor: Jules Levy - Savage Music Productions Conductor: Tim Davies Admin: Haji Goto Lead Orchestrator, Librarian, and Copyist: Niall Ferguson Orchestrator, Librarian, and Copyist: Alex Williams Barr-Fox Wurlitzer Theater Organ Engineering: Harry Risoleo Contains a sample from 'Work It (Soulwax Remix)' as performed by Marie Davidson. Written by Marie Davidson (SOCAN), David Dewaele, Stephen Dewaele, and Pierre Guerineau (SOCAN). Published by Just Isn't Music Ltd. (PRS) & Third Side Music Inc. / Strictly Confidential Rights (SABAM), admin. by Ruminating Music c/o Wixen Music Publishing, Inc. Used courtesy of Ninja Tune Records. Writer: Miley Cyrus, Gregory Aldae Hein, Michael Pollack, Maxx Morando, Max Taylor-Sheppard, Shawn Everett, Jonathan Rado, Ethan Shevin, and Ian Gold Producer: Miley Cyrus, Shawn Everett, Jonathan Rado, Michael Pollack, Maxx Morando, Max Taylor-Sheppard, and Ethan Shevin Engineer: Shawn Everett, Ian Gold, Ivan Wayman, and Pièce Eatah Assistant Engineer: JC LeResche, Ben Miller, and JC Chiam Vocal Engineer: Pièce Eatah and Shawn Everett Tape Operator: JC LeResche Drum Machine and K2000: Maxx Morando Drums: Bob Everett and Kane Ritchotte Bass: Pino Palladino MS 20, Oberheim, Trem Synth, CS 80, Wurlitzer 200a, EMS Synthi, Electric Guitar, ARP Quartet, Lexicon Prime Time, Mellotron, Akai Filtering, Vibraphone, Acoustic Guitar, and Treatments: Jonathan Rado Yamaha Portasound: Michael Pollack Drum Machine, NF-1, K2000, and Prophet 10: Max Sheppard Drum Machine, K2000, and Prophet 10: Ethan Shevin Synth and Electric Guitar: Alec O'Hanley Minimoog: Miley Cyrus New Melody, Drum Programming, TB 303 Bass programming, TR-909 Programming, Choir Instrument, Synth Programming, SFX, and Foley: Shawn Everett Vocal Contractor: Alexander Lloyd Blake Singer: Michael Lichtenauer, David Morales, Luc Kleiner, Dermot Kiernan, Eric Lyn, and Matthew Broen Choral Coordination: Jules Levy - Savage Music Productions Arranger, Transcription, and Orchestration: Maxwell Karmazyn TB 303 Bass Programming, TR-909 Programming, Choir Instrument, Juno 106, and Wurlitzer 200a: Ian Gold Writer: Miley Cyrus, Tom Hull, and Tyler Johnson Producer: Miley Cyrus, Shawn Everett, Jonathan Rado, Michael Pollack, Kid Harpoon, and Tyler Johnson Engineer: by Shawn Everett, Ian Gold, Pièce Eatah, and Kid Harpoon Assistant Engineer: JC LeResche, Alisse Laymac, Nick Hodges, Claudia Iatalese, and JC Chiam Vocal Engineer: Kid Harpoon, Pièce Eatah, and Shawn Everett Tape Operator: JC LeResche Bass: Pino Palladino Acoustic Guitar, MS 20, Timpani, Tubular Bells, EMS Synthi, Fairlight CMI, Marxophone, and Electric Guitar: Jonathan Rado Screech Horns, Choir Programming, Guitar Programming, and String Programming: Shawn Everett Trumpets, Violins, Guitarron, Vihuela, Harp, and Acoustic Guitar: Mariachi Los Camperos Violin, Viola, Shoulder Cello, Transcription, and Orchestration: Maxwell Karmazyn Theremin: Randy George Flute, Bass Flute, Clarinet, Oboe, and Tin Whistle: Ashley Jarmack Clarinet and Bass Clarinet: John R. Walters Alto Saxophone and Baritone Saxophone: Patrick R. Posey Cristal Baschet and Ondes Martenot: Thomas Bloch Double bass, AFM Contractor: Jules Levy - Savage Music Productions Cello: Niall Taro Ferguson Sitar and Electric Sitar: Andrew Synowiec Prepared Piano: Nick Hakim Nylon String Acoustic Guitar: Brian D'Addario Drum Programming, 12 String Acoustic Guitar, and Bass: Kid Harpoon Cymbal and Bell Percussion: Ian Gold Fairlight CMI Programming: Tim Curtis Executive Producer: Miley Cyrus and Shawn Everett Mixed and Mastered by Shawn Everett at Subtle McNugget Studios (Los Angeles, CA) Mix Assistant: Ian Gold $33.00, Rough Trade Originally Appeared on Pitchfork
