"Hi-Lili, Hi-Lo" is a popular song with music by Bronislaw Kaper, and lyrics by Helen Deutsch. The song was published in 1952. The song was featured in the 1953 film Lili, starring Leslie Caron.[1]
"Lo/Hi" is a song by the American rock band the Black Keys. It was released as the lead single from their ninth album, Let's Rock, on March 7, 2019. The song topped Billboard's Mainstream Rock, Adult Alternative Songs, Rock Airplay, and Alternative Songs charts in the United States simultaneously, making it the first song ever to do so.[2]
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The single was the first new material by the band in nearly five years.[3] The next day, the song was used by CBS as the theme for its promotion and coverage of the 2019 NCAA Division I men's basketball tournament along with a video of the Black Keys performing it in an airplane hangar.[4]
David Paulson, writing for The Tennessean, described "Lo/Hi" as a "a groovy, gritty rock" and "soulful" track. He compared the track's sound to the likes of British glam rock band T. Rex.[6] In a positive review, Althea Legaspi and Ryan Reed, writing for Rolling Stone, called Lo/Hi, as a "scorching, psychedelic" track.[7]
Joshua Bote of NPR described "Lo/Hi" as "rich" and "gospel-style", and said it was a return to their earlier Southern/blues style as opposed to the more funk orientated previous album, Turn Blue. "The Akron, Ohio duo of Patrick Carney and Dan Auerbach built its name off chugging, crunchy Southern rock like the type dispensed on "Lo/Hi," so it's a welcome return from the gentler sounds that colored the group's last album, 2014's Turn Blue."[8]
Jillian Mapes, writing for Pitchfork, compared the style of the song to ZZ Top, and offered a more mixed review of the song, praising the background vocals of Leisa Hans and Ashley Wilcoxson, which inject "a welcome texture", but concluded that the track was "wholly unsurprising".[9]
"Lo/Hi" was the Black Keys' first top-ten song on the Hot Rock Songs chart in nearly seven years, entering at number 34 in its first week before reaching number five the second week. The song collected 2.3 million streams and 8,000 digital downloads in its first week in the United States.[10] The song made history by topping Billboard's Mainstream Rock, Adult Alternative Songs, Rock Airplay, and Alternative Songs charts simultaneously, making it the first time any song has reached number one on all four formats at once.[11]
On this wild spit jutting into the San Francisco Bay, the landfill of spiraling rebar, blown-out tires and household trash had grown lush with pampas grass, cattails and fennel. At the western tip, local artists had created an outdoor studio of garbage sculpture and paintings open to wind and rain. The artists at the Bulb had worked with the rejected, unwieldy, useless, old, possibly toxic; seen it as if for the first time; and turned it into art.
I return to the Bulb on a dark, windy afternoon, a far cry from that of my last romantic visit. The paths are desolate, bushes and grasses slashed in efforts to throw out remaining squatters. I walk alone.
In great loops, my dad would swerve the convertible from one side of the road to the other, the sweeping curves following the melody as he whistled. The funny thing is that even though the song seemed to be talking about how sad love is, the rhythm of the whistling felt playful, rousing a tingle in my young chest.
Here in the garbage world of the Bulb the dangers of loss are palpable. The task of the garbage artist is to see fresh, to reinvent the unwanted and discarded, and once it is complete in its new form to leave it open, at the mercy of wind, rain and vandals. This takes a brave commitment, a kind of love. Between the city, the state, monied interests and gratuitous fear and violence, the artwork at the Bulb may not survive. How else can the garbage vanguard continue except with a little humor and fun, by giving everything and at the same time letting go? I think of the Tibetan sand paintings.
On October 5th, 2017, Jack would upload a song called Databend onto Tumblr exclusively. This song would be first of the HiLo songs to be revealed publicly, as it would go on to be the album's eleventh track. Two months later on December 5th, 2017, Jack would upload a video onto Instagram called sound on, sod which would feature a song called Cunk in the background which would go on to be the first track on HiLo.
Later on March 13th, 2018, the first promo video for HiLo would be uploaded called HiLo Teaser, which would consist of Jack finding the album at a flea market. The teaser would reveal the album's title, its cover art, its release date for April 14th, 2018, and another portion of the first track on the album Cunk. Another promo would later be posted on March 30th, 2018 called HiLo Peek, which would feature a snippet of all tracks on the album playing on a small vintage television with unique background inside of them.
On March 31st, 2018, the second track on HiLo, Dead Weight, would be released on Patreon as a single, giving his patrons early listening to the song. Behind the scenes videos and photos would be teased throughout his social media platforms during the following days before the music video would officially be uploaded on April 5th, 2018. On April 12th, 2018, the final pre-release promo for HiLo would be posted called HiLo Trailer, which consisted of Jack as a father taking the HiLo album as a child to its first day of school. A HiLo release show would also take place at Basement Transmission prior to the album's release. The full show is currently unavailable, though snippets have been uploaded online and a compilation video would later be posted onto Patreon on June 17th, 2018.
HiLo would officially be released to the public on April 14th, 2018. The release would come with a promo video self-titled off the album called HiLo, which consisted of the album walking through a grassy field and jumping into a hole, revealing the album's release. About a month after the album's release, a music video for the tenth track on the album, Gettin' My Mom On, would be created and uploaded on May 12th, 2018 in celebration of Mother's Day 2018.
Later on August 20th, 2018, Jack would first launch his merchandise website, which would notably feature a HiLo CD available. About two and half years later on January 23rd, 2021, Jack would follow up the HiLo CD by revealing and beginning distribution of a vinyl edition of the HiLo album. The vinyl edition of HiLo would also come with an exclusive bonus track available with a digital download of the album featuring on the release called Moonstone.
HiLo has since become one of Jack Stauber's most famous and recognizable works. The tracks featured on the album would each become well known for their own reasons, with the album famously featuring a wide range of genre variety. The tracks on HiLo would also be liked for their stories and meanings sung in each song, majority of them being figured out by fans. Certain songs on the album such as Dead Weight and Gettin' My Mom on would also go on to become some of Jack's most famous songs, being well known on the Internet.
This essential 50's anthology is loaded with #1 hits. A nostalgic Hi-Lo compilation of the most popular music from the baby boomer era. Each timeless song is powered with a motivating energy that makes these classics perfect for students of all ages.
He and his band played the song over and over, perfecting it but playing it so often that the manager reportedly told him to play something else. But the band and locals loved Runaway and Shannon recorded the song in New York the following year. It became a world-wide hit and launched his career.
Hi-Lo is the third track from Evanescence's fourth studio album, Synthesis. It was written in 2007 by Amy and Will "Science" Hunt, being it their first collaboration ever.[1] It was conceived when the two decided to write an original song after working on the cover song Sally's Song.[1] It was originally chosen to be released for the third, self-titled album,[1] but when recording sessions were stopped, the song was discarded and remained on the back burner for 7 more years. The song was first announced in a Spin interview in March 2010:
In an article by Revolver, they published that musician and violinist, Lindsey Stirling, makes a guest appearance on the song.[2] Amy Lee confirmed it was true in an Evanescence Q&A on Facebook, making it the second Evanescence song ever to feature an external artist (the first being Paul McCoy on Bring Me To Life).
Once most of the song was recorded, Amy felt it would be a perfect moment to feature a guest solo in the "interesting long instrumental part without a lead focal point."[4] Instead of writing new lyrics for this part, she approached Lindsey Stirling to collaborate. Although she had other people in mind, she said Lindsey was "the obvious, natural choice."[4] Lindsey demoed her violin solo after Amy told her what she imagined, then she recorded it in Los Angeles and sent it to Amy, who was recording the album in Fort Worth, TX.[4]
After 10 years in the vault it is our pleasure to finally bring this song into the light. It was the first creative collaboration with Will Hunt (Spaceway), Synthesis producer and programmer. After a decade of not quite fitting in, it finally found its rightful home on this project.
Episode four of Inside Synthesis features Lindsey Stirling in the studio recording Hi-Lo. Amy speaks about how she thought of Lindsey after talks of a guest featuring on the song took place:[5]
The music video was announced to be released at midnight on June 8, 2018 EST.[9] However, when the video was published, it was only available to view in selected countries, which caused the band to take down the original and re-upload later in the day.
The layered shots were filmed by Paul R. Brown at Evanescence's two shows at the Royal Festival Hall in London, UK and the surrounding areas in the city. When the song comes to Lindsey's part, it cut to her dancing around and playing the violin. Lindsey confirmed that her shots were filmed at a studio in Los Angeles, CA. 152ee80cbc
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