cooke's tour album

Cooke's Tour

A hugely popular and massively influential singer sometimes called the King of Soul, Sam Cooke had an amazing run of hit singles in the late '50s and early '60s, including classics like "Cupid," "You Send Me," "A Change Is Gonna Come," and "Chain Gang." Cooke was also an early musical entrepreneur, starting his own label at a time when that was almost unheard of and putting out early material from Johnnie Taylor, Billy Preston, and Bobby Womack. With an intoxicatingly smooth voice that crossed all sorts of genre and racial boundaries, he was at the height of his career when he was shot to death under mysterious circumstances at a Los Angeles motel in late 1964. Cooke's Tour was one of four full-lengths he released in 1960, and his first for RCA. A concept album based around traveling the world, it almost sounds like old Johnny Mathis, with tons of silky orchestral touches mixed with pseudo-international vibes. While this isn't Cooke's most crucial work, it still highlights his incomparable pipes, which trump the somewhat corny arrangements. "Under Paris Skies," "Arrivederci, Rome (Goodbye to Rome)," and "The House I Live In" are standouts.

April 1, 1960 12 Songs, 37 minutes ℗ Originally released 1960. All rights reserved by RCA Records, a division of Sony Music Entertainment

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Discography

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30 Greatest Hits: Portrait of a Legend 1951-1964

by Sam Cooke

The Complete Specialty Recordings

by Sam Cooke , The Soul Stirrers

The Man Who Invented Soul

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by Sam Cooke , The Soul Stirrers , Paul Foster , Julius Cheeks

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Sam Cooke And The Soul Stirrers

Ain't That Good News

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Only Solitaire Herald

Review: Sam Cooke - Cooke's Tour (1960)

Tracks: 1) Far Away Places; 2) Under Paris Skies; 3) South Of The Border (Down Mexico Way); 4) Bali Ha’i; 5) The Coffee Song (They’ve Got An Awful Lot Of Coffee In Brazil); 6) Arrivederci, Roma (Goodbye To Rome); 7) London By Night; 8) Jamaica Farewell ; 9) Galway Bay; 10) Sweet Leilani; 11) The Japanese Farewell Song; 12) The House I Live In.

If you agreed with me that Hits Of The 50’s was pretty embarrassing, you might want to know that album’s corn factor was almost nothing next to Cooke’s Tour — by all means, the absolute nadir of Sam’s artistic career, a record so utterly stupid and pointless that it drags the very idea of a «concept album» through the thickest mud before it even has had the time frame to properly crystallize. It was bad even by the standards of 1960; by those of the 2020s, it is much worse. So, of course, you just got to hear it. It gives a pretty good idea of where the average «bourgeois American society» was at the end of 1960, and of what the white record executive’s idea of a «polite» musical program by a black artist used to be at the time. ( Not taking a big part of the responsibility off Sam’s own shoulders, though: he was quite consciously and of his own free will embarking on this path of endearing himself to conservative white audiences by pandering to their cheapest tastes).

Anyway, Cooke’s Tour is indeed a «concept album» — basically a Broadway / Hollywood musical in the good old-fashioned musical tradition, where each of the songs, usually nicked from its own musical, deals with one of the world’s locations, from European cities like Paris, Rome, and London, to Asia (Japan, Melanesia) and Central / South America (Mexico, Brazil), curiously leaving out Africa in the process; the list is bookmarked at the beginning with ‘Far Away Places’, an old Bing Crosby standard that acts as a general prelude to the «travelog», and ends with ‘The House I Live In’, a song originally written by Lewis Allen and Earl Robinson as a human rights anthem but, in the context of this album, feeling more like a patriotic « after all, there’s no place like home » conclusion.

I will refrain from saying that the album sucks because, to the best of my knowledge, up to 1960 Sam Cooke had never even set foot on any territory outside the United States of America and its closest neighbors in the Caribbean — at the very least, his recorded touring schedule indicates that he would only visit Germany and England as late as 1962, and no records exist of Mr. Cooke ever setting foot in Japan or Brazil. (In theory at least, he may certainly have taken a vacation in Hawai’i or Mexico, but I have no idea). Even so, it is very close-minded to insist that somebody is physically incapable of conveying the atmosphere of a certain environment without having «lived» it to the fullest — even if the result is an approximation, it can be a very deeply felt one, or one that actually offers a unique angle (e.g. I could never understood the artificially puffed-up hatred that some people spew at the California-bred Creedence Clearwater Revival for daring to sing from a «Southern» perspective — all that mattered to me is that John Fogerty deeply and sincerely loved the world of the bayous, which, as far as I’m concerned, gave him a perfectly valid right to eulogize them in his beautifull crafted songs).

However, this is clearly not the case with Cooke’s Tour . Sam Cooke was by no means an ignoramus — he is usually described in biographies as always having had an inquisitive mind, and well-versed in both movies and literature — but the «setlist» in this «program» has nothing whatsoever to do with anybody’s love for anything, except for the general American public’s love for the candy-colored « a whole new world » aesthetics. Most of these songs are stiff, stuffy, cheesy pieces of musical-exotica, borrowing superficial bits of other countries’ musical stylistics (Paris = accordeon, Mexico = castanets, Hawai’i = steel guitar, Japan = koto, etc.) only to drown them all in the monotonous and equally superficial sentimentalism of old school Tin Pan Alley songwriting. Sure, if we go down history lane, there are some nice stories behind some of them — like Harry Owens’ dedication of ‘Sweet Leilani’ to his newborn Hawai’ian daughter, etc. — but absolutely none of it matters under these particular circumstances.

If this was not a concept album — if, say, I’d encountered some of these songs individually, scattered around some of Sam’s other records where they would be mixed together with more contemporary and meaningful material — the individual impressions of some of them could, perhaps, be slightly ameliorated. Thus, the 1946 Sinatra-sung joke tune ‘The Coffee Song’ (" they’ve got an awful lot of coffee in Brazil ") could simply be perceived as a joke tune, at least if you take a time trip to 1946 when lines like " a politician’s daughter was accused of drinking water / and fined a great big fifty dollar bill " were indeed considered cutting-edge humor. But (a) in the context of this album, the song sort of pretends to occupy a «culturological» niche, introducing listeners to the peculiarities of Brazilian society as opposed to Italian or Jamaican society; (b) at least Sinatra sang this with his usual humorous flair — Sam’s performance almost gives the impression that he takes the lyrics seriously , with his usual perfect vocal tone and a caressing lightness that, however, betrays no hints of irony. This is one of Sam’s natural limitations — he could perfectly convey beauty, tenderness, or melancholy, but irony and humor were largely out of his reach — and it just makes me wonder about who were the idiots who suggested that he sing this kind of material. Hopefully we don’t have to blame it on Hugo & Luigi, who, after all, would do a good job of producing all those good songs for Sam... eventually.

In the end, of all the tourist stops made along the way, there is only one toward which I feel a little bit partial: ‘Jamaica Farewell’. Unlike most of the Tin Pan Alley / Bing Crosby / Frank Sinatra fluff, this one is at least somewhat «authentic», written or re-invented by Lord Burgess, the acknowledged master of all things Caribbean and a frequent writer for Harry Belafonte; likewise, Sam was also well-versed in the Caribbean spirit, having been a frequent visitor to Kingston on his tours (probably the only place outside of the U.S. proper that he’d visited more than once). And the song, for once, is recorded in style, with a sympathetic woodwind / electric guitar melody making a nice change from Belafonte’s original acoustic guitar recording. Each time Sam melancholizes about having " to leave a little girl in Kingston Town " in the chorus, there’s a tiny authentic shiver running down my spine — the only time this generally wretched album does it to me. ‘Jamaica Farewell’ is the one song I’d heartily recommend here for any Sam Cooke playlist; everything else is mostly just fodder for objectively sarcastic culturological analysis.

Unfortunately, it also applies to ‘The House I Live In’, the pompous conclusion to the album which, technically, should count as the first authentically «socially conscious» song recorded by Sam — a good four years before ‘A Change Is Gonna Come’. Given the album’s overall fluffy popcorn nature, the decision to finish it off with a song by Earl Robinson, blacklisted until only recently, may feel almost unusually brave; but since there is nothing specifically «communist» in this people’s anthem (originally conceived as an anti-racist rather than anti-capitalist manifesto), in the context of Cooke’s Tour it rather just plays the part of a home sweet home epilog. It’s sort of as if the protagonist of the album took his stereotypically clichéd tour all around the world, then came back only to placate himself with the idea that " all races, all religions, that’s America to me ", or that " the air of feeling free, the right to speak my mind out, that’s America to me ", and this makes him feel just a little bit better after having to leave that little girl behind in Kingston Town, not to mention all his other seedy love affairs in Paris, Rome, London, and Japan. I mean, who really needs to break little girls’ hearts all around the world when all races and religions are already available back in the USA?

Again, if you fish the song outside its stupid context, it works much better — unlike ‘The Coffee Song’, this is the kind of material that Sam was really born to sing — but it is still smothered in cloying, mawkish strings and chimes that try to carry us back to 1945, when Sinatra introduced the song to the world, rather than to any place in the near future. If you are able to concentrate exclusively on Sam’s hypnotizing overtones and smooth phrasing — in fact, if you can do this throughout the entire album — then Cooke’s Tour may indeed turn out to be not just a delightful journey through a set of locally-flavored happy-or-sad frames of mind, but firm proof that Sam Cooke is, by definition, incapable of turning out a single bad LP, or even a single bad song; everything he sings turns to gold just on the strength of the Magic Voice. If, however, like myself, you are typically immune to the Magic Voice factor and always require a little something extra to bring out the full effect of the Magic Voice, I don’t see how Cooke’s Tour could be perceived as anything other than an awkward lapse of taste in a rather ruthless hunt for public acceptance. Perhaps it is best to rewrite history and pretend that the album simply never happened — which would be quite in line with the 21st century’s multiple attempts to rewrite history in whichever way pleases the concerned party — but then again, it is also true that a deeper understanding of the embarrassment of artistic failure can often gain a deeper insight into the wonder of artistic success, isn’t it?

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Sam Cooke|Cooke's Tour

Cooke's Tour

• Released on 1/6/23 by RCA - Legacy
• Main artists: Sam Cooke
• Genre: Soul

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Sam Cooke, Associated Performer, Main Artist, Associated Performer - Joan Whitney, Composer - Al Chernet, Guitar - Alex Kramer, Composer - Clifton White, Guitar - Glenn Osser, Arranger, Conductor - George Duvivier, Bass - Bunny Shawker, Drums - Morris Wechsler, Piano - Abe Rosen, Harp - Jerome Weiner, Flute - David Nadien, Strings - Harry urbont, Strings - Felix Orlewitz, Strings - Felix Giglio, Strings - Paul Winter, Strings - Morris Lefkowitz, Strings - Ralph Silverman, Strings - Anthony DiGirolamo, Strings - Hina Barnett, Strings - Ben Miller, Strings - Frank Siegfried, Strings - James Bloom, Strings - David Mankovitz, Strings - Isidore Zir, Strings - Ray Schweitzer, Strings - Ray Hall, Engineer - Rob Santos - Vic Anesini, Mastering Engineer

Originally released 1960. All rights reserved by RCA Records, a division of Sony Music Entertainment

Sam Cooke, Associated Performer, Main Artist, Associated Performer - Glenn Osser, Arranger, Conductor - Al Chernet, Guitar - Hubert Giraud, Composer - Clifton White, Guitar - Kim Gannon, Composer - George Duvivier, Bass - Jean Dréjac, Composer - Bunny Shawker, Drums - Morris Wechsler, Piano - Abe Rosen, Harp - Jerome Weiner, Flute - David Nadien, Strings - Harry urbont, Strings - Felix Orlewitz, Strings - Felix Giglio, Strings - Paul Winter, Strings - Morris Lefkowitz, Strings - Ralph Silverman, Strings - Anthony DiGirolamo, Strings - Hina Barnett, Strings - Ben Miller, Strings - Frank Siegfried, Strings - James Bloom, Strings - David Mankovitz, Strings - Isidore Zir, Strings - Ray Schweitzer, Strings - Ray Hall, Engineer - Rob Santos - Vic Anesini, Mastering Engineer

Sam Cooke, Associated Performer, Main Artist, Associated Performer - Glenn Osser, Arranger, Conductor - Jimmy Kennedy, Composer - Michael Carr, Composer - Ray Hall, Engineer - Rob Santos - Vic Anesini, Mastering Engineer

Sam Cooke, Associated Performer, Main Artist, Associated Performer - Richard Rodgers, Composer, Lyricist - Al Chernet, Guitar - Clifton White, Guitar - Oscar Hammerstein, Composer, Lyricist - George Duvivier, Bass - Bunny Shawker, Drums - Morris Wechsler, Piano - Abe Rosen, Harp - Jerome Weiner, Flute - David Nadien, Strings - Harry urbont, Strings - Felix Orlewitz, Strings - Felix Giglio, Strings - Paul Winter, Strings - Morris Lefkowitz, Strings - Ralph Silverman, Strings - Anthony DiGirolamo, Strings - Hina Barnett, Strings - Ben Miller, Strings - Frank Siegfried, Strings - James Bloom, Strings - David Mankovitz, Strings - Isidore Zir, Strings - Ray Schweitzer, Strings - Glenn Osser, Arranger, Conductor - Ray Hall, Engineer - Rob Santos - Vic Anesini, Mastering Engineer

Sam Cooke, Associated Performer, Main Artist, Associated Performer - Glenn Osser, Arranger, Conductor - Al Chernet, Guitar - Bob Hilliard, Composer - Clifton White, Guitar - Dick Miles, Composer - George Duvivier, Bass - Bunny Shawker, Drums - Morris Wechsler, Piano - Abe Rosen, Harp - Jerome Weiner, Flute - David Nadien, Strings - Harry urbont, Strings - Felix Orlewitz, Strings - Felix Giglio, Strings - Paul Winter, Strings - Morris Lefkowitz, Strings - Ralph Silverman, Strings - Anthony DiGirolamo, Strings - Hina Barnett, Strings - Ben Miller, Strings - Frank Siegfried, Strings - James Bloom, Strings - David Mankovitz, Strings - Isidore Zir, Strings - Ray Schweitzer, Strings - Ray Hall, Engineer - Rob Santos - Vic Anesini, Mastering Engineer

Sam Cooke, Associated Performer, Main Artist, Associated Performer - Carl Sigman, Composer, Lyricist - Al Chernet, Guitar - Clifton White, Guitar - Renato Rascel, Composer, Lyricist - George Duvivier, Bass - Bunny Shawker, Drums - Morris Wechsler, Piano - Abe Rosen, Harp - Jerome Weiner, Flute - David Nadien, Strings - Harry urbont, Strings - Felix Orlewitz, Strings - Felix Giglio, Strings - Paul Winter, Strings - Morris Lefkowitz, Strings - Ralph Silverman, Strings - Anthony DiGirolamo, Strings - Hina Barnett, Strings - Ben Miller, Strings - Frank Siegfried, Strings - James Bloom, Strings - David Mankovitz, Strings - Isidore Zir, Strings - Ray Schweitzer, Strings - Glenn Osser, Arranger, Conductor - Ray Hall, Engineer - Rob Santos - Vic Anesini, Mastering Engineer

Sam Cooke, Associated Performer, Main Artist, Associated Performer - Glenn Osser, Arranger, Conductor - Al Chernet, Guitar - Carroll Coates, Composer - Clifton White, Guitar - George Duvivier, Bass - Bunny Shawker, Drums - Morris Wechsler, Piano - Abe Rosen, Harp - Jerome Weiner, Flute - David Nadien, Strings - Harry urbont, Strings - Felix Orlewitz, Strings - Felix Giglio, Strings - Paul Winter, Strings - Morris Lefkowitz, Strings - Ralph Silverman, Strings - Anthony DiGirolamo, Strings - Hina Barnett, Strings - Ben Miller, Strings - Frank Siegfried, Strings - James Bloom, Strings - David Mankovitz, Strings - Isidore Zir, Strings - Ray Schweitzer, Strings - Ray Hall, Engineer - Rob Santos - Vic Anesini, Mastering Engineer

Sam Cooke, Associated Performer, Main Artist, Associated Performer - Glenn Osser, Arranger, Conductor - Al Chernet, Guitar - Irving Burgess, Composer - Clifton White, Guitar - George Duvivier, Bass - Bunny Shawker, Drums - Morris Wechsler, Piano - Abe Rosen, Harp - Jerome Weiner, Flute - David Nadien, Strings - Harry urbont, Strings - Felix Orlewitz, Strings - Felix Giglio, Strings - Paul Winter, Strings - Morris Lefkowitz, Strings - Ralph Silverman, Strings - Anthony DiGirolamo, Strings - Hina Barnett, Strings - Ben Miller, Strings - Frank Siegfried, Strings - James Bloom, Strings - David Mankovitz, Strings - Isidore Zir, Strings - Ray Schweitzer, Strings - Ray Hall, Engineer - Rob Santos - Vic Anesini, Mastering Engineer

Sam Cooke, Associated Performer, Main Artist, Associated Performer - Arthur Colohan, Composer, Guitar - Glenn Osser, Arranger, Conductor - Charles Macey, Guitar - Clifton White, Guitar - Trotman Lloyd, Bass - George Gabor, Drums - Bunny Shawker, Drums - Hank Jones, Piano - Abe Rosen, Harp - Joe Small, Flute - Hina Barnett, Strings - Arcadie Berkenholz, Strings - James Bloom, Strings - Fred Buldrini, Strings - Harold Colletta, Strings - Anthony DiGirolamo, Strings - Arnold Eidus, Strings - Felix Giglio, Strings - Morris Lefkowitz, Strings - Felix Orlewitz, Strings - Ray Schweitzer, Strings - Ralph Silverman, Strings - Frank Siegfried, Strings - Isidore Zir, Strings - Harry urbont, Strings - Paul Winter, Strings - Ray Hall, Engineer - Rob Santos - Vic Anesini, Mastering Engineer

Sam Cooke, Associated Performer, Main Artist, Associated Performer - Glenn Osser, Arranger, Conductor - Harry Owens, Composer - Ray Hall, Engineer - Rob Santos - Vic Anesini, Mastering Engineer

Sam Cooke, Associated Performer, Main Artist, Associated Performer - Glenn Osser, Arranger, Conductor - Hasegawa Yoshida, Composer - Freddy Morgan, Composer - Ray Hall, Engineer - Rob Santos - Vic Anesini, Mastering Engineer

Sam Cooke, Associated Performer, Main Artist, Associated Performer - Glenn Osser, Arranger, Conductor - Al Chernet, Guitar - Lewis Allen, Composer - Clifton White, Guitar - Earl Robinson, Composer - George Duvivier, Bass - Bunny Shawker, Drums - Morris Wechsler, Piano - Abe Rosen, Harp - Jerome Weiner, Flute - David Nadien, Strings - Harry urbont, Strings - Felix Orlewitz, Strings - Felix Giglio, Strings - Paul Winter, Strings - Morris Lefkowitz, Strings - Ralph Silverman, Strings - Anthony DiGirolamo, Strings - Hina Barnett, Strings - Ben Miller, Strings - Frank Siegfried, Strings - James Bloom, Strings - David Mankovitz, Strings - Isidore Zir, Strings - Ray Schweitzer, Strings - Ray Hall, Engineer - Rob Santos - Vic Anesini, Mastering Engineer

About the album

• 1 disc(s) - 12 track(s)
• Total length: 00:36:56
• Composer: Various Composers
• Label: RCA - Legacy
• Genre: Soul/Funk/R&B Soul

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Cooke's Tour/Hit Kit

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EU-only digitally re-mastered two-fer containing a pair of albums from the soul vocalist plus four bonus tracks. The legendary Sam Cooke left an indelible mark on the face of popular music. Without a doubt, he had one of the smoothest, most soulful voices around. Much like his contemporary Ray Charles, Cooke successfully synthesized a blend of gospel music and secular themes that provided the early foundation of soul music. This quintessential release includes two of the singer's most difficult to find LPs: COOKE'S TOUR (1960), and HIT KIT (1959). Both LPs contain some of Cooke's best-known hits, such as "You Send Me," "Everybody Likes to Cha-Cha-Cha," and "All of My Life," as well as Sam's covers of classic numbers, such as "South of the Border," "Jamaica Farewell," and "Galway Bay," among others. Long unavailable on CD, these albums have finally been re-mastered and packaged together in this special collector's edition, which also includes four bonus tracks from the same period. There's no better proof of Sam Cooke's genius than these soulful, passionate, stylish and exuberant recordings.

Product details

• Language ‏ : ‎ English
• Product Dimensions ‏ : ‎ 5.55 x 4.92 x 0.47 inches; 0.49 ounces
• Manufacturer ‏ : ‎ SOUL JAM
• Item model number ‏ : ‎ CD600845
• Date First Available ‏ : ‎ December 15, 2014
• Label ‏ : ‎ SOUL JAM
• ASIN ‏ : ‎ B00QXJAR1Y
• Number of discs ‏ : ‎ 1
• #18,024 in Soul (CDs & Vinyl)
• #20,211 in Blues (CDs & Vinyl)

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Cooke's Tour (studio album) by Sam Cooke

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Sam Cooke bestography

Cooke's Tour is ranked 19th best out of 27 albums by Sam Cooke on BestEverAlbums.com.

The best album by Sam Cooke is Night Beat which is ranked number 1316 in the list of all-time albums with a total rank score of 1,339.

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With Big Loud / Back Blocks Music Country artist Ashley Cooke, it’s best to know what you’re getting into – because this emerging star is the definition of more than meets the eye. A graceful exterior matched by a casual-cool nature. Skillfully crafted lyrics and a knack for unforgettable performance. Effortless vocal beauty and a bold sense of internal grit, freely mixing it up with the boys while she rallies the girls. And most important, a passion for capturing the magic between heartbeats, each moment as unique as she is. Still early in her journey, being herself has already served Cooke well. It has led to over 270M global streams with chart climbing hits like “Never Til Now” with Brett Young, Ryman and Grand Ole Opry debuts, national TV appearances on ABC’s The Bachelorette and NBC’s TODAY , tours with Luke Bryan, Jordan Davis, Cole Swindell, Brett Young, and more.

Hailing from Parkland, Fla. and moved by emotional hit makers like Taylor Swift, Rascal Flatts, Kelly Clarkson, and more, Cooke embraces the energy of pop and depth of country, writing her first song by age 11. Cooke moved to Nashville at 18 and attended the prestigious Belmont University – but unlike so many others, she did not study music. After entering the schools revered Country Showcase on a whim and winning, Cooke decided to pursue music for a year. When the pandemic had other plans, Cooke went to TikTok where she built a thriving fanbase, writing and sharing country music on her own terms.

And now, the next chapter begins with her debut album shot in the dark . Unfolding as if they were ripped from pages of her personal journal, Cooke’s sun-kissed blend of two-lane pop country is on full display in the collection’s 24 tracks, inspired by true tales of love, heartbreak, and all the moments in between. Fully capturing the essence of a daring twenty-something growing up, chasing her dreams, and taking risks, Cooke infuses heartfelt lyrics, captivating melodies, and raw relatability as she invites listeners to come along for the ride. The striking debut has already garnered Cooke praise from Billboard who named her the July 2023 Rookie of the Month, with additional praise pouring in from People, American Songwriter, The Tennessean, and more. Cooke went on to be named MusicRow’s 2023 Discovery Artist of the Year and Next Big Thing and iHeartCountry’s On The Verge artist as her hit single “your place” spins at Country radio stations nationwide.

Celebrity Style

Taylor Swift’s Orange Eras Tour Look Fueled New Album Theories

Karma is real — maybe.

Taylor Swift always has a trick up her sleeve — or nay, wardrobe . During the European leg of her Eras Tour, the singer continues to mix up the colors of her Roberto Cavalli crop top and short skirt sets for the 1989 act. She even mismatched her custom Christian Louboutin ankle boots à la Carrie Bradshaw .

However, while performing in Lyon, France, on June 2, Swift deviated from her recent pattern by sporting a (gasp!) matching set for the 1989 era. Naturally, some fans think this could be yet another clue pointing to her next album, despite the fact that her newest album, The Tortured Poets Department , is only a month old.

Taylor’s New Monochrome Look

While performing in Lyon, Swift wore her first coordinated 1989 ensemble of the European leg, donning a glittering orange crop top and an ombré orange short skirt. The monochrome vibe continued down to her footwear, with Swift choosing orange Louboutin ankle boots rather than mixing up the colors.

Swift has worn both orange pieces before as part of mismatched looks. She paired the ombré skirt with a yellow crop top on May 12 in Paris to represent boyfriend Travis Kelce’s Chiefs colors , since he was in the audience that night. Then she reversed the colors at her May 29 show in Madrid, Spain, to honor the country’s flag.

However, the all-orange look could strengthen a rapidly growing Swiftie theory.

The Orange Theory

Swifties have long speculated that orange would be the color of Swift’s next album, since she has subtly incorporated orange into the Eras Tour since opening night in March 2023, and the color has not represented any of Swift’s eras before. This turned out to be false for Tortured Poets (its color is predominately white ).

However, when the tour resumed in Europe on May 9, Swift doubled down, debuting a new orange-tinged leotard and blazer for the Lover era and incorporating orange into the 1989 looks.

Swift’s new orange looks are causing fans to speculate (again) that the color will indeed represent her next album , with some fans linking it back to the popular Karma theory . Besides being a Midnights track, Karma is also long suspected to be the name of Swift’s “lost album” that fans think she started recording before she pivoted into what became her 2017 album Reputation.

“Karma” was written in orange graffiti in her music video for “The Man,” which fans have used as proof that she will release her “lost album” at some point, perhaps alongside Reputation (Taylor’s Version) . But whether Swift’s use of orange is an Easter egg for Karma, an entirely different album, or nothing at all, she’s likely already planting clues for her next project.

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Hot 100 First-Timers: Ashley Cooke Debuts With Breakup Ballad & Country Hit ‘Your Place’

The song debuts at No. 95.

By Xander Zellner

Xander Zellner

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Ashley Cooke is officially a Billboard Hot 100 -charting artist.

The singer-songwriter debuts at No. 95 on the latest chart (dated June 8) with her single “Your Place.”

Ashley Cooke Dumps a Cheater, and Stakes Out Her Own Artistic Turf, With ‘Your Place’

Released in July 2023 via Back Blocks/Big Loud, the track debuts on the Hot 100 with 23.3 million radio airplay audience impressions and 2 million official U.S. streams May 24-30, according to Luminate. It also holds at its No. 7 high on Country Airplay and climbs 25-23 on Hot Country Songs.

Cooke is just the second woman to reach the top 10 of Country Airplay in 2024, after Lainey Wilson, whose “Wildflowers and Wild Horses” hit No. 5 in May.

In a December interview with Billboard , Cooke shared her experience of dumping a boyfriend after discovering that he had cheated on her and how that inspired her current hit. “In a weird way, writing ‘Your Place’ was kind of my line in the sand of, ‘Hey, I’m going to turn a new leaf and not deal with those kinds of relationships anymore,’ ” she said. “Singing that song every night on tour, you feel that power kind of being put back into who you are and your worth and your respect for yourself. And it’s cool to see people in the crowd also responding to that.”

Trending on Billboard

“As a young person growing up and falling in and out of love — and what you think is love, and what actually isn’t love — I think it’s easy to get so caught up in it,” she shared. “I put up with a lot of stuff in different relationships that, if you listened to my whole debut album, it’s a lot about relationships and about toxicity.”

“Your Place” was produced by Jimmy Robbins, who earns his second Hot 100 entry in that role, following Kelsea Ballerini’s “Half of My Hometown,” featuring Kenny Chesney (No. 53, 2022).

Cooke scored her first overall Billboard chart appearance in April 2022 when “Never Til Now,” with Brett Young, debuted and peaked at No. 5 on Country Digital Song Sales, No. 14 on Digital Song Sales and No. 46 on Hot Country Songs. The track also hit No. 49 on Country Airplay that December. She followed with “It’s Been a Year,” which hit Nos. 2 and 6 on the respective sales surveys.

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Gracie Abrams Plots 2024 ‘The Secret of Us’ Headlining Tour

By Jon Blistein

Jon Blistein

If you purchase an independently reviewed product or service through a link on our website, Rolling Stone may receive an affiliate commission.

Gracie Abrams will hit the road later this year in support of her upcoming second album, The Secret of Us .

The 18-date headlining tour will kick off Sept. 5 in Portland, Oregon, at the Alaska Airlines’ Theater of the Clouds, and wrap Oct. 10 in Portland, Maine, at the State Theatre. Abrams will receive support from singer-songwriter Role Model throughout the tour (except the final show at the State Theatre). 

Tickets for all shows will go on sale June 7 at 10 a.m. local time, while presale is set for June 4 at 10 a.m. local time (registration is open now). Full info is available on Abrams’ website . 

Abrams is set to release The Secret of Us on June 21. She announced the album and shared the cover art at the end of April, describing the LP as “the album that I made with some of my favorite people.” She added: “We had real, true fun writing this album. There were also the occasional tears.”

“This is fully hers,” Abrams wrote of “Risk” and Hobart on Instagram. “Working together on set and at home on our couch is the most fun I have ever had in my life. She is brilliant in all the ways. Love you Aud. We hope you all love our song.”

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Gracie Abrams 2024 Tour Dates

Sept. 5 — Portland, OR @ Alaska Airlines’ Theater of the Clouds Sept. 6 – Seattle, WA @ WAMU Theater Sept. 8 – Berkeley, CA @ The Greek Theatre Sept. 11 – Los Angeles, CA @ Greek Theatre Sept. 15 – Denver, CO @ Fillmore Auditorium Sept. 19 – Irving, TX @ The Pavilion at Toyota Music Factory Sept. 20 – Houston, TX @ 713 Music Hall Sept. 22 – Austin, TX @ Moody Amphitheater at Waterloo Park Sept. 24 – Kansas City, MO @ Uptown Theater Sept. 25 – Minneapolis, MN @ The Armory Sept. 27 – Chicago, IL @ Byline Bank Aragon Ballroom Sept. 29 – Nashville, TN @ Ryman Auditorium Sept. 30 – Atlanta, GA @ Coca-Cola Roxy Oct. 2 – Washington DC @ The Anthem Oct. 4 – New York, NY @ Radio City Music Hall Oct. 8 – Philadelphia, PA @ The Met Philadelphia presented by Highmark Oct. 9 – Boston, MA @ MGM Music Hall at Fenway Oct. 10 – Portland, ME @ State Theatre (without Role Model)

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• All the Surprise Songs Taylor Swift Has Played On The Eras Tour So Far

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Over a year into Taylor Swift’s Eras tour , she has found ways to keep the show fresh and new for those who have been waiting since she opened in Phoenix, Arizona in March 2023 to see her. Since the tour began in the United States last year, Swift has released two rerecorded albums —  Speak Now (Taylor’s Version)  and  1989 (Taylor’s Version)  in addition to a brand-new double album,  The Tortured Poets Department. 

Related Stories

Taylor Swift’s U.S. Fans Flock To Europe To Bag Cheaper Eras Concert Tickets

Taylor Swift: Which Eras Tour Songs Didn’t Make Concert Film & Which Surprise Songs Got In

Every show on the Eras Tour involves an acoustic set where Swift performs at least two songs custom to that night’s show. At first, she wouldn’t allow herself repeats unless she messed up the lyrics to a song, but now, she has done away with that rule and gotten more creative by combining songs in mashups and playing up to four in a segment. The first song or three take place on guitar, and then she shifts to piano for the second half before diving beneath the stage to resume the setlist – which has since contracted and expanded to include a  Tortured Poets Department  era and set .

Below you’ll find Taylor Swift’s surprise songs that she has played most recently in Europe as well as a record of all those she has played on the entire tour so far.

International Leg 2024

• February 6 — “Holy Ground” and “Dear Reader”
• February 7 — “Eyes Open” and “Electric Touch”
• February 8 — “Superman” and “The Outside”
• February 9 — “Come In With the Rain” and “You’re On Your Own Kid”
• February 16 in — “Red” and “You’re Losing Me”
• February 17 — Mashup of “Getaway Car”/”August”/”The Other Side of the Door” and “This Is Me Trying”
• February 18 — Mashup of “Come Back… Be Here”/”Daylight” and “Teardrops on My Guitar”February 23 in Sydney, Australia – “How You Get the Girl” and Mashup of “White Horse/Coney Island” with Sabrina Carpenter
• February 24 — “Should’ve Said No (Naur)” and Mashup of “New Year’s Day/Peace”
• February 25 — Mashup of “Is It Over Now/I Wish You Would” and Mashup of “Haunted/Exile”
• February 26 — Mashup of “Would’ve Could’ve Should’ve/Ivy” and Mashup of “Forever & Always/Maroon”
• March 2  — Mashup of “long story short/The Story of Us” and Mashup of “Clean/evermore”
• March 3 — Mashup of “Mine/Starlight” and Mashup of “I Don’t Wanna Live Forever/Dress”
• March 4 — Mashup of “Foolish One/Tell Me Why” and Mashup of “This Love/Call It What You Want”
• March 7 — Mashup of “Death by a Thousand Cuts/Babe” and Mashup of “Fifteen/You’re On Your Own Kid”
• March 8 — Mashup of “Sparks Fly/gold rush” and “False God/Slut!”
• March 9 — Mashup of “Tim McGraw/Cowboy Like Me” and “Mirrorball/Epiphany”

RELATED: ‘Taylor Swift Vs Scooter Braun: Bad Blood’ Doc Set At Discovery+ UK

April 19 –  The Tortured Poets Department  release day

*Resuming her European tour in 2024 involved an additional set for the record-breaking   The Tortured Poets Department  complete with 7 staple songs. Most — “Fortnight (feat. Post Malone),” “Down Bad,” “But Daddy I Love Him,” “Who’s Afraid of Little Old Me?” “I Can Do It With A Broken Heart,” “The Smallest Man Who Ever Lived” from the first half and “So High School” from the second half. 

• May 9 — “Paris” and “loml”
• May 10 — Mashup of “Is It Over Now/Out of the Woods” and “My Boy Only Breaks His Favorite Toys”
• May 11 — “Hey Stephen” and “Maroon”
• May 12 — Mashup of “The Alchemy/Treacherous” and “Begin Again/Paris”
• May 17 — Mashup of “I Think He Knows/Gorgeous” and “Peter”
• May 18 — “Guilty as Sin” and Mashup of “Say Don’t Go/Welcome to New York/Clean”
• May 19 — Mashup of “Message in a Bottle/How You Get the Girl/New Romantics” and “How Did It End?”
• May 24 — Mashup of “Come Back…Be Here/The Way I Loved You/The Other Side of the Door” and Mashup of “Fresh Out the Slammer/High Infidelity”
• May 25 — Mashup of “Now That We Don’t Talk/The Tortured Poets Department” and Mashup of “You’re On Your Own Kid/Long Live”
• May 29 — Mashup of “Sparks Fly/I Can Fix Him (No Really I Can)” and Mashup of “I Look in People’s Windows/Snow on the Beach”
• May 30 – Mashup of “Our Song/Jump Then Fall” and “King of My Heart”
• June 2 – Mashup of “The Prophecy/Long Story Short” and Mashup of “Fifteen/You’re On Your Own Kid”
• June 3 – Mashup of “Glitch/Everything Has Changed” and “Chloe or Sam or Sophia or Marcus”
• Mashup of “Would’ve Could’ve Should’ve/I Know Places” and Mashup of “‘Tis the Damn Season/Daylight”

RELATED: ‘Taylor Swift: The Eras Tour’ Writes Her Name As No. 7 In Deadline’s 2023 Most Valuable Blockbuster Tournament

• March 17 — Mirrorball” and “Tim McGraw”
• March 18— “State of Grace” and “This Is Me Trying”
• March 24 — “Our Song” and “Snow on the Beach” 
• March 25 — “Cowboy Like Me” with Marcus Mumford and “White Horse”
• March 31 — “Sad Beautiful Tragic” and “Ours”
• April 1 — “Death by a Thousand Cuts” and “Clean”
• April 2 — “Jump Then Fall” and “The Lucky One”
• April 13 — “Speak Now” and “Treacherous”
• April 14 — “The Great War” with Aaron Dessner and “You’re on Your Own, Kid”
• April 15— “Mad Woman” with Aaron Dessner and “Mean”
• April 21 — “Wonderland” and “You’re Not Sorry”
• April 22— “A Place in This World” and “Today Was a Fairytale” 
• April 23 — “Begin Again” and “Cold as You”
• April 28 — “The Other Side of the Door” and “Coney Island”
• April 29 — “High Infidelity” and “Gorgeous”
• April 30— “I Bet You Think About Me” and “How You Get the Girl”
• May 5 in — “Sparks Fly” +  Speak Now (Taylor’s Version) Album Announcement  and “Teardrops on My Guitar”
• May 6 — “Out of the Woods” and “Fifteen”
• May 7— “Would’ve, Could’ve, Should’ve” with Aaron Dessner and “Mine”
• May 12 — “Gold Rush” and “Come Back…Be Here”
• May 13 — “Forever & Always” and “This Love”
• May 14 — “Hey Stephen” and “The Best Day”
• May 19  — “Should’ve Said No” and “Better Man” 
• May 20 — “Question…?” and “Invisible” 
• May 21 — “I Think He Knows” and “Red”
• May 26 — “Getaway Car” with Jack Antonoff and “Maroon” 
• May 27 — “Holy Ground” and “False God”
• May 28 — “Welcome to New York” and “Clean”
• June 2 in “I Wish You Would” and “The Lakes”
• June 3 in — “You All Over Me” with Maren Morris and “I Don’t Wanna Live Forever”
• June 4 Chicago, Ill. — “Hits Different” and “The Moment I Knew”
• June 9 — “Haunted” and “I Almost Do”
• June 10 — “All You Had to Do Was Stay” and “Breathe”
• June 16 — “Mr. Perfectly Fine” and “The Last Time”
• June 17 — “Seven” with Aaron Dessner and “The Story of Us”
• June 23 — “Paper Rings” and “If This Was a Movie”
• June 24 — “Dear John” and “Daylight”
• June 30 — “I’m Only Me When I’m With You” and “Evermore”
• July 1— “Ivy” with Aaron Dessner, “I Miss You, I’m Sorry” with Gracie Abrams and “Call It What You Want”
• July 7 — “Never Grow Up” and “When Emma Falls in Love”
• July 8  — “Last Kiss” and “Dorothea”
• July 14 — “Picture to Burn” and “Timeless”
• July 15 — “Starlight” and “Back to December”
• July 22 in — “This Is Why We Can’t Have Nice Things” and “Everything Has Changed”
• July 23 — “Message in a Bottle” and “Tied Together With a Smile”
• July 28 — “Right Where You Left Me” and “Castles Crumbling”
• July 29 — “Stay Stay Stay” and “All of the Girls You Loved Before”
• August 3 – “I Can See You” and “Maroon”
• August 4 — “Our Song” and “You Are in Love”
• August 5 — “Death By a Thousand Cuts” and “You’re On Your Own Kid”
• August 7 —“Exile” and “Dress”
• August 8 —“I Know Places” and “King of My Heart”
• August 9 — “New Romantics”  + “1989 (Taylor’s Version)”Album Announcement  and “New Year’s Day”

RELATED: Taylor Swift Breaks Yet Another Record In The UK, After A Historical Week On Spotify

International Leg 2023

• August 24 — “I Forgot That You Existed” and “Sweet Nothing”
• August 25 — “Tell Me Why” and “Snow on the Beach”
• August 26 — “Cornelia Street” and “You’re on Your Own, Kid”
• August 27 —“Afterglow” and “Maroon”
• November 9 —“The Very First Night” and “Labyrinth”
• November 10 — Cancelled Due to Rain
• November 11 — “End Game” and Mash-Up of “Out of the Woods” & “Is It Over Now?”
• November 12 — “Better Than Revenge” and “Slut!”
• November 17 — “Stay Beautiful” and “Suburban Legends”
• November 19 — “Dancing. With Our Hands Tied” and “Bigger Than the Whole Sky”
• November 20 — “Me!” and “So It Goes”
• Nov. 24 — “Now That We Don’t Talk” and “Innocent”
• Nov. 25— “Safe and Sound” and “Untouchable” 
• Nov. 25 — “Say Don’t Go” and “It’s Time to Go”

RELATED: Matty Healy Reacts To Taylor Swift’s “Diss Track” From ‘The Tortured Poets Department’

Songs That Haven’t Been Played Yet:

From Taylor Swift (her debut album):

• “Mary’s Song (Oh My My My)”
• “A Perfectly Good Heart”

Fearless (Taylor’s Version)

• “Change”
• “Superstar”
• “We Were Happy”
• “That’s When (feat. Keith Urban)”
• “Don’t You”
• “Bye Bye Baby”

Speak Now (Taylor’s Version)

• “Foolish One”

Red (Taylor’s Version)

• “Girl at Home”
• “Forever Winter”
• “Run (feat. Ed Sheeran)”

1989 (Taylor’s Version)   –  All songs have been played at least once [except for “Sweeter Than Fiction (Taylor’s Version)]

Reputation  – One of two rerecorded albums awaiting release.

• “I Did Something Bad”
• “London Boy”
• “Soon You’ll Get Better (feat. The Chicks)”
• “It’s Nice to Have a Friend”
• “Epiphany”
• “Hoax”
• “Happiness”
• “Long Story Short”
• “Closure”

Midnights All songs have been played at least once.

The Tortured Poets Department

• “So Long London”
• “Florida!!!”
• “I Can Fix Him (No Really I Can)”
• “Clara Bow”
• “The Black Dog”
• “imgonnagetyouback”
• The Albatross
• “Chloe or Sam or Sophia or Marcus”
• “I Hate It Here”
• “thanK you aIMee”
• “I Look in People’s Windows”
• “The Prophecy”
• “Cassandra”
• “Peter”
• “The Bolter”
• “Robin”
• “The Manuscript”

Grab-bag (songs not attached to specific albums):

• “I Heart ?”
• “Ronan”
• “Only the Young”
• “Renegade”
• “The Alcott”
• “Gasoline”
• “Beautiful Eyes”
• “Beautiful Ghosts”
• “Sweeter Than Fiction”
• “Carolina”

RELATED: ‘Taylor Swift: The Eras Tour’ Movie Profits

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Sturgill Simpson to release new album under a new name, embark on 2024 concert tour

A decade following the breakout success of his May 2014-released album "Metamodern Sounds in Country Music," Sturgill Simpson has announced not just his forthcoming eighth album — July 12's "Passage Du Desir" — under a new alias, Johnny Blue Skies, but also a 28-date North American tour.

Famously, Simpson noted he would only release five studio albums under his name. His Johnny Blue Skies debut will be released via his own independent label, High Top Mountain Records. Simpson (credited as Johnny Blue Skies) and David Ferguson co-produced songs recorded at Nashville, Tennessee's Clement House Recording Studio and London's Abbey Road Studios .

"Passage Du Desir" is currently available for pre-order at shop.sturgillsimpson.com .

The Passage du Desir is a shopping district in downtown Paris' 10th arrondissement, or district, located a 20-minute drive east of the Eiffel Tower.

In a 2021 feature for the Nashville Tennessean , part of the USA TODAY Network, Simpson noted that he idealized a career in which he was free of making records that sustained a self-branded industry as a machine.

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"To me, that sounds like prison. It's a job, you're a politician."

Instead, the past decade has seen him achieve Grammy-winning acclaim for five full-length studio albums, two COVID-19 quarantine bluegrass projects — "Cuttin' Grass Vol. 1 and Vol. 2" — and acting in film and television roles, including "The Dead Don't Die," " Queen & Slim ," " Killers of the Flower Moon ," and " The Righteous Gemstones ."

Regarding the sound that his Johnny Blue Skies debut could encompass, he offered to The Tennessean in 2021 that he would need to "(have) something to say" and be "really excited about" a "really great idea for a record." 

"I'll put it this way, if I go back into the studio it'll be because I thought of the complete and total reinvention that gets me excited," Simpson said. "But it won't be my name. I'm done with that all that."

Sturgill Simpson tour 2024 tickets: What you need to know

Fans are being asked to register before tickets go on sale. Registration for the pre-sale is open until June 10 at 8:59 p.m. PT or 11:59 p.m. ET via sturgillsimpsonlive.com  for early access to the artist pre-sale starting June 12 at 10 a.m. local time. A limited number of tickets will be available for the general public on June 14 at 10 a.m. local time while supplies last.

Sturgill Simpson tour 2024 dates

• Aug. 9-11 – San Francisco @ Outside Lands Festival
• Sept. 14 – Los Angeles @ The Greek Theatre
• Sept. 15 – Santa Barbara, California @ Santa Barbara Bowl
• Sept. 17 – West Valley City, Utah @ Maverik Center
• Sept. 19 – Bend, Oregon @ Hayden Homes Amphitheater
• Sept. 20 – George, Washington @ The Gorge Amphitheatre
• Sept. 22 – Missoula, Montana @ KettleHouse Amphitheater
• Sept. 24 – Moorhead, Minnesota @ Bluestem Center for the Arts Amphitheater
• Sept. 25 – Minneapolis @ Roy Wilkins Auditorium
• Sept. 27 – Lexington, Kentucky @ Rupp Arena
• Sept. 28 – Detroit @ Fox Theatre
• Oct. 1 – Chicago @ Salt Shed
• Oct. 2 – Chicago @ Salt Shed
• Oct. 4 – Brandon, Missouri @ The Brandon Amphitheater
• Oct. 4-6 – Austin, Texas @ Austin City Limits Music Festival
• Oct. 8 – Oklahoma City @ Criterion
• Oct. 9 – Rogers, Arkansas @ Walmart AMP
• Oct. 11-13 – Austin, Texas @ Austin City Limits Music Festival
• Oct. 15 – St. Louis @ Fabulous Fox Theatre
• Oct. 18 – Pittsburgh @ Petersen Events Center
• Oct. 19 – Forest Hills, New York @ Forest Hills Stadium
• Oct. 21 – Ashville, North Carolina @ ExploreAsheville.com Arena
• Oct. 22 – Cary, North Carolina @ Koka Booth Amphitheatre
• Oct. 24 – Duluth, Georgia @ Gas South Arena
• Oct. 25 – Nashville, Tennessee @ Bridgestone Arena
• Nov. 12 – Philadelphia @ The Met
• Nov. 15 – Hampton, Virginia @ Hampton Coliseum
• Nov. 18 – Washington, D.C. @ The Anthem
• Nov. 20 – Toronto @ Massey Hall
• Nov. 21 – Toronto @ Massey Hall
• Nov. 23 – Boston, Massachusetts @ MGM Music Hall at Fenway

Contributing: Taijuan Moorman, USA TODAY