Blake Morgan is a New York-born and-based singer/songwriter, multi-instrumentalist, producer and the founder and President of ECR Music Group. In his role as President of ECR Music Group, Morgan’s ideas, opinions and editorials on music and the music business have been regularly published by a number of major media outlets including The New York Times, Billboard Magazine, CNN, Newsweek, Variety, The Hill, NME, The Huffington Post, and The Guardian. He also lectures frequently at The Georgetown University Law Center, California State University, Syracuse University,NYU’s Clive Davis Institute of Recorded Music, American University and his alma mater, Berklee College of Music. His music advocacy has taken him to Capitol Hill numerous times where, as the founder of the #IRespectMusic movement, he continues to fight for musicians rights in the digital age. As a producer, Morgan has collaborated with a who’s who of contemporary music from Lenny Kravitz to Lesley Gore.
Since the release of 2013’s Diamonds in the Dark, Morgan has been extremely busy: he has a remarkably six-year run of sold-out shows at Rockwood Music Hall that often feature guest spots from a number of Grammy and Tony Award-winning artists, who join him for unique, on-stage collaborations; 150,000 miles of touring and sold-out shows on both sides of the Atlantic; and production work on over 20 albums by some serious A-list artists.
Late last year, the New York-born and-based singer/songwriter, multi-instrumentalist, producer and music biz exec released “Down Below Or Up Above” to praise from the likes of The Aquarian, Post-Punk.com, Culture Catch and my dear friends at Glamglare. “Down Below Or Up Above” will appear on Morgan’s long-awaited fifth album Violent Delights, which is slated for a May 20, 2022 release through ECR Music Group.
“My Love Is Waiting” is the rousingly anthemic, second single off Morgan’s forthcoming album. Centered around twinkling keys, atmospheric synths, an enormous arena rock friendly hook and Morgan’s plaintive vocals, “My Love Is Waiting” is a defiant and brazenly hopeful love song that’s specifically meant to get people up from their seats to dance and shout along with it. But it’s also the sort of upbeat love song, which views love as the most important force of our lives and that is very rare. Sonically, the song nods at The Police‘s “Every Little Thing She Does Is Magic,” as well as Joe Jackson and JOVM mainstays Palace Winter. And that’s a result of old-fashioned craftsmanship paired with an uncanny knack for a well-placed razor sharp hook.
“If I had only three minutes to play anyone anything from this new record, I’d pick these three minutes,” Morgan says in press notes. “It’s a brazen love song that dares you not to get out of your chair.” He goes on to add that the song was inspired by more than just the power pop and post-punk influences that he’s best known for. “This track has specific Easter-eggs in it connected to The Police’s ‘Every Little Thing She Does Is Magic,’ a track I’ve been mesmerized by since I was a kid. I hadn’t intended an indirect homage when we recorded it, but there’s some juicy stuff in there if you hunt for it.”
Directed by genre-defying filmmaker Alice Teeple, the accompanying video for “My Love Is Waiting” is shot in a gorgeous, cinematic black and white, and follows a dapper, black suit clad Morgan in a swooning love letter to New York that begins in Coney Island and through the subway system. Inspired by William Friedkin’s classic The French Connection and Jules Dassin’s The Naked City, the video is “classic, old-school New York cinema mixed with rock and roll,” the New York-born and-based Morgan says in press notes. “There are only two characters in it– me, and New York.”
Directly contrasting the dark, 1940s noir aura of “Down Below or Up Above,” “My Love Is Waiting” was shot in daylight, as a way to reflect the hopefulness of the accompanying song. “We wanted motion, propulsion––just like the song itself has. A modern-day music video crossed with Walter Hill’s The Warriors, full of energy, and full of hope,” Morgan continues. “We also wanted to keep to the aesthetic of the whole record, as we did with the first video: one of classic cinema, where you’re not quite sure what decade this video was shot in. Alice and I both live and breathe that stuff. It’s why we have such a short-hand vocabulary when working together.”