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By her own account, Ingrid Michaelson admits she is often heavily hooked into the female, acoustic singer-songwriter genre. It's done her a heap of good over the years of course. But one can't fault her desire to shake free from such pigeonholing...something she has done quite well with her new single dubbed "Parachute".

In our latest segment of The Guest Apartment, Ingrid stops by for a session at Rockwood Music Hall...a venue the independent NYC based artist most likely came up through all those years ago (though we put her in the venue's fancy new venue next door). Regarding the new tune, Ingrid declares it "a little bumped up, a little more pop...a little more grown up". Though she and her band did strip things down just a bit for our cameras, one can hear the contrast of the new tune when paired with other back catalogue favorites like "Everybody", "Maybe", and perennial fan favorite "The Way I Am". Cut with face-to-face interview footage, our latest episode of The Guest Apartment provides a special look into an artist we couldn't be more pleased to have had the opportunity to work with. David Pitz

Transcript

Baeble Music.
Hi, this is Ingrid Michaelson and you are watching Baeble Music.
I don't tell anyone About the way you hold my hand
I don't tell anyone about the things That we have planned
Won't tell anybody, won't tell anybody They want to see me fall
They want to see you fall down Won't tell anybody
That you turn the world around Won't tell anyone
That your voice is my favorite sound Won't tell anybody, won't tell anybody
They want to see us fall, They want to see us fall down
I don't need a parachute, baby, if I've got you
Baby, if I've got you, I don't need a parachute.
You're gonna catch me You're gonna catch if I fall
(Down, down, down) Don't believe the things
You tell yourself so late at night You are your own worst enemy
You'll never win the fight (You'll never win the fight)
Just hold on to me, I'll hold on to you It's you and me up against the world
It's you and me.
I don't believe anything
I don't trust anyone anymore But I believe you when you say
We're never gonna fall.
Hand behind my neck
Arm around my waist Never let me hit the ground
You'll never let me crash (Down)
I don't need a parachute Baby, if I've got you
Baby, if I've got you I don't need a parachute
You're gonna catch me You're gonna catch if I fall
(Down, down, down) I don't need a parachute
Baby, if I've got you Baby, if I've got you
I don't need a parachute You're gonna catch me
You're gonna catch if I fall I won't fall out of love
I won't fall out of I won't fall out of love
I won't fall out of I won't fall out of love
I won't fall out of I won't fall out of love
I'll fall into you I won't fall out of love
I won't fall out of I won't fall out of love
I won't fall out of I won't fall out of love
I won't fall out of I won't fall out of love
I'll fall into you (I'll fall into you)
I don't need a parachute, Baby, if I've got you
Baby, if I've got you I don't need a parachute
You're gonna catch me You're gonna catch if I fall
I'll fall into you I don't need anyone but you
I don't need a parachute, Baby, if I've got you.
Baby, if I've got you I don't need a parachute
You're gonna catch me You're gonna catch if I fall down
The new single is called parachute and it's a song that I wrote with a friend of mine last year.
And a woman over in the UK named Cheryl Cole did a version of it on her album and she did very well with it over there.
And I went to the UK to promote my own music and I ended up playing that song at all these radio stations because everybody knew who she was because she's a super star over there.
And I kind of fell in love with it and we...my producer of my last record put together this kind of funky production of it, and I just wanted to do it for myself so we put it out a couple weeks ago on iTunes.
I think I'm heavily hooked into the singer/songwriter genre, the female acoustic thing, and this is a little bit more...it’s a little bumped up. It's a little more pop.
It's got a little bit more of an edge to it sonically, I think.
I think anyway.
Who knows? So I think, I think, I think, I think.
So, yeah, it's definitely a bit of a…it feels a little more grown-up, you know.
It's kind of a strip down, more acoustic feel than normal but I like it.
We have fallen down again tonight In this world, it's hard to get it right
Trying to make your heart fit like a glove
And what it needs is love, love, love Everybody, everybody wants to love
Everybody, everybody wants to be loved.
Oh, oh, oh. Oh, oh, oh.
Everybody, everybody wants to love Everybody, everybody wants to be loved
Oh, oh, oh Oh, oh, oh
Happy is the heart That still feels pain
Darkness drains And light will come again
So open up your heart And let it in
Just let the love, love, love begin Everybody, everybody wants to love
Everybody, everybody wants to be loved Oh, oh, oh. Oh, oh, oh.
Everybody, everybody wants to love.
Everybody, everybody wants to be loved.
Oh, oh, oh.
Oh, oh, oh.
Oh, everybody knows the love,
And everybody holds the love And everybody falls for love
Everybody feels the love And everybody steals the love
Everybody heals with love Oh, oh, oh
Just let the love, love, love begin Everybody, everybody wants the love
Everybody, everybody wants to be loved Oh, oh, oh
Just let the love, love, love begin Everybody, everybody wants the love
Everybody, everybody wants to be loved Oh, oh
Just let the love, love, love begin
Everybody knows the love (Everybody, everybody wants the love)
And everybody holds the love (Everybody, everybody wants to be loved)
And everybody falls (Oh, oh, oh)
For love (Oh, oh, oh)
Everybody feels the love (Everybody, everybody wants the love)
And everybody steals the love (Everybody, everybody wants to be loved)
And everybody heals Oh, oh, oh
With love (Oh, oh, oh)
(Everybody, everybody wants the love) Oh, everybody
(Everybody, everybody wants to be loved) Oh, everybody
(Oh, oh, oh) Oh, everybody
(Oh, oh, oh) Oh, oh, oh, oh, oh, oh
(Everybody, everybody wants the love) Oh, everybody
(Everybody, everybody wants to be loved) Oh, everybody
(Oh, oh, oh) Oh, everybody
(Oh, oh, oh) Oh, oh, oh, oh, oh, oh
Oh, oh
I think it's more of, like, "Hey, I'm capable of doing other things because I don't know where the next album is going to go.
I don't know exactly know what direction I'm going in.
I'm not going to stray so very far away from where I am now.
I mean, I write pop music basically, whether it's produced in a poppy way, or a rock way or a folky way.
My melody is in my… You know, innately that's what I do.
But how it's dressed up, I don't know how that's going to happen yet.
Yeah, it's more like just me saying, “Hey, I can do other things.
” I don't want to be the one to say goodbye. But I will. I will. I will.
And I don't want to sit on the pavement while you fly
But I will.
I will.
Oh, yes, I will.
And maybe, in the future,
You're gonna come back.
You're gonna come back round.
And maybe, in the future, You're gonna come back.
You're gonna come back round.
Oh, the only way to really know is to
Really let it go And maybe you're gonna come back
You're gonna come back You're gonna come back to me
And I don't want to be the first to let it go. But I know. I know. I know.
If you have the last hands that I want to hold,
Then I know that I've got to let them go And maybe, in the future,
You're gonna come back.
You're gonna come back round.
And maybe, in the future, You're gonna come back.
You're gonna come back.
Oh, the only way to really know is to
Really let it go.
And maybe you're gonna come back.
You're gonna come back.
You're gonna come back
I still feel you on the right side of the bed
I still feel you in the blankets pulled over my head
But I'm gonna wash away.
Oh, I'm gonna wash away
Everything till you come home to me.
And maybe, in the future,
You're gonna come back.
You're gonna come back.
In the future, You're gonna come back.
You're gonna come back.
Maybe, in the future,
You're gonna come back.
You're gonna come back round.
Maybe, in the future, You're gonna come back.
You're gonna come back.
Oh, the only way to really know is to
Really let it go.
Maybe, you're gonna come back.
You're gonna come back The only way to really know
Is to really let it go.
Maybe you're gonna come back
You're gonna come back You're gonna come back to me
You're gonna come back to me You're gonna come back to me
The music that I like the best is music that I can really understand, and relate to and sort of fit into my experiences.
So I like when people can take my words, and kind of infuse them into their life, and understand and know they're not alone in their thoughts because here I am singing the same thing that you've thought every day.
And in turn, I get to know that I'm not alone because then they're telling me that they feel the same way.
I remember this one woman told me that her daughter had been in a car accident and was mentally, like, brain damage had occurred, and she was not quite all there anymore.
And the only songs that made her smile were my songs.
The way she just teared up when she told me…there's so many times where you just gloss over compliments because you hear them a lot.
People are, "I know you’ve heard this all of the time but you're so amazing, you're amazing, you're awesome," and you're like, “Thank you.
You know, that's weird but thank you.
”And you kind of get, like, immune to it.
Not that you don't appreciate it but you almost don't believe it, you know.
And then somebody will come along and say something like that, and it stops you in your tracks and you just feel like, “Okay, I guess I am doing this for a reason other than being applauded every night.
” If you were falling, then I would catch you.
If you need a light, then I'd find a match.
‘Cause I love the way you say good morning.
And you take me the way I am.
If you are chilly, then here take my sweater.
If your head is aching,
then I'll make you better.
‘Cause I love the way
You call me baby.
And you take me the way I am.
I'll buy you Rogaine when you start losing all your hair
I'll sew on patches to all your tear.
‘Cause I love you
More than I could ever promise.
And you take me the way I am.
You take me the way I am.
You take me the way I am.

Artist Bio

When she walks into a store in her Brooklyn neighborhood, Ingrid Michaelson is rarely recognized. But once she hands over her credit card to pay, the clerk often pauses, brightens up, and enthusiastically offers a bit of trivia: 'Did you know that there's a singer named Ingrid Michaelson?' This reaction is fitting because Michaelson has earned both acclaim and a loyal following due to her knack for crafting beautiful, idiosyncratic songs ('The Way I Am,' 'Maybe,' 'Keep Breathing') that just nestle in your head. Her new single 'Parachute' is a perfect example of that, showcasing a seamless stylistic growth in melody and beat while nurturing the sound that Ingrid's fans have come to know and love. Image has never been her priority, but let the record show that her librarian-chic style has nonetheless received a shout-out in The New York Times.

Michaelson's grassroots sensibility has worked like gangbusters: Her music, often about love and relationships, has been steadily wafting out of your television set for roughly four years now, be it in an Old Navy ad or in handfuls of Grey's Anatomy episodes (not to mention countless other series such as One Tree Hill, Ugly Betty, and Scrubs) or on VH1 as an artist You Outta Know. The New York Times marveled at how she was 'singing her way from obscurity to fame.' Billboard trumpeted her as the face of the new music business. NPR declared, 'Ingrid Michaelson is everywhere.'

The release of the soaring, blissful 'Parachute'a one-off track available only as a downloadis milestone of sorts for Michaelson. After turning 30, she found herself itching to grow as a songwriter. 'I feel like I've exhausted so many possibilities of writing, as a female singer-songwriter,' she says. For a year and a half, Michaelson had a big, hook-laden song playing out in her mind, so she recruited writer-producer Marshall Altman to help her hash out what would become 'Parachute.' Its fantastical video, directed by Adria Petty (Beyonc, Regina Spektor, Duffy), features the singer as latter-day Amelia Earhart who flies through space rescuing dying planetsa nod to her lyrics' increasingly optimistic bent.

'It didn't feel like something I could put out because it was so poppy,' Michaelson says, happy to give it to another artist. 'We shipped it off for people to take a gander and see who would pick it up.' It took producer, Dan Romer, who worked with Michaelson on her second full-length, 2009's Everybody, to convince her to record it herself. Says Michaelson: 'He kind of jumped on the project, did this really interesting, funky production, and sent it to me. It was rad and cool and different. We put some new vocals on it, and I was like, 'I love it!''

Such serendipity has graced the singer throughout her whirlwind career. The Staten Island-raised daughter of classical-music composer Carl Michaelson, she took piano lessons from the age of five and starred in plays during her grade-school years. Michaelson went on to study musical theater at Binghamton University in upstate New York, where she sang in an a cappella group. After graduating, she cultivated her interest in music by performing at a coffee house where she worked as a barista. She was teaching theater to kids when she got a fateful call in 2006 from a music manager named Lynn Grossman who discovered Michaelson's homegrown music on her MySpace page.
Within a few months, Michaelson's music could be found sound-tracking the romantic-surgical debauchery Grey's Anatomy with songs such as the cascading 'Breakable' and the melancholic lullaby 'Keep Breathing.' A music supervisor for Old Navy just happened to catch the episode featuring the latter and snapped up the cooing, calypso-inflected 'The Way I Am' for one of the company's commercials. (The song ultimately went platinum.) Radio play followed, just in time for the release of her 2007 full-length debut, Girls and Boys (out on Cabin 24, her own imprint). This all happened in about a year. 'We really had a lot of luck, and then we worked really hard to be in the position we're in nowadays,' says Michaelson, who has since released an EP, 2008's Be OK, and a follow-up album, Everybody (both via the Cabin 24 label)each proving fertile resources for music licensors.

Michaelson has spent the past three years on the road and will head out again this October and November on headlining jaunts through the U.S. and Australia. Upon her return, she'll work on her third full-lengthdue in 2011 on Ingrid's own Cabin 24 in partnership with Mom+Popwhich will explore the themes of life and death. (One song is tentatively titled 'The Battle of Brooklyn,' about a Revolutionary War skirmish.) Sonically, the upcoming album will fall 'somewhere between Judy Garland's music and Beyonc and St. Vincent,' the adventurous Michaelson says excitedly, before adding, 'not that I'm gonna come out and have an alter ego!'

For tour dates, news, and merchandise, head to IngridMichaelson.com

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Ingrid Michaelson

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