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In a review for Holler, Soda Canter described the album as finding "Top soaring through an array of diverse and intriguing song selections.It's material that triumphantly succeeds in representing his rural Washington upbringing and natural sentimentality, while propelling his exceptional artistic range front and center", and gave the album a 9.5 out of 10 ranking. [1]
Zach Top was born on September 26, 1997, [3] and grew up on a ranch in Sunnyside, Washington. He got his musical start performing as part of a bluegrass band with his siblings called Top String. [4] In 2015, Top relocated to Boulder, Colorado where he enrolled in mechanical engineering at the University of Colorado Boulder.
After signing a recording contract with Fat Wreck Chords, they changed their name to Rise Against, and released The Unraveling in 2001, and Revolutions Per Minute in 2003. Rise Against switched to Geffen Records the following year, and made its major record label debut with Siren Song of the Counter Culture .
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"Sounds Like the Radio" is a song by American country music singer Zach Top. It was released on January 8, 2024, as his debut single to country radio. [1] It served as the lead single to Top's second studio album, Cold Beer & Country Music. [2] Top co-wrote the song with Carson Chamberlain and Wyatt McCubbin, with Chamberlain also producing it.
Revolutions per Minute is the second studio album by American punk rock band Rise Against, released on April 8, 2003, by Fat Wreck Chords.After establishing a fanbase with their 2001 debut, The Unraveling, the band members wanted to record an album that distinguished them from other Fat Wreck Chords bands of the time.
Country Central writer Will Chapman wrote that the song "as well as a classic voice, Zach Top has plenty of personality, and just like the greats he seeks to follow in the footsteps of, he puts a high premium on witty lyrics." [5] Taste of Country placed it at number 17 on its list of the Top 40 Country Songs of 2024. [6]
The progression is also used entirely with minor chords[i-v-vii-iv (g#, d#, f#, c#)] in the middle section of Chopin's etude op. 10 no. 12. However, using the same chord type (major or minor) on all four chords causes it to feel more like a sequence of descending fourths than a bona fide chord progression.