We Speak Music

Marsha Bartenetti Releases Joyful New Single “Hallelujah I Just Love Him So”

Published

1 year ago

May 28, 2025

A Fresh Take on the Ray Charles Classic

Acclaimed vocalist Marsha Bartenetti is set to release her latest single, “Hallelujah I Just Love Him So,” on May 18, 2025, offering an infectious, swing-infused take on the Ray Charles rhythm & blues classic. This gender-flipped version—originally titled “Hallelujah I Love Her So”—brims with authenticity, heartfelt vocals, and an electrifying arrangement that brings new light to a timeless tune.

Recorded at the renowned Ocean Way Studios in Nashville and finished at Blue Moon Studios in Agoura Hills, CA, the track features a stellar lineup of musicians including:

Kevin Madill – Piano

Aaron Currie – Electric Guitar

Stephan Oberhoff – Hammond B3 Organ

Marcus Finnie – Drums

Danny O’Lannerghty – Bass

Brian Scanlon – Saxophone

Overdubs and vocals were captured under the careful engineering of Joe Vannelli, with production by Stephan Oberhoff, Donny Marrow, and Marsha Bartenetti. The track was mixed by Oberhoff at The Creation Station East in Fairview, TN, and mastered by Grammy-winner Eric Boulanger at The Bakery in Los Angeles.

Described as “joyous, infectious, and a driving swing shuffle,” Bartenetti’s interpretation gives room for three of her featured soloists to stretch out and shine, telling a musical story that’s as vibrant as it is heartfelt.

Since returning to the stage in 2015, Bartenetti has released four studio albums and two singles through Disk Eyes Productions, with producers Donny Marrow and Stephan Oberhoff at the helm. Her recent singles will be compiled into a forthcoming 2025 EP.

Marsha’s music is available internationally via Amazon, iTunes, Apple Music, YouTube, and Spotify.

A smooth, expressive singer with a signature tone and emotional depth, Bartenetti is known for crossing genres in pursuit of great lyrics, always delivering with sincerity and soul. Her performances at celebrated Los Angeles venues such as Herb Alpert’s Vibrato, Catalina Jazz Club, and Upstairs at Vitello’s have earned her standing ovations and devoted fans.

Originally from the San Francisco Bay Area, Bartenetti first broke into the music scene in the late 1960s, performing with her then-husband’s band and sharing bills with acts like The Youngbloods. In 1980, she was named Best Vocalist by the American Songwriter’s Association International Contest, which opened the door to collaborations at Motown Records with legendary writers Ken Hirsch and Ron Miller—whose hits include “For Once In My Life,” “If I Could,” and “Touch Me In The Morning.”

Bartenetti honed her voice under the guidance of iconic vocal coach Judy Davis, whose roster included the likes of Frank Sinatra, Barbra Streisand, and Judy Garland.

With “Hallelujah I Just Love Him So,” Marsha Bartenetti proves once again that great songs live forever—and when delivered by a voice this rich, they soar even higher.

We Speak Music

Naomi Aguilera casts her spell with her new single BB ILY

Published

2 hours ago

October 16, 2026

Morgan

Two years ago, Naomi Aguilera walked onto my radar with EGO, an infectious soulful pop debut that made it impossible not to move. Fast forward to her debut EP Mosaïques, and it was clear she wasn’t just passing through. Personal, colorful, rooted in her Spanish heritage & Brussels upbringing, it even earned her a spot as Apple Music Benelux’s Up Next artist!

Now she’s back with BB ILY, marking the start of a new era. The bilingual single — French and English — is built around one of the most universal human experiences: that special connection that doesn’t need translation. Where EGO invited you to forget your ex on the dancefloor, BB ILY pulls you somewhere more intimate: with sultry beats courtesy of Turana, it’s a dance where gestures, whispers, sighs and the sound of a voice matters more than the words that come out of it… It’s sensual, a little mystical, and entirely her own.

First taste of Naomi Aguilera’s upcoming project Ojalá, due in 2027, it feels effortlessly catchy. This is the kind of track that casts its spell quietly, with interesting and unexpected rhythmic shifts in the verses, and a delicious chorus that lodges itself in your head before you even notice. By the time you do, it’s too late. But you won’t find me complaining about it!