Rapper Naledge (pictured, left) and producer Double-0 (right) are spending the afternoon riding with me in a black SUV as their driver takes us on a full circuit around the island of Manhattan. Along the way they blast their third album as a duo, Land of Make Believe, which is due March 9. The University of Pennsylvania alums see it as their most personal release yet. “As an emcee, I’ve been good at expressing generalities and being playful and witty and telling allegories and fables and third-person stories,” says lifelong Chicagoan Naledge. “That’s not what this is. This album is me.”
Last week, dozens of bold-faced names gathered to sing a new edition of “We Are the World,” but the music industry’s outpouring of support for the devastation in Haiti doesn’t stop there. The star-studded, Simon Cowell-produced remake of the R.E.M. classic, “Everybody Hurts,” hit U.K. radio last week. The song is melancholy and inspiring, especially considering the contributions from such folks as diverse as Leona Lewis, Miley Cyrus, Mariah Carey, Susan Boyle, Rod Stewart, and Jon Bon Jovi. But it’s the recently released video, which is filled with tragic images from the mess in Haiti, that will get your waterworks really going:
How many times during that six minutes did you whip out your cell phone and text $10 for Haitian relief? Yah, that’s what I thought. I can’t wait to see my cell phone bill this month.
But, Music Mixers, what are you thinking of this R.E.M. remake? Are does it move you to give? Buy? Do you think that this is better than the forthcoming “We Are the World” remake will be?
Josh Turner is the youngest male member of the Grand Ole Opry, and why wouldn’t he be? The guy’s sold millions of records and scored two No. 1 country hits (“Your Man” and “Would You Go with Me”), and his baritone could melt paint off a Buick. On the eve of his fourth album, Haywire — whose first single, “Why Don’t We Just Dance,” is on its way to the top of the charts, too — we interrupted Turner’s tour rehearsals to chat, and apparently ask a real stumper of a first question.
Entertainment Weekly: Are you going to be offended if I sometimes think of you as country music’s Rick Astley?
Josh Turner: Country music’s what now?
Country music’s Rick Astley.
I don’t know who that is. [laughs]
You remember Rick Astley!
No, I don’t.
[Lamely sings] “Never gonna give you up, never gonna let you down…” He was a pop singer in the 1980s. Are you too young to remember?
I’m not too young, I just didn’t listen to pop music in the ‘80s.
He was this young, good looking guy, but he had this crazy deep voice that sounded like it was coming out of someone else entirely. You remind me of him.
I’ll take it as a compliment. READ FULL STORY »
My friends and I just about stood up and cheered when Volkswagen’s big Super Bowl ad aired last night. Not just because we’re fans of Tracy Morgan and Stevie Wonder, who make cameo appearances in the spot, or because we enjoy the immortal sport of punch buggy — but because the ad was accompanied by the bright piano chords and sweetly rising harmonies of Grizzly Bear’s “Two Weeks,” one of the best singles of last year. Great tune + funny ad = win.
Speaking of Wins, indie rock got some more shine last night from all those NFL promos using Arcade Fire’s 2004 breakout song “Wake Up.” (In a generous gesture, Arcade Fire donated all of the no-doubt hefty licensing fees to Haiti relief.) Who knew the Canadian band’s emotional music would go so naturally with the all-American macho display of the Super Bowl?
Watch the Grizzly Bear/Volkswagen ad again below, then let us know: What was your favorite music moment in last night’s Super Bowl ads?
Why did I volunteer to write about the Super Bowl halftime show? Because I was looking forward to making some cheap gags about old age, decrepitude, and people who threaten to leave us before they get old, and yet never do.
Alas, Brett Favre didn’t make it to the Super Bowl. So, let’s talk instead about The Who, the latest in a now fairly long line of veteran rockers entrusted with the task of entertaining an audience of millions without repeating Janet Jackson’s mistake of flashing too much flesh.
Actually, it could be argued Who guitarist Pete Townshend failed on the latter point given he repeatedly exposed his stomach as the band performed a set that included snippets from “Pinball Wizard,” “Baba O’Riley,” and “Won’t Get Fooled Again.” But mostly it seemed to me that the whole shebang served as a reminder of what a terrific live act they remain, as well as freshly proving there are few things cooler than drum cymbals decorated in a “mod”-stylee.
What about you? Did the British legends talk to all the generations out there? Or was this just The Who by the numbers?
You want your National Anthem sung right? You call an American Idol alum. At least that seems to be the consistent (and, to be honest, correct) message brought to you by the good folks of the NFL. Last year’s Super Bowl found Jennifer Hudson singing “The Star-Spangled Banner,” while this year’s NFC and AFC conference championship games brought Kris Allen and Jordin Sparks to the mic to get in touch with their inner patriots (national, not New England). And for tonight’s all-eyes-are-locked-on-it game, we got Idol‘s season 4 champ and ubiquitous country queen Carrie Underwood offering her own (not-surprisingly) exquisite twist on the National Anthem.
Clad in a dazzling white pantsuit, a top that looked like it was made from the scales of a silver reptile, and a pair of “whoa, mama!” platform heels (in other words, your basic Storm Trooper chic), Carrie stepped up to the mic without a hint of nervousness and delivered the goods under pressure. This wasn’t a make-it-your-own “Star-Spangled Banner,” but rather, a traditional rendition that was clear, powerful, and heartfelt. But honestly, when it comes to the National Anthem, do we really want singers taking liberties with the melody? For the love of Francis Scott Key, I would like to offer my own resounding answer to that question: “Heck, no!” And so, The Lady Underwood keeps intact a record of vocal spotlessness* that would be the envy of even an Indianapolis fan. In other words…well played, Ms. Underwood, well played.
Jill Scott plays the head of The No. 1 Ladies’ Detective Agency on HBO, but the singer-actress might be heading to court in real life after her longtime label Hidden Beach Recordings filed a lawsuit against her earlier this week in L.A. According to Hidden Beach, which has released each of Scott’s official albums, from 2000′s Who is Jill Scott? Words and Sounds Vol. 1 through 2007′s The Real Thing: Words and Sounds Vol. 3, Scott left the label abruptly last fall with three albums still remaining on her contract. Hidden Beach is seeking damages to compensate for the loss of potential revenue from the albums it believes Scott promised. (If the case proceeds to trial, expert testimony could help determine the value of the allegedly undelivered albums.)
I am not usually one to shill for Vh1 programming on this blog, unless it’s for the music Tom Sizemore hears in his head on Celebrity Rehab, but the channel’s Soul Train: The Hippest Trip in America, which airs Saturday night at 9:30pm ET/PT, should not be missed.
Terrence Howard narrates the documentary, Roots drummer Ahmir “Questlove” Thompson scores it, and countless icons spanning the show’s 40-year run, including Aretha Franklin, Chaka Khan, Sly Stone, Smokey Robinson and Snoop Dogg, appear as talking heads.
But the real star of Hippest Trip is the show itself: Archival clips from its early beginnings as a local program in Chicago in 1970 and on through its move—both geographical and cultural—to Los Angeles, where its social impact reached far beyond hair styles and hot-minute singles.
Soul Train‘s producer and host, Don Cornelius, is still the man with the best baritone this side of James Earl Jones (and his snazzy outfits leave Darth Jones in the dust). The guests, from Ike & Tina to Public Enemy, are amazing—not to mention some of the first musicians to appear live on TV in a time when lip-synching was considered de rigueur. And the dancers, future stars Rosie Perez and Jody Watley among them, are insanely fun to watch. If you can toot your caboose half as well this crew on the infamous Soul Train Line, while looking one-tenth as fashion bananas, you are a champion.
Or, you could just make love to a red rose, rock the bejesus out of a pair of yellow poly pants and a brown silk arm sling, and be Al Green:
Seriously, tune in tomorrow night. If you have ever loved R&B, soul, hip hop, music, television, or joy, it is worth your time.
“HwOOD $IgN I$ oFFiciaLLY My bIZnatCH!!!!! Good work2allmyHoTCULpritss!! LOOK AT THE SIGN LA!” wayward drunk-pop star Ke$ha twittered at 3:20 a.m. today, and soon, the above video emerged, purportedly showing the former Ms. Sebert and her girlfriends draping a bedsheet over the Hollywood Sign and relabeling it “Ke$hawood.”
Spoon’s music has often been about doing a lot with a little. See, for example, the indie rockers’ video for “Written in Reverse,” the first single from their excellent new album Transference. In the black-and-white clip, the members of Spoon play their ripping tune in front of some mirrors. A press release notes that director Danny Clinch captured a live in-studio performance of “Written in Reverse,” separate from the version you’ll find on Transference.
So, Spoon rocking out in black and white. That’s about it — and that’s all it needs to be, I’d say. This song is too immediate in its appeal to require a high-concept treatment. Watch the video below and see if you agree.
Allow Kidz in the Hall to reintroduce themselves.
Jill Scott plays the head of 
