Archive: September 2010 (71-80 of 152)

Sep 15 2010 12:53 PM ET

Sara Bareilles tops Billboard 200 albums chart

Sara Bareilles earns her first No. 1 album on the Billboard 200 albums chart with Kaleidoscope Heart. Her sophomore effort tops the chart with 90,000 copies sold. Eminem‘s Recovery lifts one rung to No. 2, selling 81,000 albums. The Now 35 compilation drops one to No. 3 and 63,000 units moved, while Katy Perry‘s Teenage Dream keeps its No. 4 spot with 59,000 copies sold.

Last week’s No. 1, Disturbed’s Asylum, trips to No. 5, selling 57,000 copies. Stone Sour’s Audio Secrecy opens at No. 6 with 46,000 albums moved. Interpol’s self-titled offering starts at No. 7, selling 38,000 sets. With 35,000 copies sold, Justin Bieber’s My World 2.0 keeps his No. 8 standing.

Anberlin’s Dark Is the Way, Light Is a Place comes in at No. 9 in its opening week with 31,00 albums sold. And the soundtrack to Camp Rock 2: the Final Jam falls down one to No. 10 with 31,000 copies sold.

It was a pretty quiet week on the chart. Who do you think is going to be the next artist to shake things up? (Next week Linkin Park and Trey Songz will both make their debuts.) Let us know what you think.

More on the Music Mix:
Jay-Z, Eminem, and their hip-hop super friends bring ‘Home and Home’ tour to Yankee Stadium
Kanye West’s ‘Runaway’ studio version: Love it or hate it?
Soul legend Mavis Staples on her new, Jeff Tweedy-produced CD

John Mayer quits Twitter
‘True Blood’ season finale: The story behind ‘Evil (Is Going On)’

Sep 14 2010 02:45 PM ET

New 'Glee' music: Hear the cast cover 'Empire State of Mind'

The Glee season two premiere is a week away but the first song off the episode has leaked: a New Directions’ cover of Jay-Z’s and Alicia Keys’ blockbuster hit “Empire State of Mind.” Artie (Kevin McHale), Finn (Cory Monteith), and Puck (Mark Salling) appear to be tackling much of the rapping while the rest of the glee club, particularly Mercedes (Amber Riley), handle Keys’ incredible chorus. Listen below…

What do you think Music Mix-ers? Is this a cover Jay-Z would approve? Or reject?

More on the Music Mix:
Jay-Z, Eminem, and their hip-hop super friends bring ‘Home and Home’ tour to Yankee Stadium
Kanye West’s ‘Runaway’ studio version: Love it or hate it?
Soul legend Mavis Staples on her new, Jeff Tweedy-produced CD

John Mayer quits Twitter
‘True Blood’ season finale: The story behind ‘Evil (Is Going On)’

Sep 14 2010 02:24 PM ET

Nick Cave talks about the new Grinderman CD, Katy Perry's 'chubby' fingers, and why EW needs to stop wasting his time with all these stupid questions

Categories: Music, New Stuff, Nick Cave, Tours

GrindermanImage Credit: Deirdre O'CallaghanYou know those people who do suffer fools gladly? Yeah, Nick Cave is really not one of them.

“The last three questions you could have f—ing Googled, mate!” the Australian novelist, screenwriter, and singer-songwriter snorted at your writer on a recent morning in New York. His words were harsh. But were they fair?

Well, not really. For one thing, the questions in, well, question had concerned the then as-yet-unannounced, and un-Googleable, touring plans of Grinderman, the band which comprises Cave and three members of his Bad Seeds backing group (drummer Jim Sclavunos, bassist Martyn Casey, and multi-instrumentalist Warren Ellis). And for another thing, I had started the encounter by saying some—deservedly—nice things about the quartet’s new CD Grinderman II, which is out today.

Grinderman’s follow-up to the band’s eponymous, raw 2007 debut once again finds Cave strapping on a guitar to mine a gritty, crazed blues seam while, this time around, also finding space for a touch of bizarro soul in the form of the track “Palaces of Montezuma.” Meanwhile, those who relish Cave’s twisted way with a lyric will most definitely not be disappointed by a CD which at one point summons up the image of JFK’s spinal cord wrapped in Marilyn Monroe’s negligee.

The result is, in turn, fascinating, brilliant, and at times fairly darned harrowing. That’s also pretty much what talking to its creator is like, as you can find out after the jump when Cave and Jim Sclavunos discuss their latest opus, unexpectedly muse on the delights of the Gérard Depardieu-Andie MacDowell rom-com Green Card, and, rather more predictably, urge the man from EW to “try harder!”

READ FULL STORY »

Sep 14 2010 12:49 PM ET

Jay-Z, Eminem, and their hip-hop super friends bring 'Home and Home' tour to Yankee Stadium

Jay-Z-Kanye-Nicki-MinajImage Credit: Kevin Mazur/WireImage.com“Let’s go, Yankees,” chanted fans last night in the Bronx, New York, home of Major League Baseball’s defending champions. But they weren’t there to see Derek Jeter or Alex Rodriguez smash it out of the park. The sold-out crowd filled the new Yankee Stadium to see two of hip-hop’s greatest and most accomplished talents, Eminem and native son Jay-Z, bring the young venue its first show.  Two weeks ago, the combo kicked off the first half of their Home and Home mini-tour at Detroit’s Comerica Park. There Em, was the night’s closer. But on Monday night, he set things off.

The chants flipped to cheers when Em’s spacey intro began on the jumbo screen. Like Star Wars movies begin–with a storyline text appearing as we travel across the galaxy–so did his, chronicling his heavily covered road from troubled drug addict to sobriety. “You are here to witness,” it concluded, “Eminem’s RECOVERY.”

In a black tee, shorts, and a matching hooded sweatshirt pulled over his head, Em crept on stage to “Won’t Back Down,” rapping with fierce intensity. As he spit on the track, “Shady’s got the mass appeal.” And was apparent. From jump, fans made the Motor City rhymer feel right at home, rapping along word-for-word.

“Politically correct” and Eminem don’t go together. Animations of a redneck with a mullet and his beat-up car were met with laughs when he performed “W.T.P. (White Trash Party).” His fans are a different kind of breed—a more twisted bunch who somehow relate to some of his most violent and mortifying lyrics like, “B—-, I’mma kill you” from the aptly titled “Kill You.” And they obeyed his command to raise their middle fingers and say, “F— you, momma!” before he launched into “Cleanin’ Out My Closet.”  After a brief set with his group D12, B.o.B, who opened the show, came back out to perform his “Airplanes” alongside Em, but that guest appearance was just a warm up for what was to come.

Find out who the other surprises were and how Jay-Z did after the jump.

READ FULL STORY »

Sep 14 2010 12:08 PM ET

Kanye West's 'Runaway' studio version hits the Web: Love it or hate it?

Categories: Kanye West

Kanye-West-VMAsImage Credit: Kevin Mazur/WireImage.comKanye West‘s “Runaway” held 11 million pairs of eyes in rapt attention when he debuted it at the MTV Video Music Awards on Sunday night. But how compelling is the song itself without all the televised spectacle, when it’s just another MP3 on your iPod on a random weekday? Now that NYC radio DJ Funkmaster Flex has debuted West’s studio version of “Runaway” online, we have an answer. And I like “Runaway” even better this way than I did at the VMAs.

Away from all the pyrotechnics and backward-bending ballerinas, it’s easier to hear how much effort West put into “Runaway.” The production is up there with his best recent work, layering ominous synth thrums in several shades over the coldly plinking keys that open the track. His lyrics are plain-spoken and unpolished, perhaps too much so at times, but there’s no denying their emotional power. While West’s last album was widely praised for its vulnerability, the dominant mood on 808′s & Heartbreak was self-pity. Here he casts a much harsher and more critical eye on his own flaws, especially in that sure-to-be-divisive chorus: “I always find something wrong/You’ve been putting up with my s— just way too long/I’m so gifted at finding what I don’t like the most,” West admits, later adding, “Never was much of a romantic/I could never take the intimacy.” Some might see mere shock value in West’s apparent description of himself as a “douchebag,” a “scumbag,” and other less printable terms, but to me his self-loathing feels bracingly real. As a nerdy rap blogger, I am also professionally obligated to note that the Clipse’s Pusha T hands in a typically sterling guest verse. (I am a sucker for an Ichabod Crane reference.)

What do you think of West’s “Runaway” now that the studio version is out there? How does it compare to “Power,” “Monster,” and the other new tunes he’s released lately? Share your thoughts in the comments below.

(Follow the Music Mix on Twitter: @EWMusicMix.)

More on the Music Mix:
Soul legend Mavis Staples on her new, Jeff Tweedy-produced CD

John Mayer quits Twitter
‘True Blood’ season finale: The story behind ‘Evil (Is Going On)’
Inside the VMAs: What you didn’t see on TV

Sep 14 2010 11:53 AM ET

'Waiting for Superman' shows: Elton John, Elvis Costello, and Jeff Bridges to play documentary-inspired benefit concerts

Elton-JohnImage Credit: Sylvain Gaboury/PR PhotosElton John, Elvis Costello, Jeff Bridges, Gregg Allman, John Mellencamp, and other stars will perform at a pair of shows to benefit The Participant Foundation, which supports music and arts education in public schools. The concerts will take place on October 16 at the Wang Center in Boston and October 20 at the Beacon Theater in New York City.

The shows are being curated by famed producer T Bone Burnett and are timed to coincide with the release of the documentary Waiting for Superman, which explores the state of public education. The film is directed by Davis Guggenheim who previously made the Oscar-winning An Inconvenient Truth.

The concerts are the first to be presented under the banner of The Speaking Clock Revue and will feature a house band. “The privacy and the intimacy of the studio afford artists the freedom to create,” Burnett explained in a statement, “but something thrilling happens in getting away from the machines and into the live communication of real time storytelling in the larger community. We are looking forward with great anticipation to getting The Speaking Clock Revue up and running this fall and continuing it in the years to come.”

Early in his career, Burnett played with the Bob Dylan-featuring Rolling Thunder Revue, which toured extensively during the mid-’70s. After the jump you can find a clip of Dylan and the Rolling Thunder band performing the legendary songsmith’s track “Isis,” as well as the trailer for Waiting for Superman.

Tickets for The Speaking Clock Revue shows go on sale Monday, September 27 at noon, through Ticketmaster.

More on the Music Mix:
Soul legend Mavis Staples on her new, Jeff Tweedy-produced CD

John Mayer quits Twitter
‘True Blood’ season finale: The story behind ‘Evil (Is Going On)’
Inside the VMAs: What you didn’t see on TV

Sep 14 2010 09:37 AM ET

Mavis Staples: The legendary singer on her new, Jeff Tweedy-produced CD—and the day Bob Dylan asked for her hand in marriage

Mavis-StaplesThere aren’t many singers who end an interview by asking if their interrogator wants a hug. Actually, in this writer’s experience, there is just one: Mavis Staples.

Yes, Staples, 71, may be more, literally, open-armed than most music legends, but she is 100% deserving of that title nonetheless. The vocalist’s family band, the Staple Singers, first hit the charts way back in 1956 with the gospel track “Uncloudy Day.” In the ’60s the group—which was led by Mavis’ father Pops—hung out with Bob Dylan, and covered Buffalo Springfield’s “For What It’s Worth.” In the  ’70s the band scored a string of soul-pop hits, including “Respect Yourself,” “I’ll Take You There,” and “Let’s Do It Again”.

The latter track was produced by Curtis Mayfield, who temporarily nudged the Staples Singers away from their usual “message”-based lyrical terrain into more lusty territory. “We got into the studio and Curtis said, ‘Now, Pops, this is your part,’” recalls Staples. “And Curtis sang, ‘Now, I like you, lady…’ Pops said, ‘Curtis, I’m not going to say that. I’m a church man!’ And Curtis said, ‘Oh, Pops, come on, man. The Lord won’t mind!’”

The Staple Singers’ soul-funk grooves, and Mavis Staples’ deep, soulful, vocals, attracted a raft of famous fans. They performed with The Band on the latter’s concert movie The Last Waltz and Prince produced two solo albums for Staples—1989′s Time Waits for No One and 1993′s The Voice.

Pops Staples died in 2000, but his daughter continues to perform—and to attract famous name collaborators. Ry Cooder produced her 2007 set “We’ll Never Turn Back,” while Wilco head honcho, and Staples’ fellow Chicagoan, Jeff Tweedy oversaw her latest collection “You Are Not Alone.” On the CD, which is released today, Staples tackles songs by John Fogerty, Randy Newman, Pops Staples, and two numbers penned by Tweedy, including the title track. She also sings the traditional number “Wonderful Savior”—a song the Wilco frontman made her record in a freezing stairwell. Hey, that’s no way to treat a living legend! “No!” agrees Staples, with a laugh. “I told him, ‘Tweedy, it’s cold out there, this is Chicago!’ We had the coldest winter in I don’t know how many years. It had to be like ten below. And you know this stairwell is even colder. I said, ‘I’m not going out there!’ He said, ‘Someone get Mavis a coat and a hat and a scarf and some gloves! And, Mavis, go out there with the rest of the guys and sing the song!’ So I did. And the song sounded so good, I suggested doing it again, but we had gotten it that first time.”

Of course she had. She’s Mavis Staples!

After the jump, Staples talks about how she came to work with “Tweedy” in the first place—and how she almost became Mrs Robert Zimmerman.

READ FULL STORY »

Sep 13 2010 05:49 PM ET

John Mayer quits Twitter

Categories: John Mayer

john-meyerJohn Mayer has closed his Twitter account. According to the AP, a spokesperson for the singer-guitarist and enthusiastic multi-media communicator said that he had quit because his Battle Studies Tour is “now at a close and a return to the studio planned.” More than 3.7m people followed Mayer on the social networking site.

Personally, I’m untroubled by this news. Mayer will apparently continue to communicate with fans via his blog and, in truth, he seems more suited to a wordier format, as he recently demonstrated with his lengthy, and fairly hilarious, attack on the Huffington Post. Also, as wise person once said: “Today’s Twitter quitter, might be tomorrow’s Twitter un-quitter.” I think that was Aristotle. Or maybe Amanda Bynes.

What do you think about Twitter’s latest quitter?

More on the Music Mix:
‘True Blood’ season finale: The story behind ‘Evil (Is Going On)’
MTV VMAs: We’re live-blogging it!
Inside the VMAs: What you didn’t see on TV
Kanye vs. Taylor, Round 2: Is there a winner here?
Lady Gaga announces title of her upcoming new album during VMA speech, steals show

Sep 13 2010 01:59 PM ET

'True Blood' season finale: The story behind the episode's titular song 'Evil (Is Going On)'

Categories:

TRUE-BLOOD-FINALEImage Credit: Doug Hyun/HBOAnother spectacularly bloody, true-death-gooey season of fangs, flesh, and fairies came to an end last night, and—no spoiler alerts!—EW spoke with the show’s music supervisor, Gary Calamar, to get the backstory behind their rerecording of the classic blues song for which the finale episode was named.

Calamar, who also handles all the music for Dexter, House, and Men of a Certain Age, as well as holding a long-running DJ spot on LA indie station KCRW, tells EW of covering Howlin’ Wolf’s iconic song “Evil (Is Going On)” with CC Adcock and “Bad Things” singer Jace Everett: “We were looking for a sort of signature song, and we wanted to have our own. We love Howlin’ Wolf, but we just wanted to have something a little fresher, something exclusive.”

Indeed, Everett and Adcock’s version features a few unexpected guests:  Calamar’s own eight-year-old daughter and two friends, including the young daughter of Say Anything actress Ione Skye, who is also stepdaughter to Australian musician Ben Lee. (The girls may sing on the song, but don’t worry; they aren’t allowed to watch the show.)

Stream the track—also found on the show’s second-volume soundtrack, released in May—after the jump: READ FULL STORY »

Sep 13 2010 12:57 PM ET

will.i.am attacked online for 'blackface' makeup at VMAs pre-show, hits Twitter to defend himself

will-i-amImage Credit: Kevin Mazur/WireImage.comKanye and Taylor weren’t the only talking pieces after last night’s VMAs. Black Eyed Peas leading man will.i.am also sparked up a bit of controversy when he performed alongside rapper Nicki Minaj during the pre-show. Though not purposefully, the eccentric rapper and producer known for his futuristic costumes ticked off some of his fans after wearing an all black leather outfit and matching black makeup all over his face.

Instantly the Twitterverse hopped on their computers and smartphones to cry foul, comparing his makeup to the racist 19th century blackface minstrel shows. When Will caught wind of the criticism, he responded through his Twitter account to defend his costume choice.

“1st. just because I where all black including head mask as expression and emphasize my outfit, it shouldn’t be looked at as racial…,” he tweeted. “Let go of the past. there are far more important things 2 bark about. (Jobs, health, education) not a black man wearing all black everything,” he followed. Then after noticing that people were still attacking him, he asked, “Are you guys serious? my outfit set “black people back 100 yrs” choose your twits wisely. no education sets people back, no jobs, bad health.”

Personally, I think these accusations are nuts. In the past Will has participated in various causes for uplifting black people–really, all people. He was one of the first artists to campaign, promote, and support Barack Obama’s presidential run years ago and frequently returns the impoverished East Los Angeles neighborhood he grew up in to speak to its children. And let me not forget to mention that he does all of this philanthropic work during breaks from making huge pop records that boast positive messages.

If there’s anything that Will’s guilty of, it’s giving people the benefit of the doubt and hoping that his costume would be seen simply as interesting, fun, and artsy. I, for one, knew the peanut gallery would think otherwise. I can’t say I loved his makeup. Will probably should have known that more than a few people would be peeved and nixed it. But I’m pretty sure that there was nothing malicious behind the concept.

What do you think? Was Will’s makeup a slap in the face to African Americans or just an eccentric’s mistake? Sound off in the comments below.

More MTV VMAs coverage on EW.com:
MTV VMAs: We’re live-blogging it!
Inside the VMAs: What you didn’t see on TV
Kanye vs. Taylor, Round 2: Is there a winner here?
Lady Gaga announces title of her upcoming new album during VMA speech, steals show
Kanye West apologizes to Taylor Swift: ‘I only want to do good.’
VMAs: 15 terrible fashion choices

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