Red Hiding Hood this weekend? Then whet your fangs on actress Amanda Seyfried’s eerie acoustic cover (available here for purchase) of Sam the Sham & The Pharoahs’ “L’il Red Riding Hood,” exclusively here at EW’s Music Mix: READ FULL STORYCan’t wait to see the atmospheric horror-fairy-tale
Tag: Covers (71-80 of 145)
Today in Covers: Katy Perry does Gaga's 'Born This Way,' and Selena Gomez does Jessie J's 'Price Tag'
On Sunday night at a concert in in Houston, Disney princess Selena Gomez made her love for rising poptress Jessie J apparent with a stirring performance of “Price Tag,” while yesterday, Katy Perry did the same thing with current Lady Gaga anthem “Born This Way.” (Note the screams as she uttered the opening line, “My mama told me when I was young / that we were already superstars.” This crowd loves Gaga!)
The criticism I’ve heard of both covers doesn’t have anything to do with how Selena or Katy performed the songs, but rather that they performed them at all. Is it a bit early for one pop star to be covering other pop stars’ songs that are currently on the charts?
I don’t know what the protocol is, but I get why that would seem a little egregious: Basically, these covers could be seen as plays for attention. Like, are your own songs—or even older songs by other artists—not enough to generate the buzz you desire? Regardless of that line of thinking, I still rather enjoyed both covers, especially Katy’s acoustic take on “Born This Way.” Watch them both here:
Some call her unoriginal, some call her crazy, but the one thing most everyone can agree upon is that Lady Gaga is powerful. So who better to grace the cover of Vogue‘s annual Power Issue than the pop star herself? Forsaking her m.o. of incomprehensible dresses and painful-looking headgear, Gaga is photographed in a breezy white gown and subdued pink wig that looks more colorfully roaring ’20s than her usual avant-garde fare. But it’s actually refreshing to see Gaga’s real — albeit heavily makeuped — face not hidden behind couture architecture.
In the article, Gaga talks about her highly anticipated single, which hits radio stations this Friday, David Bowie and rocking out to Beethoven as a child.
Lil Wayne and Wiz Khalifa square off in 'Black and Yellow' NFL Super Bowl remix: Which 'Yellow' is better?
The football field isn’t the only place the Pittsburgh Steelers and Green Bay Packers are squaring off. Along with the upcoming Super Bowl comes a remix of “Black and Yellow,” Wiz Khalifa’s ‘Burgh-loving anthem, from rap titan Lil Wayne. His “Green and Yellow,” named after the Wisconsin team’s uniform colors, basically declares Green Bay will be raising the Lombardi trophy come Sunday. “Terrible towels?/ That s—’s boring/ We got the ball/ You know we’re scoring” Wayne raps over the Stargate production.
Prince rocks Madison Square Garden: The superstar serenades Leighton Meester and gets a dance assist from Jimmy Fallon
I was a Prince concert virgin before last night and, now, I’m not really sure how I’ve lived the last 31 years without seeing the purple-lovin’ icon perform live. The tiny superstar, currently in the midst of his “Welcome 2 America” tour, was redonkulously good. He had the Madison Square Garden crowd on their feet for almost the entire show. I’m always so happy when small people are able to succeed—it gives me hope. Prince performed a whole slew of his greatest hits, including “Purple Rain” and “Rasberry Beret” (sadly my fave Prince jam, “Seven,” was not featured). He was accompanied by a slammin’ live band as well as three back-up singers who I named “NeNe Leakes,” “Stevie Knicks,” and “Grace Jones” due to their similarities to each of those lovely ladies. And then there where the Twins: Prince had twin female back-up dancers/singers who resembled Nicole Scherzinger and were clad in skin-tight ensembles, many of which included sequins. Needless to say, I was obsessed with them. Look for me to push for them to make a cameo on Glee. I’m gonna make these ladies happen!
Prince also had some celebrity assistance last night. Best of all was when he brought up Gossip Girl‘s Leighton Meester from the audience and serenaded her with “I Love You But I Don’t Trust You Anymore.” Then, Meester walked off with his sweat towel which was a tad gross but oddly sweet. Sharon Jones and the Dap Kings, who opened for the singer, dueted on Prince’s hit, “A Love Bizarre,” with Jones taking the Sheila E. part. Towards the end of the show, Prince did a rollicking cover of “Dance (Disco Heat)” and brought up a slew of people from the audience to dance onstage, including Meester and talk show host Jimmy Fallon.
For those of you Music Mix-ers who are in New York, there’s one more show on Feb. 7th. You must go! Who knows what other Gossip Girl castmember Prince will pull up on stage?!? That alone is worth the price of admission!
Willow Smith only has one hit single to her name so far, but she’s already thinking about remaking one of her dad’s signature tunes. The “Whip My Hair” mini-diva told Yahoo! that she’s considering covering DJ Jazzy Jeff and the Fresh Prince‘s 1988 classic “Parents Just Don’t Understand.” “There’s a possibility that I will,” she’s quoted as saying (h/t Idolator). “It’s a really great song.”
Indeed it is. Let’s salute young Willow for recognizing how awesome DJ Jazzy Jeff and the Fresh Prince were, and not rolling her eyes just because the Fresh Prince is her old man. Would that every 10-year-old today had the same level of appreciation for lighthearted late-’80s hip-hop. (Watch the original video after the jump.)
And yet…how drastically would “Parents Just Don’t Understand” have to be retooled to fit on 2011′s radio playlists? Can Willow Smith actually rap? Would it be weird to hear her complaining about non-understanding parents, considering the fact that her actual parents are universally beloved movie stars?
So many questions for something that’s still just a vague “possibility.” For now, you tell us: Is this a good idea or not? Would you like to hear Willow Smith cover “Parents Just Don’t Understand”? READ FULL STORY
It’s been nine years since Huey Lewis and the News released a new CD. But the band who scored twelve top-10 hits (including “The Power of Love” from Back to the Future) during the ’80s has just released Soulsville, a tribute record to the ’60s soul songs of the Memphis-based Stax record label. Once I got over the fact that Lewis is now 60 years old (!), I quizzed him on his new sound…and whether he knew he was MTV VJ Dave Holmes’ childhood crush.
ENTERTAINMENT WEEKLY: You recorded much of Soulsville in Memphis. How else did you get into the mood besides being there?
HUEY LEWIS: First of all, you listen to the songs a lot by yourself. You do all that work by yourself, like an actor would. You develop a whole backstory of what this character’s going through and you find a voice for the guy who’s going through this, who’s singing this song.
A lot of the songs on the record involve physical and emotional turmoil. Yet your persona is very happy-go-lucky and positive.
It’s true, I do like cheering people up. A buddy of mine in the Tower of Power horns used to say to me, “It’s a big job, cheering up the world, No. 1.” He calls me “No. 1.” I’m unapologetic about the happy part of it, and I would submit to you that many of these songs—“Never Found A Girl,” “Just the One (I’ve Been Looking For)”—are in fact happy.
So have you always been a frustrated soul singer doing pop music? Or do you feel like you were able to infuse some soul into your pop records?
Rather than record chestnuts like “Knock On Wood” or “In the Midnight Hour” and give them a modern interpretation, we thought it would be cooler to go into the catalog a little deeper and find songs that people hadn’t heard and capture them faithfully. And oddly enough, when it was all said and done, I had this amazing feeling—and several critics have pointed this out—that it wasn’t all that dissimilar from Huey Lewis and the News [music]. So I realized, “S—! I really was influenced by this soul!” I never heard that in our music. I thought our music was more rock ‘n’ roll. But there you go.
You avoided some very well-known songs like “Sitting on the Dock of the Bay,” but you were willing to follow Bruce Willis, who had a hit with “Respect Yourself.”
I never heard his version. I really didn’t.
Do you now feel like you’re a part of the Memphis soul community? Or are they hesitant to admit a blue-eyed member?
Well, I was just in Memphis, and this guy comes up to me and says, “I was James Brown’s road manager for 15 years, and I want to tell you something.” And he whispers in my ear, “You were the only white boy James ever liked.” That’s awesome. Get out of here!
With Elton John and Rod Stewart in the top 10 of the album chart, it’s a good time for artists in their 60s. But it’s still hard to sell records after a certain age, isn’t it?
There’s people out there that don’t buy a CD all year. The market has just shrunk. Ten million people bought the Sports record when there were 200 million people in America. One out of 20 owned the stupid thing. So there’s got to be a market out there. But how you get to them, I have no idea. And you know what? I’m not interested.
How do you keep from getting depressed that you can’t play the big concert venues that you used to?
I got a very good life. I sold plenty of records, I get recognized plenty, I can always have somebody call up and get me a fine table at a restaurant. What do you really need, ultimately? The only part that’s surprising to me is I always thought if you have a sold-out house of 20,000 people and you do a fabulous show, that they’re going to come back and see you every time you play. I’ve had many people tell me that they saw me at Blossom [outside Cleveland] in ’85 and it was the best rock ‘n’ roll show they’ve ever seen. And so I say to them, “When did you last see us?” And they say, “That was it.” It’s like, “We’ve played there every year since!” But that’s the way it happens. That’s the part of it that I never understood. But I do now.
Did you hear about the “It Gets Better” video that the former MTV VJ Dave Holmes posted, where he said that seeing you at the beginning of the “I Want A New Drug” video made him realize he was gay? Here, I’ll play it for you.
That’s cute. I’m flattered! That’s sweet. I remember when I filmed that scene, I didn’t wear a shirt, I wore boxer shorts. It was the Paul Newman scene in The Sting; that’s where I swiped it. Paul Newman wakes up and he’s hung over and fills the sink with ice and puts his head in the ice. So that was just a rip-off of that scene.
Check out Huey and the boys performing the album’s title track:
good party. And apparently, this one ends in tears.If there’s something we know our beloved little wayward beehive enjoys, it’s a
The 27-year-old Grammy winner returned to the studio recently for the star-strewn Quincy Jones release Q: Soul Bossa Nostra, due November 9, with her Back to Black producer (and recent subject of a Wino tweet-spanking) Mark Ronson.
You can hear their recording of Lesley Gore’s 1963 teenage cri de coeur “It’s My Party”
over at NYmag.com (via Soundcloud). The RonHouse pairing proves as Spector-esquely fruitful as ever—though frankly, whether the reasons are stylistic or substance-related, Amy’s penchant for slurring her vocals yields something closer to “Ish My Parrry.”
What do you think? Tell us in the comments section below.
(Follow The Music Mix on Twitter: @EWMusicMix.)
Finally, we can just listen to Taylor Swift sing and not worry about decoding her lyrics. (Right?) Promoting her new album Speak Now in Britain, Swift did an acoustic cover of Coldplay’s “Viva La Vida” for BBC Radio 2. Watch it below. Once you get past the cameraman repeatedly focusing on Swift’s left hand when it looks like she’s giving someone the middle finger (she’s just playing her guitar), it’s a captivating performance that reminds you that Swift is most powerful when she shows her confidence by sitting and staring down the camera (not when she’s dancing, flipping her hair, getting soaked with water, or having a costume ripped off of her to reveal another one).
“Viva La Vida” certainly fits her voice, as do the song’s king and castle references. This is, after all, the girl who saw herself as a princess in “Love Story” and then not as a princess in “White Horse.” You may also recall that New Age pianist and composer Jon Schmidt arranged a mash-up of “Love Story” and “Viva La Vida” last year. Watch that below as well. As Schmidt explains in his video, “Love Story” was his daughter’s favorite song and she loved the key change — when the girl thinks the boy has been scared off, but he returns to tell her that he talked to her and she should go pick out a white dress. When he was arranging the song, he wanted to extend that moment. “It just felt like it should go to ‘Viva La Vida,’” he said, laughing. Looks like Swift was a fan. READ FULL STORY
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