Black activist Al Sharpton led a march against racist and sexist language in music on Thursday, targeting the big record companies three weeks after he pushed for the firing of radio host Don Imus because of an on-air racial slur.
A crowd estimated at about 400 turned out for the midtown Manhattan march past Universal Music Group and other record company buildings, shouting phrases such as "Decency Now" and "Enough is Enough."
Hey! Is that the bass line from 'You Dropped a Bomb On Me' by The Gap Band? No, but the beginning of the song sure sounds like it. Only recently dropping their new single, entitled 'Makes Me Wonder,' Maroon 5 wields the seventies flavored funk that made their debut Songs About Jane such a sensation only a few years ago.
Singer Adam Levine, in this particular song at least, sounds less like Stevie than he has in previous tracks, and leans more toward the verbal flava of Jamiroquai's J.K. With the band's jazzy meter as the back beat, combined with a contagious chorus, 'Makes Me Wonder' surely provides 2007 with a great summer dance song.
Although one of the more obscure bands to come out of the British Invasion, Peter & Gordon are notable if only for being the first British act, after The Beatles, to take the number one spot in America. Incidentally, it was the duo's performance of the previously unrecorded Lennon/McCartney composition, 'A World Without Love,' that garnered the much coveted top slot on the American charts.
When the group formed in 1963, duo member Peter Asher's sister, Jane Asher, was dating McCartney at the time. Such a connection would provide much of the artistic capital necessary to launch Peter & Gordon across the Atlantic and onto regular radio airplay. However, in light of such a powerful association with The Beatles, Peter & Gordon were unique in their own right, often employing a more acoustic approach to the popular Merseybeat songs of their time.
In 1967, as the band's popularity was surely waning, Peter & Gordon released 'Lady Godiva,' a carefree bubblegum single featuring brass, horns and most importantly, a sense of humor. Set in a style similar to 'Yellow Submarine', the band continued to maintain their deliberate closeness to the sound of The Beatles. But a year later, even that tactic grew stale as the two members split up in 1968.
The Sheffield four-piece took to the stage at 6:25pm as the sun was setting over Coachella Valley, kicking off their performance with new single 'Brianstorm'.
Quentin Tarantino's music selection is dead on in Death Proof, his shrine to 1970s exploitation films. True to Tarantino form, the soundtrack is diligently crafted, carefully plucking away at the AM gold of seventies soul and sixties mod. Pacific Gas and Electric makes an appearance, as does Eddie Floyd and T. Rex.
With feathered hair and vintage tees, the girls of Death Proof interact with the music in such beautiful ways that you are left completely shell shocked when, at one point in the movie, all you have left of them is a severed leg and the reverb of Dave Dee, Dozy, Beaky, Mick & Tich ringing in your skull. Never would one fathom that the boyish innocence of the British Invasion could provide the soundscape for such a chilling scene.
But in the end, it is that unthinkable bonding of the macabre with the unabashed debauchery of music that gives the stunning auteurism of QT its kick. While the touching melody of Joe Tex's voice may inspire most in the bar to reach out and dance with somebody, there are still those who are fueled to do something much more sinister. The songs of Death Proof are an excellent reflection of that very duality.
(As a sample, I've included 'Hold Tight' by the aforementioned DDDBMT below:)
The majority of the music videos to come out of the 80s were over-the-top and cheesy, and thus, have struggled not to look severly dated over time. And yet, they are so representative of that time that we continue hold a special place for them in our hearts. This one is no different...
Although they didn't make the charts until 1987, the dance-pop group Breakfast Club had already been around for close to a decade. Madonna got her start playing drums in the band, whilst dating frontman Dan Gilroy, but soon left to pursue the solo career she is best known for.
According to Casey Kasem's American Top 40, Madonna met drummer Stephen Bray at one of her favorite Michigan dance clubs. He was, reportedly, the first guy she ever asked to buy her a drink. The two went on to date, and joined musically under the name Emmy before Madonna permanently went solo.
Bray then joined with Breakfast Club (yes, Madonna dated TWO guys in the band) through the rest of their career. He also went on to co-write and produce several of Madonna's biggest hits, including "Into the Groove" and "Express Yourself."
Despite Madonna's rise to superstardom, the band never really took off, and great singles such as "Rico Mambo" and "Right On Track" have been largely forgotten. "Right On Track," in particular, is a track which deserves to be at the crux of every great 80s dance party.
In the video for "Right On Track," Breakfast Club could easily pass for the house band on Pee-Wee's Playhouse. The room is so loud it hurts. The backup singers are dressed as chickens, squawking through the windows while the band jams along. The finale is by far the best part. Yes, you say. This really is a silly music video. But oh, oh so much fun.
All I can say to this development is "Hell, Yes!" Velvet Revolver's long overdue second disc, Libertad, is slated to drop July 3. The first single will be 'She Builds Quick Machines' which includes "a kick-ass guitar riff, a great chorus, a really big bridge and a great Slash solo," according to bassist Duff McKagen.
In an unchanged top three on the new U.K. singles chart, Scottish brothers the Proclaimers' update of their own "(I'm Gonna Be) 500 Miles" (EMI), featuring comic characters Brian Potter and Andy Pipkin, started a third week at No. 1.
To call Naturally 7 an impressive live performance would be a huge understatement. The deep thud of the kick drum is met with the thwack of the snare rolling off of the high hat. A funk-infused bassline meanders in smoothly with a cool patience. The keyboard and guitar react, while a turntable begins to scratch through to the surface.
Such a description could easily allude to any number of musical acts on the scene today. The exception is that this particular group doesn't have to haul any of these instruments along when they take the stage. Naturally 7 is an all-vocals band.
Thursday, March 29, the band stopped through for a free concert at the University of Iowa's Memorial Union Hawkeye Lounge. A mostly college-aged crowd of not more than a hundred filed into the venue – a small, but comfortable student lounge with couches, pool tables and a snack bar. The stage took up one third of the room. The performance could have brought down a stadium.
Seven men who formed together in New York City, Naturally 7 is a name which appeals to the nature of their sound – music as presented by the oldest human instrument, the voice. The group adamantly defies characterizations as a'cappella, a term which refers to singing without instruments. Naturally 7, on the other hand, use their voices as instruments – a style they call "vocal play." Not just beat-boxing, but wailing guitar licks, bellowing brass, and vibrant string arrangements. Every nuance is accounted for. The music needs to be seen to be fully appreciated.
Early in the show, the group performed their rendition of Mr. Mister's "Broken Wings," a song which concluded in a winged formation, with one member kneeling at the center. The final note was crushed by a stunning whoosh of feathers.
Between songs, the group acquainted itself with the audience, and reassured the roles played by each of its members. Each of the men took turns stepping forward to solo his instrument of choice.
Brothers Roger "N'English" and Warren Thomas are the backbone, with Roger arranging much of the music, and acting as Master of Ceremonies, tenor, guitar, and brass. Warren T. is positioned in the background like a typical drummer, but his uncanny vocal percussion abilities deserve a stage of their own. As N'English put it, "People come up to me and say, I like your songs but it's not all vocals. I hear real drums on there. And I have to say, No man, that's my brother."
The rhythm section holds strong with the group's newest addition, bass vocalist Armand "Hops" Hutton. The member with slightest frame, Hops also possesses a voice that would make Barry White smile down from heaven. His first words of the night came as a deep "How's everyone doin’ tonight?" which was met by surprise from the crowd, who responded with applause and laughter. "Why don't I get that kind of reaction when I say that?" asked Jamal Reed jokingly.
Reed is a natural entertainer who soars with stage presence and screeching guitar solos. Reed carried a dead-on Stevie Wonder as he fronted one of the night's best songs, "What Is It? (Excuse Me)." One lyric poses, “Is it R&B, gospel, funk or pop?” Perhaps the song should be renamed to answer the ultimate question, "How'd they do that?"
Multi-talented and playful Rod Eldridge rips out turntable scratches, keyboards, guitar, strings and brass, while also pulling lead vocals. With the aid of his favorite gadget, a loop pedal, Eldridge was able to layer his vocals indefinitely into his own one-man band. Garfield "G-Buck" Buckley is equally versatile, sharing leads with a barrage of instrumentation including flute and harmonica.
Certainly not least is baritone lead vocalist, and yes...multi-faceted Dwight Stewart.
Stewart's impassioned lyrics on "Say You Love Me" were one of evening's major highlights.
Stewart's vocal abilities are also showcased in the group's latest single, "Feel it (In the Air Tonight)" A re-structured version of a Phil Collins classic, the song is currently a Top 10 track throughout parts of Europe, and has gained a U.S. underground following thanks to a well-received YouTube.com clip of the band singing on a crowded Paris subway.
Having toured Europe and developed a strong following, the group has yet to make it big in the states. The septet's new album Ready II Fly is already available overseas, but has yet to be picked up for a U.S. appearance. N'English mentioned the group was aiming at a Fall 2007 release date. After the performance, an optimistic Stewart remarked that the biggest factor in finding a release is letting record labels know what separates the group from the rest of the popular R&B music on the radio. As he reiterated, "They have to know up front it's just us they're hearing. All vocals. That's it right there."
The evening’s sound acoustics were presented in fantastic clarity. That night, the group’s sound technician deserved recognition as an 8th member.
After singing their hearts out for more than an hour, Naturally 7 stayed around to sign autographs and talk with the fans who had purchased albums at the front table. The group would be leaving Iowa and heading home to the East Coast briefly before making a trip back across the pond to tour.
For more information about the vocal play of Naturally 7, visit the band's website at www.Naturallyseven.com.
Depending on whom you ask, this year's season of American Idolis either its worst or best. While its true that the talent quotient of this year's contestants may have fallen a little more on the lackluster side (save for Melinda and Lakisha), the judges and host Ryan Seacrest have provided viewers with enough of their typical side-stage antics to keep us laughing, reading the gossip columns, and ultimately, asking for more.
So what factor this season is so polarizing that viewers either love him or hate him? If you've missed it, his name is Sanjaya Malakar, and his singing is pretty horrible.
Sanjaya made it past this year's try-outs earlier in the season with a clever combination of Tiger Beat cute, and shy, boyish charm. Early on, his singing was clearly better than the scores of other contestants around him, but as mass eliminations ensued, it became evident that Sanjaya's popularity had very little to do with his voice. In fact, the competition has since become defined by what wacky hairstyle and outfit he'll don next.
For those who view American Idol as a legitimate singing competition, it is obvious why many are disappointed with this year's season: Sanjaya continues to walk while other, more talented competitors fail to receive the votes they need to stay on the show.
So why, then, do people love the guy?
For tween girls ages 10-12, Sanjaya's appeal has everything to with his cuteness and his hair. No explanation needed. But for viewers who do not fall into that demographic, Sanjaya is the embodiment of everything that is wrong with American Idol. Sanjaya is an illustration of how the current vote-as-much-as-you-want from any phone in America isn't as much a reflection of a contestant's ability as much as it is of their folksy popularity with voters (sound familiar?). To echo past guest singing coach Peter Noone: American Idol isn't a singing competition, it is a voting competition.
Groups everywhere from Votefortheworst.com to listeners of Howard Stern have organized drives to vote for Sanjaya, all to expose the show's flaws while being able to enjoy the Court Jester of Song further embarrass himself for one more week. For them, Sanjaya serves as the revelation that the emperor has no clothes.
Honestly, Sanjaya's continued presence has provided this season with a much needed comedic detour. After all, one can only listen to talented sirens deliver flawless performances so much. And even as potential artists drop like flies in the wake of Sanjaya's vocal stench, it does prove a point that there is more than enough wrong with the show's voting system. (American Idol voting reform, anyone?)
However, at the end of the day, after all the singing is done, it should be noted that it was the judges and producers who originally put Sanjaya in the competition. Not Votefortheworst.com. Not Howard Stern. Not even the ten year old girls at home.
To Simon, Randy, and Paula: we love you (depending on whom you ask).
Named for the David Bowie song, The Kooks are known for their stylish, yet visceral, 3 minute productions. My first encounter with the group was when I heard 'Eddie's Gun' on the radio several months back, and needless to say, I was unimpressed. It wasn't until recently, when I heard the quite melodic 'Naive,' that I thought hard to myself: The Kooks are actually quite good!
The small, six-sided room that houses KUNI public radio's Live From Studio One was filled near seating capacity on a Monday night for the performance and live broadcast of Twin Cities Gospel Americana trio Tom Feldmann & the Get-Rites.
February 26 is a bitterly cold evening, but that doesn't stop the approximately 40 audience members who trek to the third floor of the University of Northern Iowa's Communication Arts Center to hear Feldmann's soulful mix of country and Delta Blues. Without a stage as a barrier, chairs are pushed right up to the band's equipment for a truly intimate performance. The predominantly college-aged crowd pick out seats where available. A setup which starts a bit awkwardly eases into embrace with every song that is played.
Throughout the next hour, the band churns out a dozen tracks in support of its new 2007 LP, Side Show Revival. KUNI's Karen Impola hosts the evening, interviewing Feldmann between songs. In response to a question about the spiritual nature of the music, Feldmann replies, "I think music is what you assign it."
The 29 year old Feldmann says he was first introduced to blues at age 17 by way of John Lee Hooker. After buying one of Hooker's albums, Feldmann felt a deep connection to blues and self-taught himself to play guitar. As Feldman says, "I didn't start out wanting to be a frontman, but when nobody else around was playing this kind of music, it kind of made me take on that role."
Ten years after first picking up a guitar, Feldmann shows a maturity beyond his years. His appearance may be youthful, sporting an embroidered western shirt and a trucker hat, but once his mouth opens, a voice of experience calls out. His vocals are haggard and soulful, without seeming the least bit pretentious. This sincerity doesn't have to beg the listener to pay attention. Coupled with the picking and sliding of his resonator guitar, and the solid rhythms coming from drummer Jed Staack and Paul Liebenow on upright bass, the trio create a subtle, yet engaging blend of classic blues styles.
Halfway through the evening's first medley, the slow drag of "Save Us All/So Glad," it is easy to feel as if one has transported to the deep South. By the fifth track, the aptly-titled homage "Johnny Cash," it is obvious where much of Feldmann's musical roots are buried. A couple of songs later Feldmann tells the story of a hitchhiker they picked up en-route to Alabama, and trails off into a slow dance style song that stirs images of dimlit roadhouse bars filled with the smell of smoke and cheap whiskey.
This image is probably appropriate when Feldmann explains his start playing Minneapolis blues clubs for older crowds when he was 19. When it comes to performing, Feldmann says his advice to aspiring musicians is "Perseverence. Expect people won't like what you're doing. In a healthy way, don't take criticism personally...If you only find a small percentage of people who connect to what you're doing, that's still something, and a small percentage everywhere equals out to a lot of people."
Towards the end of the performance, the band performed another evening highlight, "Seven Trumpets Sound," a track from their 2005 album Driven to My Knees. Feldmann alternates between a raspy whisper and a deep croon as the song plays dark and slow, like a dirge. In transition to the last song, Feldmann lets out a howl and the snare drum starts to roll. The tempo picks up and the guitar breaks into a twangy country slide.
After the performance, the group sticks around and talks with audience members. Feldmann remarks that as a second time performer at Studio One, he enjoys KUNI's open-minded support for diversity in music.
For more information on Tom Feldmann & the Get-Rites, visit www.TomFeldmann.com and check out the group's MySpace.
Move over Oscar and Grammy, there is a new award that celebrates the Martin Scorseses of cyberspace. Monday morning, YouTube announced the winners of it's first video awards.
Since its founding February 2005, YouTube, which is now a subsidiary of Google, has become a wildly popular phenomenon. Through YouTube, people upload and share videos on the Internet. It has become a forum for opinion, communication and entertainment —a launching pad for new celebrities.
Read the rest of the article and who the winners are here.
You haven't forgotten about Louis XIV already have you? No, not the French king--the band that broke it big for about ten minutes last year with their minor hit 'Finding Out True Love is Blind?'
While most of The Best Little Secrets Are Keptwas, indeed, entirely forgettable, there was one other song on that album that I can still find myself humming on any given day. 'All the Little Pieces' echoes the studio effects mastered on 'I Am the Walrus,' but provides a much more profound bridge than 'Walrus' does. At nearly five minutes long, the song starts slow and boring, but garners enough momentum to lead into a somewhat smashing crescendo in the midsection of the track. 'All the Little Pieces' is a song you must listen to uninterrupted from beginning to end to appreciate.
Demian Dominguez is an Argentinian guitar virtuoso whose self-titled group, Demian Band, is blowing up all over the underground blues-driven rock community. Dominguez has been playing axe since he was 15, and has even shared stages with the likes of Los Lobos and Elliott Murphy. His style is reminiscent of Stevie Ray Vaughan and Hendrix, but his injection of Latin flavor provides an exciting contemporary groove replicated no where else within mainstream music.
The best way to experience Demian Band yourself is to download their newest album Bull Blues for free. You can also watch a live performance with Bernard Allison.
Here, I've provided a stream to 'Media Vida,' undoubtedly one of my favorites off the album.
From the CatholicNorwegian-Irish guy (Yes, there IS such a combination!!), I wish everybody a Happy St. Patrick's Day! Whether or not your day is spent sipping green beer, or chowing down on corned beef, I hope it is a joyous occasion.
While not everybody is as enamoured with St. Patrick's attempt at ridding the Emerald Isle of snakes as I am, we can at least appreciate some Irish-originated music. And of course, what is more stereotypical than some U2!!
But even U2 is a little hokey for some of us Hibernian-Americans. In expectation of just such a case, I've provided some Grade-A Dropkick Murphys. ---Some 'Shipping Off to Boston' to be exact.
Leave it to an Italian director to select some of the best Irish music ever, huh??
Again, Happy St. Patrick's Day to all of our readers!!
Cezanne is the now-NYC based one man band of John Daugherity, who has previously recorded under the name Ten Everlasting Seconds. Possessing a voice pitched almost flawlessly between worn and ragged, and airy and smooth, these seven songs instill fond remembrances of past peaks set by folks like Chavez, Archers Of Loaf and Pavement. No-nonsense indie-rock and roll like this is pretty hard to find nowadays, so why don't you let Cezanne transport you back to better days?
Below, I've posted the stream to 'Hells Bells.' If you loved Mudhoney and Dinosaur Jr., you'll really appreciate this song.
Believe it or not, one of my fondest memories is that of Ted and I arguing until the wee hours one morning as to which was the better Stone Temple Pilots record: Purple or Core. As it turns out, I was a Core man, while Ted was a Purple man.
What makes the argument so fascinating is that each album has so many strengths to draw upon. Purple was more commercially viable, lending us tracks like 'Vasoline,' 'Big Empty,' and the magnus opus 'Interstate Love Song.' ("Only yesterday you lieeeeed!"). Additionally, Scott Weiland seemed to permanently transform his voice to a much higher (but appealing) register on this album.
Core, on the other hand, was the debut culmination of a band that sounded a lot like grunge rockers Pearl Jam at the time---but when really examined, didn't really sound like Pearl Jam at all. STP's music, even in its earliest stage, was more cleaned up, more primed for radio than Pearl Jam's Ten and Vs. ever seemed to be. Sure, STP's 'Dead and Bloated' and 'Sex Type Thing' seemed laden with punked-out anger, but Pearl Jam's 'Go' and 'Animal' were even angrier. And to top it all off, Core took a page out of the Dark Side of the Moon playbook with instrumental transitions that segued tracks like 'Wicked Garden' to 'Sin.,' and 'Plush' to 'Crackerman.'
When it comes to making the final decision between Core and Purple, the ultimate factor, for me, is the strength of the supplemental tunes: the non-singles. While Purple is certainly a classic album for the band,tracks like 'Army Ants' or 'Kitchenware and Candybars' seem too clean or too cloned from its immediate antecedent. (Does anyone not think that 'Kitchenware and Candybars' sounds like a 'Where the River Goes' part II??) Conversely, Core contains songs of passion and conviction, even if they do lack the studio cleanliness that Purple's 'Big Empty' perfects.
Regardless of where you may stand on the issue, I've included a song off each album: Core's 'Sin' and Purple's 'Still Remains,' for your own studies. Even if you may not possess a strong opinion either way, be sure to enjoy!
From NME:
