'Tis springtime, and though gas prices are continually rising across the country (driving many a pocketbook to ruin) there is no better part the of year to take hold of the wheel and steer into uncharted territory.
Yes, the all-famous road trip, an American staple, finds its travelers most at home on the black tar of the superhighways and backroads that connect the coasts.
The list features several classic choices. Bob Seger's "Turn the Page" tells of lonesome highways, while The Eagles' "Take it Easy" advises the listener, "Don't let the sound of your own wheels drive ya crazy."
Check out the full list to argue which great songs you feel got left out of the mix. Judging by their selections, most of the songs were chosen based on song titles and lyrics related to road travel.
So, by that account, I hereby nominate The Cars' "Drive" as an ultimate night-driving anthem. Also, how about "Take the long way home" by Supertramp, or "Highwayman" by the Highwaymen?? If you're feeling particularly angsty, why not tune in to some "Be Quiet and Drive (Far Away)" by the Deftones, or "Bad Habit" by the Offspring?
Below, I've included audio for another personal nomination; Sniff and the Tears' 1978 hit, "Driver's Seat."
The list could go on and on... proving that life in the fastlane is an important topic to the artists who spend most of their days riding on tour buses.
*This review is dedicated to number one Lonely Note fan, Rockinjock, whose generousity made my attendance of this show possible.
It's easy to see why Brandon Flowers has made his enemies. Whether it's his slew of criticisms of other bands or his aloof mannerisms, Flowers has a track record of exuding a certain degree of elitism. And such haughtiness was on display last Monday night when The Killers came to a sold-out Val Air Ballroom in West Des Moines. Between donning the typical formal wear and the contrived prancing on stage, the reputation that had preceded the lead singer was quite evident.
But that's showmanship.
After all, The Killers are a synth-rock band who hail from the City of Sin. It is only fitting that a group arising out of that musical context would be expected to perform with spunk and overconfidence. The ladies loved it: whether getting groovy on the ballroom floor or screaming sweet nothings at the stage while straddling the shoulders of their boyfriends of reality.
The band began the first half of their set by exhausting a good portion of the singles off latest album Sam's Town. Under normal conditions, such a choice may have seemed ill conceived, but considering the venue's air temperature was well over 100 degrees, it served as subtle gratitude for the fans' dedication at putting up with the preceeding hour and a half's worth of heat. (Nobody wants to put up with deep-track filler after spending 90 minutes melting away). 'When You Were Young' was belted with almost studio-like precision and 'Read My Mind' was performed with brilliant passion. Local Iowa native Dave Keuning strummed the axe with a stunning presence reminiscent of a 70s stadium rocker and drummer Ronnie Vannucci slammed the skins with an eruption of energy Every. Single. Time.
After taking a 15 minute intermission to cool off, The Killers returned with a renewed stage presence, digging into tracks from debut long player Hot Fuss. 'Mr. Brightside' was met with intense celebration from the crowd, while the defining line from 'All These Things That I've Done:'---"I've got soul, but I'm not a soldier"--held unspoken significance given America's current geopolitical situation. 'Jenny Was a Friend of Mine' retained its dramatic kick. 'Smile Like You Mean It' evoked its signature feelings of emptiness. All in all, the defining qualities that made Hot Fuss a modern classic were effectively brought to the final half of the show.
With a true encore, the band turned the amps up to 11, performing 'When You Were Young' once again, but with more fervor than they had only two hours previously. By this time, having perspired into one lukewarm mass, everybody in the crowd was singing their heart out in unison with Flowers, desperately holding on to every last moment before the show inevitably came to an end:
"We’re burning down the highway skyline on the back of a hurricane that started turning when you were young."
The Killers were in great form on Monday, May 14th, 2007. An Iowa native was welcomed home, and this fan went back to the ranch singing every song.
Well, Americans: What, nothin' better to do? Why don't you kick yourself out? You're an immigrant too.
Who's usin' who? What should we do? Well you can't be a pimp And a prostitute too.
Jack White continues to impress with The White Stripes' latest single and title track 'Icky Thump.' Featuring dramatic tempo changes, acerbic lyrics, and a healthy dose of instrumental experimentation (enough to make Zappa proud), White and his companion trade their signature minimalist sound for a dazzling foray into prog rock.
The unconventional song structure may sound foreign, at first, on the FM radio dial, but the contagious drone of its dynamic rhythm injects just enough momentum for me to proclaim the track a strong candidate for best rock song of the summer.
In a solid bid to make it to next week's finale, Blake Lewis performed three hot numbers on tonight's 'American Idol.' With Paula and the producers choosing his first two songs, the performance I was most impressed with was the track Blake picked for himself: Robin Thicke's 'When I Get You Alone.'
Yes, Robin Thicke is indeed the son of esteemed Canadian and favorite sitcom dad, Alan Thicke, the much-loved patriarch on 'Growing Pains.' And while Robin has since shortened his long-haired image of last summer, the video for 'When I Get You Alone' provides a great first-look at a rising star.
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).
'Tis springtime, and though gas prices are continually rising across the country (driving many a pocketbook to ruin) there is no better part the of year to take hold of the wheel and steer into uncharted territory.
