In an age where people equate melisma with talent, Shingai Shoniwa is a godsend. Of course, she’d be a godsend at any point in time, but she’s particularly welcome now. The lead singer for the UK indie rock group the Noisettes is a force of nature, but she’s no showoff; she does what’s best for the song (a lost art, to be sure), and the batch of songs she and her bandmates have brewed up for Wild Young Hearts, the band’s sophomore effort, are exceptional. (“Saturday Night Live” will surely come a-calling soon.) The label is shrewdly playing the Amy Winehouse card by releasing the Motown-ish “Never Forget You” as the first single – and that’s a good call, as it’s one of the album’s finest moments – but don’t write the Noisettes off as Back to Black imitators. They’re a guitar-driven pop band at their core, as the title track and “Beat of My Heart” will attest, but if we’re being honest, the ballads rule the roost. “24 Hours” is a wistful tale about a very recent fling, “Every Now and Then” has one of those unforgettable descending chord sequences in the chorus, and the Bacharach-cribbing album closer “Cheap Kicks” is an instant classic. All bands should be blessed to have a singer with the versatility that Shoniwa shows here. (Mercury 2009)
Month: September 2009 (Page 10 of 17)
If all else fails, cry. As a child, the tactic isn’t a guaranteed success, but as an adult it often works wonders. When somebody cries, especially in front of you, it’s nearly impossible to avoid considering their point of view. Kanye West wanted people to believe he was sorry for what he did to Taylor Swift (or, he just wanted people to like him again) and he resorted to the strategy in front of a large TV audience. Hats off to Jay Leno for giving him this opportunity during the comedian’s big premiere. I doubt “The Jay Leno Show” will often venture into these emotional forays, but that wouldn’t be a bad idea. The new program is virtually the same as the “Tonight Show” was under Leno’s reign. That’s why I’d love to see random appearances and pairings of musicians Leno’s made friends with over the years. As a reward for his loyalty, NBC should give Jay some freedom. Did Leno really want Jay-Z as his first musical guest? I doubt it.
Back to Kanye. Since I’ve never had any opinion on the hip-hopper, I’ve been able to take in this whole situation objectively. This whole catastrophe actually arose from a feeling we’ve all had at some point or another: the inability to sit idly by while witnessing something wrong. Kanye’s actions on Sunday stemmed from his passion for an ideal society where quality music is recognized. He’s openly stated in the past that he feels awards shows are rigged. He’s completely right as far as the VMAs are concerned, but a single celebrity’s “stand” is not going change the show forever. Kanye willingly became part of the MTV system when he agreed to enter his music videos and perform at the VMAs in the past. Yes, Beyonce’s “Single Ladies” video was much “better” than Taylor Swift’s “You Belong With Me.” Kanye felt this was an injustice. In terms of art, Beyonce was slighted, but considering this was the MTV Video Music Awards, nothing was out of whack. In his off-the-cuff interview on “The Jay Leno Show,” Kanye says his “dream of what awards shows are supposed to be” in effect caused Taylor Swift’s pain. Given his talent and prior statements, I believe him. But Kanye, these were the VMAs, put on by MTV. You’ve been around for some time now — you know how the game works. Next time you want to make a public statement about the music industry, think it through beforehand. I’m not saying the message needs to be appropriate, but the time and setting better be.
In the wake of Patrick Swayze’s passing, we have a sudden urge to post something that will, you know, actually do some good, so when we heard about an upcoming concert at Chicago’s House of Blues featuring Gavin Rossdale that will go to benefit the Lukemia & Lymphoma Society, we said hell, yes.
Come on, are you really going to say ‘no’ to that face? Gwen Stefani doesn’t even say ‘no’ to that face.
Here’s the deal: it’s called Dare 2 Dream: A Special Evening with Gavin Rossdale, it takes place November 5, and it will feature a silent auction where bidders are vying for the opportunity to meet Cheekbones McLadykiller himself – if that sounds like we’re poking fun at him, rest assured we’re not, especially not after Rossdale charmed the daylights out of us in an interview last year – where every $5 donated is worth an entry into the grand prize drawing. They are even hosting a contest for bands to determine who gets to open for Rossdale that night, so keep your eyes peeled on SonicBids for more info on that.
Tickets went on sale this past weekend, so if you’re interested in attending, we suggest you get yer tix now. We’ve been to several shows at the Chicago House of Blues, and they invariably sell out. And make sure you cheer for Gavin’s new stuff. It’s better than you think.
For more information about Dare 2 Dream: A Special Evening with Gavin Rossdale, click here.
Muse has always been careful to balance their lyrical paranoia with a vast arsenal of sonic weaponry, turning the negativity of songs like “Map of the Problematique” and “Stockholm Syndrome” into lighter-waving anthems for the dance floor or the mosh pit. They came close to tipping the balance on 2006’s Black Holes and Revelations – surprise, singer and lyricist Matthew Bellamy was angry about the Iraq War – but fortunately for them they had cooked up their best batch of songs to go with those anti-war tirades and ‘die with your boots on’ battle cries. The album became the band’s first US Top Ten hit and vaulted the British trio into the rock’s upper echelon. If you need more proof of the band’s growing status among rock aficionados, look no further than the inclusion of Bellamy as an unlockable guitarist in “Guitar Hero 5.”
After a hellacious tour schedule – which produced the stopgap live album H.A.A.R.P. – the band finally settled down long enough to enter the studio and prepare for the follow-up album. It was here that they decided to do what no prog band should ever be allowed to do: produce the album themselves. Any band as musically gifted as Muse needs an outside voice of reason, someone to rein them in when they’re tempted to go even more over the top than they already go. More importantly, the band could have used someone to tell them that they’re repeating themselves far too frequently. Granted, the main musical thrust behind The Resistance may be unique in that this album is more symphonic than their previous efforts, but several of these songs echo the band’s earlier work, sometimes lazily so.
Take leadoff track and first single “Uprising,” for example. This is “Knights of Cydonia” crossed with the original theme for “Doctor Who,” with its chorus lines “They will not control us, we will be victorious” a near-identical photocopy of “You and I must fight for our rights, you and I must fight to survive.” Even the keyboard riff that appears in the “Cydonia” vocal break is repeated here. “Guiding Light,” meanwhile is “Invincible” – which itself stole giant chunks of Keane’s “Everybody’s Changing” – crossed with Ultravox’s “Vienna,” and the second section in the three-part “Exogenesis” symphony, “Cross Pollination,” begins with a rehash of Bellamy’s piano break from the Absolution track “Butterflies and Hurricanes.” This isn’t the first time the band was guilty of borrowing an idea from an earlier song, but it is the first time they’ve been so obvious about it.
The album’s best moments are when the band ventures the farthest outside of their comfort zone. “Undisclosed Desires” features pizzicato strings and equally plucky bass work from Chris Wolstenholme, and is a nice slice of mid-tempo pop complete with simple, machine-like drum work from Dominic Howard. The biggest surprise, though, is “I Belong To You (+Mon Coeur S’ouvre A Ta Voix),” a bouncy, piano-driven number that will have Rufus Wainwright seething with jealousy. As lovely as that song is, though, did it really need a two-and-a-half-minute interlude? This is where the presence of former producer Rich Costey, or anyone for that matter, would have come in handy; Muse loses focus far too often, indulging in whatever musical detour presents itself. The none-more-Queen “United States of Eurasia” suffers from this as well, ending a Middle Eastern-tinged stomper with a lilting, two-minute piano solo. It’s pretty, but does it belong?
The Resistance has some undeniably beautiful moments – “Exogenesis: Symphony Part I – The Overture,” for one, is heartbreaking – but is in dire need of some nips and tucks. The decision to put the guitars away in favor of strings and keys is to be commended in today’s “Rock Band” world (you heard it here first: expect a lot of bands to begin overplaying in order to guarantee inclusion in future installments of “Rock Band” and “Guitar Hero”), but a little streamlining would have done a world of good. (Warner Bros. 2009)
There’s a formula to most awards shows — especially the Video Music Awards. You would think Kanye West knew that, considering he’s a self-proclaimed expert on pop culture. Case in point: Taylor Swift’s “You Belong With Me” beat out Beyonce’s “Single Ladies” for Best Female Video. However, “Single Ladies” won for Video of the Year. Simple logic states that, if “Single Ladies” is the Video of the Year, it should also be the Best Female Video since Beyonce, as we know, is a dame. But the VMAs don’t work that way. They never have. When MTV lost its edge over 10 years ago, the network turned into an advertising agency instead of an important voice covering all things music. It wouldn’t be good business to have Beyonce win both awards. By spreading the love around, MTV is essentially recognizing the artists that have been the most lucrative to their business. Last night, nobody walked away with multiple trophies — because there’s a formula.
I always assumed Kanye was privy to this knowledge. When he jumped on stage and forced the mic out of Taylor Swift’s hands, the younger generation was undoubtedly excited. More stars! More stars! To those who think of Kanye as a trouble-making crybaby, they could sense he was up to no good. Shouting that his friend Beyonce’s video was “one of the best videos of all time,” he proved he doesn’t “get” the give-and-take ethos of pop culture at all. He’s just as clueless as the millions of adolescents that stayed up late to root for Taylor Swift.
Kanye’s assessment was correct, of course. “Single Ladies” is artistically creative, utilizing lighting and choreography to a dazzling effect — much more tantalizing than Swift’s run-of-the-mill product. Still, I wanted Taylor Swift to win and when she did, I hung on her every word as she beamed with gratitude. I knew Beyonce would capture Best Video of the Year later in the evening, so this truly was “Taylor’s moment.” Thus, Kanye West has effectively become the villain of the free world. Asked to leave, he blogged from his pad in New York:
I’m sooooo sorry to Taylor Swift and her fans and her mom [Andrea]. I spoke to her mother right after and she said the same thing my mother would’ve said. She is very talented! I like the lyrics about being a cheerleader and she’s in the bleachers! …………………… I’m in the wrong for going on stage and taking away from her moment!…………….. Beyonce’s video was the best of this decade!!! I’m sorry to my fans if I let you guys down!!!!! I’m sorry to my friends at MTV. I will apologize to Taylor 2mrw. Welcome to the real world!!!! Everybody wanna booooo me but I’m a fan of real pop culture!!! No disrespect but we watchin’ the show at the cribe right now cause…. Well you know!!!! I’m still happy for Taylor!!!! Boooyaawww!!!! You are very talented!!!!! I gave my awards to Outkast when they deserved it over me… That’s what it is!!!! I’m not crazy yall, I’m just real. Sorry for that!!! I really feel bad for Taylor and I’m sincerely sorry!!! Much Respect!!!!!
The post, actually written in all caps, was soon taken down. I’m sure Kanye’s agent noticed the blatant insincerity. Here’s what he’s currently been able to muster:
I feel like Ben Stiller in “Meet the Parents” when he messed up everything and Robert De Niro asked him to leave…That was Taylor’s moment and I had no right in any way to take it from her. I am truly sorry.
Setting things right, after accepting her Moon Man, Beyonce invited Taylor Swift to the stage to give the acceptance speech that Kanye West prevented hours earlier. It was a nice moment, considering Swift’s humble attitude is years removed from the “look-at-me” persona cultivated by Kanye West.
Still, we all owe Kanye a huge “thank you.” He’s reminded us that musicians are under the scrutiny of the public eye as well. Funny enough that this happened on a night paying tribute to the King of Pop, Michael Jackson. Tabloids, comedians, and half-assed reporting ostracized Jackson from society. The depression it caused, it could be said, led to his death. America has the uncanny ability to bring stars to life as well as kill them. I’ve heard quality pundits state, concerning Paris Hilton and Britney Spears, that if we don’t stop with the constant ridicule, they could be dead in 10 years. I couldn’t agree more. While I don’t think America will “hate” Kanye for more than a few months, viewers could sense the visceral scorn at any mention of his name. Kanye will continue to sell millions of albums and have a lengthy career. Regardless, he’s now public enemy number one in Hollywood. All it took were a few words.
So, we’ll see how this plays out. He couldn’t have picked a more juicy moment as he’s scheduled to perform alongside Jay-Z and Rhianna tonight on the premier of “The Jay Leno Show.” Will the crowd boo Kanye? Will he even be there? Either way, Leno’s probably wishing he had booked a safer act like, I don’t know, Neil Diamond.
“The Jay Leno Show” premiers tonight at 10 PM PT/ET on NBC.
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