You scratch my back and I’ll scratch yours: After Boots produced cuts on Beyonce’s December Surprise album, Bey returns the favor by contributing vocals to his new single, “Dreams.”
As a sweet reminder that she is still a young girl, the 17-year old noted on Twitter that “I’m so gutted to have to do this, but my parents and my team stepped in telling me I needed a break after being non-stop since the Grammys in January.” Lorde snagged both best pop solo performance and song of the year for her breakthrough hit, “Royals.” at the awards show.
She broke the news of her “nasty chest infection,” just a day after playing for more than 40,000 at Coachella in Indio, Calif.
Lorde added that the eight dates will most likely be rescheduled for November. “I just need time to get back to full Gollum girl fitness before I go out playing shows again. I’m truly sorry if I let you down or if you feel inconvenienced by this and I hope you can understand.”
She’s the second young artist to cancel tour dates due to illness in a week: Miley Cyrus cancelled the remainder of her U.S. dates on Friday as she continues to recover from a “severe allergic reaction” to medicine.
LOS ANGELES—For the 50th episode of its genre-swapping performance show, “Crossroads,” CMT turned to two female performers at the top of their game: Katy Perry and Kacey Musgraves. (SPOILER ALERT: Stop reading now if you don't know the songs they performed)
“Lazaretto” opens with a funky stomp, as White sings that “every single bone in my brain is electric.” That’s a medical impossibility, but we get what he’s going for. As usual, there’s some woman that’s causing him trouble. “When I say nothing, I say everything,” he sings as he laments being quarantined on “The Isle of Man,” or maybe in this case, it should be lower case man, as he sings about the war between the sexes (or so we think; some of the words are indecipherable).
The song then goes into a fuzzy, lacerating guitar solo as a bridge into the second part, a Who-like, high-energy blast about closing the doors of the prison. That part only lasts for about 30 seconds, before the last portion is a fiddle-based, high-octane fizzy rock instrumental.
In other words, it’s all over the place and, yet, somehow hangs together with duct tape, White’s distinctive vocal, and guitar shredding. “Lazaretto” is more frenetic and less blues-based than “High Ball Stepper,” an instrumental track from “Lazaretto” released earlier this month.
By the way, the official definition of lazaretto is a quarantine station for travelers by sea.
As we previously reported, White recorded a live, mono version of “Lazaretto” and manufactured and distributed it Saturday (April 19) as part of Record Store Day in an effort to set the record for World’s Fastest Released Record. We’re not sure exactly who held the old record.
The single, "Lazaretto," will be available via iTunes April 22.
Track listing for “Lazaretto”
1. Three Women
3. Temporary Ground
4. Would You Fight For My Love?
5. High Ball Stepper
6. Just One Drink
7. Alone In My Home
9. That Black Bat Licorice
10. I Think I Found The Culprit
11. Want And Able
For her upcoming video for new single, “Birthday,” Katy Perry promises we will see different facets of her never before exposed.
Perry has shown off her comedic side and her willingness to go all in in many of her videos before, especially the endearing music clip for 2011’s “Last Friday Night (TGIF),” which featured her as nerdy, but sweet Kathy Beth Terry, complete with braces, glasses and headgear.
And she's certainly gotten all weird and space age in the "E.T." clip.
Of the flirty, sexy “Birthday” video, she says, “It’s me at my most insane,” revealing that it features her showing off her best vocal fry. If you don’t know what that means, check out here. Just know it’s incredibly irritating (think Kim Kardashian's voice), and will no doubt be hilarious in Perry’s hands.
The new "Birthday" will bow later this week. In the meantime, enjoy the sweet lyric video for “Birthday.”
“Frozen’s” hold on the Billboard 200 has yet to thaw. In fact, it seems to be gathering strength.
Next week will mark the Disney soundtrack’s 11th week atop the Billboard 200, as it sells more than 200,000, its biggest week yet. The reason for the jump? Starbucks is now selling the title, according to Hits Daily Double. Next week will also mark the week that “Frozen” surpasses “The Lion King” for the most weeks at No. 1 for an animated feature.
Targeted to move up to 250,000 copies, “Frozen” will sell almost 200,000 copies more than the No. 2 title, hip-hop artist August Alsina’s “Testimony” (65,000). Alsina has the highest debut but he’s far from the only newcomer coming on strong next week: Needtobreathe’s “Rivers in the Wasteland” and Ingrid Michaelson’s “Light’s Out”are both poised to sell up to 45,000 copies as they duke it out for third place. Jason Derulo’s “Talk Dirty”bows at No. 6 (35,000).
As for the Top 10 remainders, Pharrell Williams’ “G I R L”drops three spots to No. 5 (40,000); “Now 49” leaps six spaces to No. 7 (22,000). Boy band 5 Seconds of Summer’s “She Looks So Perfect” falls to No. 8 (21,000), Shakira’s self-titled set holds at No. 9 and Luke Bryan’s “Crash My Party” slips 8-10 (20,000).
Lee Brice first came to prominence as writer of such country hits as Tim McGraw’s “Still,” “Crazy Girl” for Eli Young Band, and Garth Brooks’ “More Than a Memory,” the first song to debut at No. 1 on Billboard’s Hot Country Songs chart, so it may have seemed a bit strange to see him up on stage at the Academy of Country Music Awards two weeks ago as his massive hit, “I Drive Your Truck” —a tune he didn't write— snagged song of the year honors. But give him credit for knowing a hit when he hears it. From the first listen, he related to the story of honoring and re-connecting with a lost loved one (in this case a fallen soldier).
SANTA MONICA—Sandwiched in between his two Coachella appearances, Beck came in from the dusty desert to play an intimate show for KCRW’s Apogee Sessions here Wednesday night.
The 100-minute performance was twice as long as his Coachella set and certainly under more pleasant, less blustery conditions: the cosy confines of legendary producer/mixer Bob Clearmountain’s studio, which tightly packed in 200 of the public radio station’s supporters.
For the first time in the chart’s 55 year history, the top seven tunes all stay locked in the same spot for three consecutive weeks, according to Billboard.
In case you haven’t memorized them, allow us to recap: At No. 1, Pharrell Williams’ “Happy.” No. 2, John Legend’s “All of Me,” No. 3, Katy Perry’s “Dark Horse,” featuring Juicy J; No 4, Jason Derulo’s “Talk Dirty,” featuring 2 Chainz; No. 5, Idina Menzel’s “Let It Go”; No. 6, Bastille’s “Pompeii,” and No. 7, Lorde’s “Team.”
DJ Snake and Lil Jon’s “Turn Down for What” rises 10-8, trading places with OneRepublic’s “Counting Stars,” while Aloe Blacc’s “The Man” holds at No. 9.
The highest debut belongs to Ed Sheeran, whose “Sing,” written and produced by Pharrell, bows at No. 15.
It doesn’t seem possible that it was around 30 years ago that A Flock of Seagulls ran so far away or Modern English melted with us, but it was. The story behind those acts, their biggest hits, and dozens of other New Wave acts are captured in all their ‘80s bad hairdo-ed, brightly colored-glory in “Mad World: An Oral History of New Wave Artists And Songs That Defined The 1980s.”
Written by Lori Majewski and Jonathan Bernstein, with a forward by Duran Duran’s Nick Rhodes and an afterward by Moby, the book examines the New Wave era through the filter of 36 songs associated with the time, such as Gary Numan’s “Cars,” Duran Duran’s “Girls On Film” and The Smiths’ “How Soon Is Now.”
Each chapter deals with one act and, while not limited to the group’s biggest hit, explores the story behind that tune and the band’s history in the members’ own words. Majewski and Bernstein open each chapter with their recollection of the song and artist, even if they weren’t fans. For example, Bernstein’s commentary on Howard Jones is “zzzzzzz.”
In addition to the oral histories, there are “That Was Then, But This Is Now” updates on the band’s current statuses, footnotes from affiliated acts, for example Matchbox Twenty’s Rob Thomas talks about what it was like to fill in for Michael Hutchence in INXS or A Flock of Seagulls’ Mike Score weighs in on the jealousy he felt of Tears for Fears’ success, and a Mixtape box that suggests five likeminded acts and or songs, very often done with tongue planted firmly in cheek. It’s the perfect book to carry around and digest one chapter at a time.
Even the bands whose songs you don’t like have fun stories. A small caveat: the authors decided to focus on tunes that provided an entry point for the band in some cases, not necessarily the group’s biggest hit: For example, with Depeche Mode, the attention is on the Vince Clarke-era Depeche Mode and “New Life,” in part because that’s the only member they have an interview with. The Human League members most associated with that group’s biggest hit, “Don’t You Want Me,” also didn’t cooperate, so the chapter on Human League highlights “Being Boiled,” a 1978 tune from when Martyn Ware was still in the group before being ousted.
Majewski and Bernstein keep the tone light, admitting that there’s not even a standard definition for new wave, but they come up with one in their intro that fits the time perfectly: “It was a Tower of Babel populated by American bands who wanted to be British, British bands that wanted to be German, and German bands who wanted to be robots.” They don’t aim to be completists (hence, the exclusion of such acts at The Cure) or scholarly, their aim to provide an entertaining, informative look back at a time when music was as much about image as sound (New Wave’s success does tie in with the birth of MTV, after all, and the perfect companion to this book is Rob Tannenbaum and Craig Marks' "I Want My MTV: The Uncensored Story of the Music Video Revolution") and the weirder the hair, the higher the chart position.
Here are 10 fun facts from the book:
It, understandably, went right over people’s heads that Devo’s “Whip It” was a Thomas Pynchon-esque parody: “Some people assumed it was an S&M song, so we wanted to fulfill their expectations with the video,” says the groups Gerald Casale. “Others thought it was about jacking off. Every time we’d do a radio interview, typically the DJs would be these leftover seventies hippies. They’d have the satin baseball jackets form the record company and the big pile of coke, and they’d go, ‘Whip it, dude. Heh, heh, heh!’ and they’d make jerk-off moves. We’d start by telling them what it’s actually about thad that would bum them out, so then we realized we should just go along with it.”
Kajagoogoo almost had a very different name, inspired by, wait for it, Agatha Christie: “I’d go out to nightclubs in London with a spaceman’s outfit on and weird oil paint over my face, which was a bit punk/Toyah/Adam and the Ants,” says lead singer, Limahl. “I’d spend two hours getting ready. Choosing the name was an extension of that. I remember I’d been to see an Agatha Christie movie called ‘The Mirror Crack’d’ and I said we should call ourselves the Mirror Crack’d. But when Nick [Rhodes] walked in one day _ and Nick’s outfit really left of center, very bright, really out there —he said, ‘What do you think of Kajagoogoo?’ I immediately loved it. The other three looked puzzled, but they came round over a few days.
A Flock of Seagull’s Mike Score’s wild, wacky hairdo really did possess magical powers: “I didn’t wash if for a couple weeks at a time because it was just so locked int place — a can of Aquanet every night… Once it was up and we had gigs, it never came down. One show, a girl jumped onstage, ran over to me, touched my fair, and fainted. I came offstage that night, and my manager said, “‘I think you’re got something there!’”
Vince Clarke has no regrets about leaving Depeche Mode, despite its monstrous success: “When I decided to leave, it wasn’t for another music band or to form Yaz — I just decided to leave. We were just young and things happened quite quickly for us, and there were a lot of egos flying around. I was just fed up. In retrospect, i’m really glad [I left]. No regrets at all, because i’ve worked with some really brilliant artists.”
OMD wrote “If You Leave” at the last minute for John Hughes: Orchestral Manoeuvers In The Dark originally submitted another song for “Pretty In Pink,” but when director Hughes changed the ending, the song no longer fit and he asked them to write a new one. “We worked till four in the morning and we banged onto a cassette the rough demo, then called a motorcycle to take it to Paramount,” recalls Andy McCluskey (clearly in the days before email and MP3s). “We got a phone call at half-past eight the next morning from our manager saying, ‘John’s already in the office—he’s heard the cassette and he loves it. Can you finish it off?’…That’s how ‘If You Leave’ was created—completely off the top of our heads in one day in Hollywood.”
Tears For Fears’ Curt Smith and Roland Orzabal didn’t say a single word to each for a decade: After the band broke up, after living side by side from 13 to 27, “we didn’t talk to each other for 10 years,” says Smith. “I moved to L.A. Eventually, his manager called me out of the blue to ask if i’d be interested in doing another record with Roland. My initial reaction was ‘No way!’…but then I thought, ‘That’s kind of unfair. It’s been 10 years. I don’t even know what he’s like anymore…We met up in Bath. It wasn’t weird at all. I mean, it was weird for the first 10 minutes, but after that, it was fine.” And yeah, fame can be confusing. “We were 20 when [‘The Hurting’] came out…half the audience wouldn’t make eye contact; the other half were trying to rip our shirts off.”
Don’t put Echo & The Bunnymen’s Ian McCulloch in the same room with U2’s Bono: “[Our music] might not be right for the 100,000 people with cowboy hats singing, ‘Where The Streets Have No Name.’ I suggest they get their f**king sheriff on the case if their streets have no name. Bono — Nobo, that’s his f**king name. What a gibbering, leprechaunish twat. He’s up to no good. He’s more out of his mind than I’ve ever seen anybody and that includes Mel Gibson on the David Letterman show when his head spun around 360 times. He’s the most banal, buffooneried-up, fucking leprechaun. He’s kissed more Blarney Stones than I’ve had hot dinners. I wish they’d been toxic so he’d f**k off.”
Don’t put Paul Young in the same room as Joy Division’s Peter Hook: “Paul Young’s was the most famous [cover of ‘Love Will Tear Us Apart’] and at the time, I hated it,” Hook recalls. “But then, we made more money off of that rendition than we ever did as Joy Division. It’s quite painful, isn’t it? It was snooty, and it was everything we don’t want to be— cabaret.”
A-ha’s “Take On Me” success was a blessing and a curse: “I’m totally at peace with ‘Take On Me,” says the band’s Magne “Mags” Furuholmen, “but I know there are other people in our group who would rather not talk about that song…You feel for the other songs that you bled for, and the ones that didn’t get attention. It’s like you have two kids, and someone always talks about how great one kid is.”
Modern English’s “I Melt With You” is apocalyptic: “[When ‘I Melt With You’ was first released as a single in 1982] I don’t think many people realized it was about a couple making love as the bomb dropped. As they made love, they become one and melt together,” says Modern English’s Robbie Grey. And yet, Hershey still decided to use it to sell chocolate…
Duran Duran's Simon LeBon likes dark-haired lovelies and he doesn't like sumo wrestlers: "What do I remember most [about shooting the video for 'Girls on Film?'] The one with the dark hair. Some guys like blondes, some guys like dark haired girls, and I realized absolutely which one I liked and was going for. It was very sexy, and then, watching it back, there was some turn off as well as turn-on. Like the sumo wrestler guy-- I think that is universally the great turn-off in that video."