Chris Brown and Frank Ocean fight at Los Angeles recording studio

Chris Brown and Frank Ocean fight at Los Angeles recording studio

Both sides dispute who threw the first punch

Chris Brown and Frank Ocean got into a brawl at a Los Angeles recording studio on Sunday night.

TMZ first reported the fight around 9 p.m., saying that both artists were at Westlake Studios. When Brown went to leave, a source told TMZ that Ocean and his entourage blocked Brown from leaving. “We’re told Chris went to shake Frank’s hand...and that’s when one of Frank’s people attacked Chris,” TMZ reported. “Sources connected with Chris say one of Chris’s friends jumped in front and hit Frank’s friend." Brown sources also told TMZ that Ocean then "came at" Brown and the two started fighting.

Police arrived at the scene, but Brown had already departed. According to TMZ, no arrests have been made and no one has pressed charges.

Shortly after the altercation, Ocean tweeted, “got jumped by chris and a couple guys. lol. I only wish everest was there,” then adding, “cut my finger now I can’t play w two hands at the grammys.” Everest, according to Ocean's tumblr, is his dog.

Brown has not tweeted since Jan. 25.

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Daft Punk signs with Columbia Records for spring album

Daft Punk signs with Columbia Records for spring album

New set will be first studio release since 2007s 'Human After All'

Chic’s Nile Rodgers hinted a few weeks ago that he was working with Daft Punk, but now it’s looks for certain that new music is coming this spring from the French electronic music duo.

The twosome, Guy-Manuel de Homem-Christo and Thomas Bengalter, have signed to Columbia Records, departing from their previous home, Virgin.   The pair’s fourth collection will be its first studio release since 2007’s “Human After All,” according to NME.

Daft Punk, who were hotly rumored to be headlining Coachella, until the pair said they were definitely not touring in 2013, most recently worked on the soundtrack for “Tron: Legacy” in 2010.

In addition to Rodgers, Daft Punk is also reported to be working with Chilly Gonzales and Animal Collective’s Panda Bear on the new album.
 

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<p>Beyonce</p>

Beyonce

Credit: Dan Steinberg/AP

Music Power Rankings: Beyonce tops Justins Bieber and Timberlake

Madonna and Adele make this week's list too

1. Beyonce: She gets more attention than President Obama for allegedly lip-syncing  “The Star-Spangled Banner” at his second Inauguration. The San Francisco 49ers and Baltimore Ravens are already plotting ways to get the attention back for the Super Bowl.

2. Justin Timberlake: The original Justin dresses up in a “Suit & Tie” and the world welcomes him back. The first single from his new album “The 20/20 Experience.” sets a record at pop radio and soars 84-4 on the Billboard Hot 100. He’s bringing sexy back. Can he bring the record industry back too?

3. Coachella: The line-up for the 2013 festival includes such veteran acts as  a reunited Stone Roses, Blur and The Red Hot Chili Peppers. That Coachella! And here’s to all the darling hipsters who think the Indio, Calif. festival is so cutting edge.

4. Justin Bieber: The Prince of Pop, as his label is trying to label him, is truly the King of Twitter. This week he surpassed Lady Gaga as the most-followed person on Twitter with more than 33.33 million followers. Think about what that says about us...

5. Macklemore & Ryan Lewis:  The rapping duo takes “Thrift Shop” to No. 1 for their first Billboard Hot 100 hit. We have a hunch they won’t have to bargain hunting anymore.

6. Adele: The British superstar confirms that she will perform her James Bond theme, “Skyfall,” at the Academy Awards. If her acceptance speech is half as amusing as speech at the Golden Globes, just let her talk, forget about her singing.

7. The Flaming Lips:
We know it’s a sign of the times, but it feels like they went a little overboard by writing “Sun Blows Up Today” specifically for a Hyundai ad that will air during the Super Bowl. Now if it were for the Kia Hamsters, that would be a totally different thing.
 

8.Madonna: With final 2012 figures finally in, Madge’s  “MDNA” tour tallies a staggering gross of $305,158,363. The outing registers at No. 10 on Billboard’s list of all time top tours. Who needs record sales when you have ticket sales like that?

9. A$AP Rocky: He scores his first No. 1 album with “Long.Live.A$AP.” He’s talented, for sure, but is it okay that his biz partner’s nickname, A$AP Yams, makes us giggle every time?

10. WNSH: New York City finally gets a country radio station again for the first time since 1996. NYC was already the No. 1 market for country album sales in the U.S. Imagine what will happen now?

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<p>The Lumineers</p>

The Lumineers

Credit: AP

Gary Allan and the Lumineers dominate next week's Billboard 200

Light release week makes for few debuts

The Lumineers will see a nice bump in their sales following the  “Ho Hey” group’s Jan. 19 appearance on “Saturday Night Live,” but it won’t be enough for them to knock Gary Allan out of the top spot.

The longtime country singer scores his first No. 1 Billboard 200 album next week with “Set You Free.” The title is set to sell up to 100,000, handily giving it the lead over The Lumineers’ self-titled set, which will sell up to 60,000.

The soundtrack to “Pitch Perfect” continues to soar following the comedy’s release on DVD. It will be at No. 3 with up to 45,000 copies sold, according to Hits Daily Double.

In addition to Allan, the only new entry in the Top 10 will likely be the ?“2013 Grammy Nominees” album at No. 5 with sales of up to 40,000. However, that title, this week’s No. 1, A$AP Rocky’s “Long.Live.A$AP”; the “Grammy Nominees,” Bruno Mars’ “Unorthodox Jukebox” and Kidz Bop 23” are all in a tight race for the No. 4 spot with each targeted to sell between 35,000-40,000, so it’s too close to call the No. 4-7 spots.

Taylor Swift’s “Red” and the “Les Miserables” soundtrack are also locked in a tie for No. 8 with both aiming for between 30,000-35,000 copies. Coming in at No. 10 will likely be Mumford & Sons’ “Babel.”

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<p>Beyonce</p>

Beyonce

Credit: AP Photo/Matt Sayles

Is this really Beyonce and Destiny Child's Super Bowl halftime show set list?

What songs do you want to see her perform on Feb. 3?

In a little over a week, Beyonce will make another very public appearance when she headlines the half-time show at Super Bowl XLVII on Feb. 3. Us Weekly is reporting that she’ll open her set with “Crazy In Love”  and then halfway through will be joined by her Destiny’s Child bandmates Kelly Rowland and Michelle Williams for a medley including “Bills, Bills, Bills,” “Survivor” and new track, “Nuclear.”

Hmmm. She’ll likely have time to throw in a few other numbers and while the Destiny’s Child songs sound plausible, we’re rather hear “Say My Name” and “Bootylicious.”

As far as other Beyonce songs, there is absolutely no way she is leaving the New Orleans Superdome without playing “Single Ladies (Put A Ring On It).”  I may have no clue whether the Baltimore Ravens or the San Francisco 49ers are going to win (actually, I’m calling for the 49ers to win 27-24), but she will play that.  I also expect “Irreplaceable” to show up, although she could have a lot of fun with “Countdown” or “Run The World (Girls).”

If she decides to get all meaningful on us, she may slow things down with “I Was Here,” but I doubt it.

Next week, I’ll post my dream half-time show.

And as for the whole lip-syncing brouhaha over her performance of the "Star Spangled Banner" at Monday's Inaugural, does anyone really care if she sings live at the Super Bowl? Given that she will likely be dancing instead of standing still, I wouldn't be at all surprised if she lip syncs and I don't care.

What do you want to hear her perform?

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Watch: Justin Timberlake channels Sinatra and MJ and reveals '20/20' release date

Watch: Justin Timberlake channels Sinatra and MJ and reveals '20/20' release date

'Suit & Tie' lyric video dresses up the hit song featuring Jay-Z

Even Justin Timberlake’s lyric videos are fancier than other artists’.  The music clip for "Suit & Tie" featuring Jay-Z, which premiered this morning, could serve as a full-on video for the song instead of as the usual place-holder that most lyrics videos are.

[More after the jump...]

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<p>Macklemore and Ryan Lewis</p>

Macklemore and Ryan Lewis

Macklemore & Ryan Lewis's 'Thrift Shop' tops the Billboard Hot 100

How high does Justin Timberlake's 'Suit & Tie' jump?

Macklemore & Ryan Lewis bargain hunt their way to No. 1 as “Thrift Shop” featuring Wanz tops the Billboard Hot 100.

But that’s not the only big story on the chart this week: Justin Timberlake’s first new single in six years, “Suit & Tie,” somersaults 84-4. It’s his 12th Hot 100 Top 10 as a solo or featured artist and his first since her appeared on Ciara’a “Love Sex Magic” in 2009, according to Billboard.

“Thrift Shop,” which ends Bruno Mars’ “Locked Out Of Heaven” six-week run at No. 1,”  attains its pole position through strong digital sales (it solds 431,000 downloads last week compared with “Suit & Tie’s” 315,000), as well as heavy streaming.  In fact, the song set a streaming record, garnering 1.68 million streams last week, topping the previous record-holder Gotye’s “Somebody That I Used To Know.”  Airplay is still building for “Thrift,” which rises to No. 14 on Billboard’s Radio Songs chart.

Mars’ “Locked” slips to No. 3, while The Lumineers’ “Ho Hey” holds at No. 3. Taylor Swift’s “I Knew You Were Trouble” falls 4-5, despite gaining airplay. The song is No. 1 on Billboard’s Pop Songs chart this week.

Will.i.am and Britney Spears’ “Scream & Shout” remains at No. 6, while Swedish House Mafia’s “Don’t You Worry Child” featuring John Martin stays at No. 7.

Rihanna’s “Diamonds”  slips 5-8, Justin Bieber’s “Beauty and a Beat” featuring Nicki Minaj slides 8-9 and Phillip Phillips’ “Home” dips 9-10.

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<p>Justin Timberlake</p>

Justin Timberlake

Credit: AP Photo

Justin Timberlake returns to stage for Super Bowl concert

Private show is his first in five years

Justin Timberlake will return to the stage for his first concert in five years when he performs at DIRECTV’s Super Saturday night in New Orleans on Feb. 2, the evening before the Super Bowl.

The private party, co-hosed by Mark Cuban’s AXS TV, will benefit the Shriners Hospital for Children, a cause with which Timberlake has long donated his time and money.

The performance follows the release of Timberlake’s new single, “Suit & Tie” from his forthcoming album, “The 20/20 Experience.”

While the concert isn’t open to the public, maybe Cuban’s AXS TV is recording for potential future broadcast.

Can a full tour be on the horizon? Maybe he'll join Beyonce for the big half-time show? 
 

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<p>Lady Gaga</p>

Lady Gaga

Credit: AP Photo

Concert Review: Lady Gaga storms Staples Center in Los Angeles

What's the latest on new album, 'Artpop?'

Stepping into Lady Gaga’s Born This Way Ball, which stopped at Los Angeles’ Staples Center Jan. 20-21, feels like stepping into some utopian ideal.

Everyone is equal, everyone is welcome, and everyone is loved in Momma Monster’s world and she’s going to remind you of that until you believe it.  Oh, and she plays some songs too.

The Jan. 21 show started with the unveiling of an impressive three-story castle from which Gaga emerges. The band members were in various portals, separated from each other for most of the show.  For the next 2 hours and 15 minutes,  Lady Gaga repeatedly stormed the moveable castle, turning it into her own gothic Barbie Dreamhouse as it opened up to reveal interior rooms. The Born This Way Ball is a true spectacular, the likes of which few artists even attempt to accomplish these days.

From the moment she appears in a black corset with black metal contraption on her head, roaring into “Government Hooker,” Lady Gaga was in complete control of the stage and the sold-out, adoring audience.

With her hair/wig swept up in some pink Bridezilla beehive, she stomped and danced her way through “Born This Way, “ “Bloody Mary” “Bad Romance,” and more in the first 30 minutes.

Each song morphed fairly indistinguishably into the next, the beats and singing blending together, punctuated by costume changes, crazy headgear, a dozen dancers in various states of undress, and Lady Gaga preaching and exalting us to jump and respond. “Raise your hands in the air! This is not a f**king funeral,” she screamed as she segued from “Judas” into “Fashion of His Love.” The show started full throttle and never cried uncle. It was a full-on assault, with very little pacing and sense of an arc, just continuous movement forward. If that sounds like a criticism, it’s only a slight one given that it seems downright churlish to complain about a performance that never lets up or dips in its aggressiveness. 

The fast-paced show operated on the conceit that Lady Gaga is an alien who has arrived on earth to learn everything she can about us. As the Manifesto of Mother Monster goes (the manifesto was introduced in the “Born This Way” video), she is from G.O.A.T., a government-owned alien territory.  By the time she is finished with her journey,  she will have earned the right to be our pop star.  “In the meantime I will suck the life out of many of you tonight,” she declared. From time to time, a projected image of a talking face in a suspended cage brought us up to speed on her journey.  She should drop the whole idea. She’s weird enough without the idea that she’s an alien.

When she wasn’t singing —and make no mistake about it, she was singing live, though sometimes her voice was heavily accompanied by enhanced vocal tracks and effects—she was delivering sermonette after sermonette. She talked about her days as a stripper (“there’s no shame in taking off your clothes for money,” she declares) and her rise to fame, and genuinely and profusely thanked the audience for spending their money to see her.

As she lets her freak flag continuously fly, she relentlessly reminded the audience to believe in themselves and not to care what others think.  Every misfit toy—and who hasn’t felt like one at some time or another?—is beautiful in her world and her message was so touchingly delivered and repeated that only the coldest heart of a homecoming queen could fail to be  melted. “Can you be brave enough not to care?,” she screamed at one point, pacing on the outer rim of a catwalk that extended into the arena and surrounded the Monster Pit. “When you stop caring about what other people think, you fly so f**king free.”  Her dedication to embracing and lifting up her fellow outsiders was the most endearing part of the evening.

Not every set piece worked. The meat medley —she comes out hanging like a side of beef for “Americano,” then performs “Poker Face” upended in a meat grinder (huh?) and segues into “Alejandro” while lying on a sofa made of raw sirloin — seemed a bit of a stretch.

But the false moments are few and the gargantuan effort Lady Gaga put in to every one of the 25 numbers was staggering in her commitment and intensity.  One of the most affecting segments was when she finally slowed down long enough to sit at the piano and sing “The Queen,” telling the audience, “I don’t want to be your queen. I want to be your friend. I don’t want you to worship me. I want you to worship you.”  It’s an unassailable message, even if she is delivering it from a multi-million dollar set while slavishly-devoted fans hang on her every word. She continued at the piano for a full-throated rendition of “You & I,” one of the evening’s highlights.

She ended the night with an encore featuring “The Edge of Glory” and a slowed-down “Marry The Night.” For the latter, she gathered up “monsters” from the pit, most of them in some form of costume, and hugged and sang with them. It was the direct opposite of a big finish, but after more than two hours of bombast, it was finally time to slow it down.

The North American leg of the Born This Way Ball, which started in Vancouver on Jan. 11, concludes March 20 in Tulsa, Okla.

In other Lady Gaga news, she continues to work on “ARTPOP” with EDM artist/producer Zedd. He told MTV News  that they have a ways to go before completing the album, her first since “Born This Way” was released in May 2011. 

“It’s hard to find time to work on something together,” he says. “So we’ve been working on it for over a year now. There’s still a lot of work left, so we’re definitely gonna work on this project for the next month.”

He added that while they toured together in Asia, he worked up 10 songs and finished them up until the point where she would add the piano, but he didn’t know if any of those would make the final cut.

 

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<p>Beyonce</p>

Beyonce

Credit: AP Photo

Does it matter if Beyonce was lip-syncing at the Presidential Inaugural?

Do we hold artists up to an impossible standard?

After most pundits and critics (me included) fell all over themselves praising Beyonce’s rendition of “The Star Spangled Banner” at Monday’s presidential inauguration, word comes today that she was lip-syncing, according to the Times of London. 

In the ever-evolving story, first U.S. Marine Band spokeswoman Kristen DuBois stated that Beyonce decided to lip-synch to a recording of her own voice at the last minute on Monday. We know Beyonce recorded a version because she sent an Instagram photo of herself reviewing the music the day before and footage of the recording leaked out by Monday morning.

After the attendant brouhaha, the Marine Corps (which accompanied Beyonce and were also, apparently, on tape) walked back the statement, as they say in government speak, releasing a statement that said they weren’t sure what had happened and that they, according to CNN, weren’t in a position  “to assess whether [Beyonce’s vocal performance] was live or pre-recorded.”

The Marine Corps statement went on to explain that the musical pieces are always pre-recorded to allow for extenuating circumstances. For example, four years ago, cellist Yo-Yo Ma played to a pre-recorded track because it was too cold for his fingers to do what he needed them to do to sound good.

But then, Jezebel linked to this version, which is a different feed than the one run by the networks, to indicate that she was singing live and the sound we hear is the echo, not her singing along to her own pre-recorded vocal.

The bigger question is does it matter?  It’s clearly her singing, so what’s the harm if it’s not live?

As we learned from Watergate and from practically every political scandal since, it isn’t so much the crime as the cover-up. When Beyonce pulled out one of her in-ear monitors mid-performance, whether intentional or not, that was a signal that she was singing live and needed to adjust the arrangement she was hearing in her ears in order to sing to the best of her ability. If she was lip-syncing all along, why make that kind of gesture?

The gold standard by which all other versions of the National Anthem are judged is Whitney Houston’s version at the 1992 Super Bowl.  Following her blockbuster performance came word that she too was lip-synching. It’s too hard a song to sing and there are too many variables when performing outside, especially in cold weather, to mess around with it.

After the initial uproar, and after the Super Bowl folks explained that they always pre-tape the National Anthem just in case, the furor died down and 20 years later, Houston’s version is now seen as the definitive.

Beyonce’s representative, whom we reached out to, has declined to comment to anyone. But as the story began trending today, a new theory emerged, which is that Beyonce was singing live to her own taped version and that is why she pulled out the ear piece.

I honestly don’t know if it matters. What I do know is that the pressure put on performers to be perfect live is unrealistic, especially in a setting such as Mondays: very, very cold temperatures that can play havoc with vocal chords and nerves that can trip the finest artist up.  When an artist does sing live and muffles it, such as Christina Aguilera did at the Super Bowl a few years ago, they never hear the end of it. When they lip-sync to their own voice so there won’t be any mistakes, they get criticized for that too.

The weird thing about Beyonce’s performance and part of what makes it so hard to tell, is that she starts off softly and a little wobbly, so it seems like if she was lip-syncing, they would have made her intro stronger. 

All I know is no one seems to know for sure. There’s a hot debate going on on a top music producer’s page on Facebook and even the studio cats can’t seem to decide for sure . (Both Kelly Clarkson and James Taylor’s reps have gone on the record stating that they were singing live).

The one thing I definitely know: Beyonce  is not the main story we should be taking away from yesterday’s festivities.

Do you think she was singing live? Does it matter?

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