Jack White’s “Just One Drink” is a barreling, country-tinged rock and roller.
Mariah Carey debuted a new song, “You Don’t Know What To Do,” featuring Wale, today on “Today.”
Arcade Fire’s video for “We Exist” is a moving, if sometimes heavy handed, look at our universal desire to be loved for who we are.
Dave Grohl is taking his “Sound City” concept onto the road. The release of Foo Fighters’ eighth album, and the band’s 20th anniversary, will be accompanied by an 8-part HBO series that chronicles the creation of the record and salutes the eight studios and cities in which it was created.
The Foos recorded one song each in a well-known studio in Chicago, Austin, Nashville, Los Angeles, Seattle, New Orleans, Washington, D.C., and New York. In addition to documenting the recording, in which notable local musicians joined in, each episode celebrates that town’s musical history and traces the influence the city had on the local legend sitting in with the band. HBO isn’t saying who the guests are. However, Buddy Guy is quoted in the press release, so we can count him in for Chicago.
Just as Foo Fighters switched it up and recorded 2010’s “Wasted Light” on all analog equipment in Grohl’s garage, they challenged themselves again with the new, still-untitled, album: Grohl did not write the lyrics until the last day in the studio in each city so as to absorb the local experience into the words, according to a statement.
The series will run in the fall in conjunction with the album’s release. No specific date for either has been announced.
Lana Del Rey has set a June 17 release date for “Ultraviolence,” as well as released the album's cover art.
In addition to standard and deluxe editions on download, CD, and vinyl, there will also be a Collectors Box edition that will include a deluxe LP Picture disc, a deluxe CD digipak and art prints, which was assume are suitable for framing.
In addition to first single “West Coast,” the new album contains some intriguing titles, including “F*cked My Way To The Top,” “The Other Woman” and bonus track, “Guns And Roses.”
Del Rey is current on tour in the U.S. Her remaining dates are listed below the track listing.
1. CRUEL WORLD
3. SHADES OF COOL
4. BROOKLYN BABY
5. WEST COAST
6. SAD GIRL
7. PRETTY WHEN YOU CRY
8. MONEY POWER GLORY
9. FUCKED MY WAY UP TO THE TOP
10. OLD MONEY
11. THE OTHER WOMAN
12. BLACK BEAUTY
13. GUNS AND ROSES
14. FLORIDA KILOS
2014 North American Tour Dates:
5/15 - Detroit, MI @ Masonic Temple Theatre
5/16 - Chicago, IL @ Aragon Ballroom
5/19 - Morrison, CO @ Red Rocks Amphitheatre
5/25 - Vancouver, BC @ PNE Amphitheatre
5/27 - Seattle, WA @ WaMu Theater
5/30 - Los Angeles, CA @ Shrine Expo Hall
“Xscape,” out today, features eight previously unreleased Michael Jackson tunes, completed by top tier producers.
Mariah Carey’s new tune, “Thirsty,” premiered today on Power 105, and the Hit-Boy-produced tune attempts to place Carey right in the middle of the club as her vocals glide over a very busy synth track.
The tune opens with the sound of a drink being opened and poured before the relentless track starts. Carey comes in and she has something to say: “You used to be Mr. All About Me, now you’re just thirsty for celebrity” she sings in her upper register.
Her man’s thirst for fame has left her “drowning” in misery. He can take his “stunting on Instagram” and move along, thank you very much. And, of course, the question is who is the song about? Hubby Nick Cannon? Someone else?
Rapper Rich Homie Quan comes in at the beginning and in the middle, but the star is Carey’s delivery: she singing is airy as a butterfly, but her words are lethal. The track is one of the catchier things she’s done, but it is way too busy. I’d love to hear a remix without the stuttering background track that runs under the whole tune like an irritating mosquito buzz. I know that's Hit-Boy's thing, but this synth track is much less appealing than the work he did on such tunes as Jay Z and Kanye West's "Ni**as in Paris."
“Thirsty” is on “Me. I Am Mariah…The Elusive Chanteuse,” which comes out May 27.
What do you think?
From “Radioactive” to “Demons” to “Battle Cry”: Imagine Dragons, known for its dramatic titles and music, has written a new song, “Battle Cry,” for “Transformers: Age of Extinction.”
Well, they have certainly done that.
In fact, listening to the album through speakers feels like you’re doing it a disservice and missing lovingly crafted details. “Turn Blue” is an album that is meant to be heard in its entirety with your full attention as the music pans from left to right and flows from your ears into your brain. It is not background music. In fact, we’d suggest to get the full effect, sink into a bean bag chair and a lava lamp.
The album gets off to a trippy start with the nearly seven-minute fuzzy opus,“Weight Of Love.” But that only hints at what’s to come. On “Turn Blue,” a punchy guitar line morphs into a sonic wave that threatens to blow your mind via headphones, and if “Weight of Love” recalls Pink Floyd, wait until you get to “Bullet in the Brain.” It practically demands to be listened to alongside “Comfortably Numb.”
First single, “Fever,” is one of the most straight ahead rock tracks on the album, but even it has the Black Keys’ usual little tics that make it sound unlike anything else on the radio. Plus, it includes the most delightful use of a farfisa organ since ? Mark & The Mysterians’ “96 Tears,” before it seemingly shifts into a different song.
Lyrically, the album deals primarily with romantic disillusionment and betrayal, such as on “Bullet In The Brain,” when Auerbach sings “I let you use my gifts to back those lying lips.”
Auerbach has turned into such an accomplished producer —in the last two years alone, he’s worked with Ray LaMontagne, Lana Del Rey, Dr. John, and Michael Kiwanuka —but here the band gets an able assist from Danger Mouse, who ups the psychedelic factor.
Part of The Black Keys appeal has always been Carney’s drumming, which is more upfront in the mix than many other drummers, but never overwhelms the song. On the hypnotic “It’s Up To You Now,” percussion takes the lead, setting the tone as the song shifts tempos from frenetic to druggy, but never veers from the ‘70s rock that influenced it.
In fact, the album seldom leaves the ‘70s thematically, even if it does change styles. On “Waiting On Words,” even though the song is produced like a rock track, Auerbach delivers a soulful vocal that recalls Smokey Robinson filtered through a tremolo guitar.
The Black Keys haven’t abandoned the funk that got them so far on their last album, 2011’s “El Camino,” but it gets slightly muted here on songs like the swaying “10 Lovers.”
Auerbach and Carney deserve credit for staying so true to the ‘70s premise, but it doesn’t necessarily wear well. By the time track 10, “In Our Prime,” rolls around and Auerbach goes into a wonky guitar solo, it’s the tiniest bit tedious, but then the band comes back and closes with “Gotta Get Away,” a straight-ahead rocker that is so poppy it practically pops out of the speakers and starts dancing on the floor by itself. It doesn’t have the usual heft of a Black Keys’ tune but that’s part of its appeal. It’s lightweight and frothy and utterly delectable. Maybe that could be the starting point for album number nine.