If you’re going to lavish love on Puff Daddy, do him a favor and do it while he’s still here to hear your praise.
The re-birthing of Nicki Minaj as a class act—as opposed to the multi-colored cartoon mess we first met a few years ago — is complete with the video for “Pills N Potions,” released today.
UPDATED:( June 11): A day after FIFA announced Lopez's cancellation, she is back in. According to People magazine, Lopez's reps now say that Lopez will be in Brazil to perform with Pitbull and Leitte.
Jennifer Lopez will leave her song mates Pitbull and Claudia Leitte holding the ball —soccer ball, that is— in Brazil this week.
The trio was set to perform the official 2014 World Cup theme, “We Are One (Ole Ola),” together on Thursday (12) in Sao Paulo during the opening ceremonies, previous to Brazil’s first match with Croatia.
News of Lopez’s withdrawal began to spread Sunday and while some outlets blamed it on production issues (which sounds fishy given that Pitbull and Brazilian artist Leitte are still performing), in an official statement to CNN, her rep merely confirms that Lopez “will not be attending this year’s World Cup opening ceremonies,” without giving a reason for the change. Maybe she's too busy promoting her new album, "A.K.A.," which comes out June 17.
As far back as January, Pitbull released a statement about how pleased he was to join Lopez and Leitte “at the FIFA World Cup to bring the world together.”
The trio performed the song at the 2014 Billboard Music Awards in May to open the show and the song was almost universally panned for its lack of Brazilian feel and reliance on cliches. Its reception was in sharp contrast to the positive reception Shakira’s 2010 official World Cup track, “Waka Waka” received.
With his second solo album, “Lazaretto,” out Tuesday (10), Jack White continues on his exploration of American music. For all his talk of condemning others for being musical magpies, he proves to be quite one himself on the set: Whether he’s recalling Howling Wolf or The Band or even Lynyrd Skynrd, it’s easy to trace the new creation back to its musical forbearers.
Where White’s true talent lies is that he’s able to assimilate so many different styles into his music. “Lazaretto” works also most as two different albums: there are the gentle country-influenced acoustic tracks and the feral, primal, razor-edged electric tunes and he sells both of them with equal conviction. For the most part, both tread the same lyrical band: a sense of isolation that, in some cases, quietly creeps in and other times, announces its arrival with unrestrained howls.
As acclaimed a guitarist as White is, much of the album relies on stellar keyboard work. White sounds more comfortable here than he did on 2012’s “Blunderbuss.” The stylistic shifts may be jarring for some, but fans of White’s should be pretty used to his ability to be a Jack (White) of all trades by now.
Below is a track-by-track review:
“Three Women”: Sounding like a cross between The Band, Dr. John, and Lynyrd Skynyrd on this barrel-house piano blues rocker, White brags about the three women in his life who come visit him every night. Sure, it’s a big confusing keeping everyone happy, but he seems to be juggling just fine. It’s a fine, high energy kick off to the album: GRADE: B+
“Lazaretto”: Frenetic, jerky, fuzzy track that’s all about White’s kinetic electric guitar work and his jagged vocal delivery. Full of bleeps and effects, and an unexpected fiddle break, the title track is the album’s most lacerating track. GRADE: B
“Temporary Ground”: A beautiful, country-tinged acoustic track that examines a God that would leave here letting us believe we’ve found a safe haven when we’re really only on temporary ground. “All the creatures have it hard now/Nothing but God is left to know/ Why he left us all here hanging with an illusion of a home,” White sings as he trades lyrics with Lillie Mae Rische. A gorgeous alt-country tune that brings in acoustic guitars, fiddles, mandolin and pedal steel, while still sounding contemporary (with a nod back to very, very early Elton John). GRADE: A-
“Would You Fight For My Love”: “I’m getting better at becoming a ghost,” White declares on this mid-tempo, dense track about getting shattered by love. Lyrically, he’s most vulnerable than we usually hear him. Musically, he’s all over the map here from new wave to operatic background singers to screeching guitars. It’s a very busy tune and instead of his vocals sounding interesting, he just sounds like a David Byrne wanna be. GRADE: B-
“High Ball Stepper”: An woozy, psychedelic instrumental track that lets White show off his guitar chops and serves as a palate cleanser between the first and second halves of “Lazeretto.” GRADE: B-
“Just One Drink”: Straight-ahead country rocker that would have sounded right at home on a Georgia Satellites album. He loves her, but she doesn’t love him…same old story told in a familiar, but still refreshing way. GRADE: B+
“Alone In My Home”: Genial alt country track with White singing in a straight ahead style that we don’t normally hear. He’s once again broken and he again, as in “Would You Fight For My Love,” references becoming a ghost “so nobody can known me.” As jaunty as the playful piano may be, the lyrics are about isolating and escaping pain. GRADE: B
“Entitlement”: The alt country roll continues on this track that crosses Wilco with the Jayhawks. Lyrically he takes on those who can “take like Caesar and nobody cares” and how, despite being one of the entitled ones, he can’t quite do the same. “Stop what you’re doing and get back in line/I hear this from people all the time,” he bemoans. It’s a damned-you-do-damned-if-you-don’t song set to a nice mandolin that comes to a nice resolution. GRADE: B-
“That Black Bat Licorice”: A slinky, creeping track that finds White rhyming names like Columbo and Dumbo (the NYC neighborhood, not the baby elephant) in a trippy/, shape-shifting tune. Weird but it somehow works. GRADE: B-
“I Think I Found The Culprit”: “Birds of a feather may lay together/but the uglier one is always under the gun,” White sings as love and betrayal takes on the form of two birds on a windowsill. GRADE: B
“Want and Able”: White ends the album with a sloping, country parable that sounds very much like a Avett Brothers track: Want is never satisfied and always looking for more, while Able is the freedom to carry out our desires. GRADE: B
You have to give Psy credit, the Korean rapper continues to parlay his international fame that started with 2012’s “Gangnam Style” on little more than a few clever dance moves, not-particularly catchy, bleating beats, and videos that spread virally like wildfire.
The title will be her first debut at the top of the all-genre chart in a week that also sees Led Zeppelin return to the Top 10.
Two weeks ago, both Coldplay and Brantley Gilbert debuted with albums that each sold more than 200,000 albums. Lambert’s “Platinum” is the only one to blow past the 100,000 mark this week. “Frozen” and Gilbert’s “Just As I Am” are too close to call for the No. 2 spot, with both expected to sell between 50,000-55,000. Coldplay’s “Ghost Stories” will be No. 4 (45,000-50,000).
“Now That’s What I Call Music 50” will be at No. 5 (40,000-45,000), with “Now That’s What I Call Country 7” also taking up space in the Top 10, bowing at No. 7 (25,000-28,000).
50 Cent’s “Street King Immortal” comes in at No. 6, with sales of 35,000-40,000.
Rhino reissued the first three Led Zeppelin albums last week and all three will bow in the top 11: “Led Zeppelin l” will likely come in at No. 8 (25,000-28,000), with “Led Zeppelin ll” at No. 10 (24,000-27,000) and “Led Zeppelin lll” at No. 11 (22,000-25,000)
Michael Jackson’s posthumous project, “Xscape” likely remains in the Top 10 at No. 9 (24,000-27,000), according to Hits Daily Double.
Stepping in to replace another composer on a film is never an easy task, but for Christophe Beck, coming in at the tail end of “Edge of Tomorrow” had one great advantage: the movie was largely completed.
When “Tomorrow,” which opens today, started shooting, there was no finished script: director Doug Liman and star Tom Cruise continued to craft the film as shooting went along. Liman replaced original composer Ramin Djawadi with Beck, who was best known for scoring films like the three “Hangover” movies, “Muppets Most Wanted,” “Pitch Perfect” and “Crazy, Stupid, Love.”
He jokes that getting thrown into the summer blockbuster made him feel a little bit like Cruise’s character, who is thrust into the front lines of a war with no combat experience. “You sort of get dropped in to the situation kind of running, kind of like the Tom Cruise character,” he says. (Typically, even the original composer isn’t brought in until shooting is near complete, although some directors bring in composers earlier in the process, especially if they have an ongoing relationship).
Even though Beck has composed for thrillers like “Runner Runner,” “Tomorrow” is his first big action pic, but that doesn’t mean he wasn’t ready. “I had a lot of training,” who graduated from Yale with a music degree before attending USC’s Film Scoring program. “I’m always entertaining possibilities and ideas even if it’s not the project I’m working on,” he says. “If I see a cool sci-fi movie with a cool score, I think what would I do there? It’s not like, ‘I’ll be starting this big sci-fi movie in a month and I need to ramp up’.”
Having said that, he knew he was coming into a situation where not only the first composer had been let go, but that Liman was figuring out how to navigate working with a composer other than his frequent collaborator John Powell, who has decided to take a break from scoring to work on other projects.
“I think any composer going in to that situation might have met the same fate [as Djawadi],” he says. “I wonder if I had been the first composer if I would have lasted the whole time.”
Beck and Liman found their footing, but it took some time: “It took me awhile to get some stuff out of my system,” Beck says. “Doug really pushed me to constantly find unconventional ways to score scenes. That took a couple of months.”
For example, there’s an extended scene where Cruise, in the “Groundhog Day”-like plot, keeps reliving the beach invasion scene, but each time before he dies, he comes back with a little extra knowledge. “At first, we were hung up on the super soldier aspect and had a heroic theme with french horns,” Beck says. “It was important to Doug that [the audience] be able to laugh at the scene. After multiple attempts at doing it [with] a more traditional hero melody, we played it more like a punk rebel and sampled bits and pieces of the orchestra and distorted them.”
Beck calls Liman “a very enthusiastic musician —he can play a mean Billy Joel on the piano—who always knows what he wants, even if he has to hear what he doesn’t want first. As Blunt and Cruise have both also noted, Liman doesn’t sugarcoat his criticism. “When you’re in the moment and you’re hearing it from him, it can sometimes make your heart sink, but I’d much rather work with someone where you know where you stand,” Beck says. “When he’s telling you it’s the best cue or it’s a total miss and he wonders what movie you were watching, he delivers the news i the same even-keeled manner. It’s quite remarkable.”
Working on “Edge of Tomorrow” was a sharp contrast to scoring “Frozen.” Whereas Liman pushed Beck for innovation, with the Disney animated film, “there was an expectation of a traditional symphonic sound with melody, and not too much emphasis on writing something completely original,” Beck says. “The emphasis on surprising the audience is not there. For a Disney film, you have to stick to the tradition of all that came before it.” However, at the core, he adds, “you’re still storytelling through music.”
“Frozen,” which has grossed more than $1 billion in worldwide box office, has made more money than any film in Disney Animation’s history. “It’s always fun to have a giant hit,” Beck says of working on a movie that belongs in the pantheon of Disney’s classic films. “It’s nice to be able to tell someone I worked on a film that’s so wildly beloved and widely known so I don’t have to explain that I worked on a movie that opened three months ago and is gone.”
Beck names John Williams as his all-time favorite composer, also tips his hat to legendary Jerry Goldsmith: “He was one of my teachers at USC. He only taught one year or so and I had him. He was a huge influence on me, mainly through his ability to make such great music out of so few ideas. He was very economical. His music has a real feeling of cohesiveness. It’s almost Beethoven-esque.
His favorite contemporary composer is Alexandre Desplat. “No matter what style he does, there’s still his stamp on it it, which is a certain sophistication and minimalism,” Beck says. “It has a real elegance to it, even when he’s doing ‘Godzilla’ with 18 trombone players.”
Beck hints that he has some future animated projects in the works that he can’t announce yet. In the meantime, he’s working on the score for “Hot Tube Time Machine 2.” “They go into the future this time as opposed to the past, so the score takes a turn. It’s very cool.”
At issue was a mix by DJ Z-Trip used by Monster Energy that included five Beastie Boys songs, including “Sabotage” and “Pass the Mic.” DJ Z-Trip gave the drink manufacturer permission to use the mix for a recap of a snowboarding competition it sponsored, but Monster Energy did not have the Beastie Boys’ permission.
From the start of the New York Federal Court trial, Monster Energy admitted it was at fault, so the trial was to determine damages. Monster Energy wanted to pay $125,000, the two remaining Beastie Boys, Adam “Ad Rock” Horovitz and Michael “Mike D” Diamond, wanted $2 million— $1 million for the copyright infringement and $1 million for Monster Energy implying that the Beastie Boys’ endorsed the usage.
Both Horovitz and Diamond testified at the trial. Among the facts revealed was that the pair will not ever record together as the Beastie Boys again, following Adam Yauch’s death.
The Beastie Boys aren't messing around when they say they do not want their music used to endorse products. In March, the act settled with GoldieBlox over the toy company's parody of the group's 1987 song, "Girls." The settlement included an apology on the company's website to the band and an undisclosed donation to Beastie Boy-selected charities that supported science, technology, engineering and math education for girls.
This week marks the 30th anniversary of the release of Bruce Springsteen’s “Born In The U.S.A.” The album, which sold more than 15 million copies in the U.S. alone, is not only his best-selling title, it is likely his most misunderstood. The title track, about the disillusionment of the American Dream as seen through the eyes of a soldier returning from Vietnam, became a controversial lightning rod after then-president Ronald Reagan and other conservatives embraced it as a patriotic anthem.
The album boasted a staggering seven top 10 singles (a record shared with Michael Jackson’s “Thriller” and Janet Jackson’s “Rhythm Nation 1814”) and catapulted Springsteen from star to stadium-filling superstar.
Here’s a look back at the 10 best lyrics from the album.
In numbers released today, “Elusive” sold 58,000 in its first week, according to Nielsen SoundScan. That’s Carey’s lowest opening weeks sales ever for a non-holiday album since the 1991 birth of SoundScan.
So what went wrong here?
*The title. Not only is it unwieldy, it’s three titles in one. It’s memorable for being awkward and egotistical and just strange… and that’s even knowing the too precious backstory of the title coming from a drawing she did when she was little. And who has referred to her as “the elusive chanteuse?” That seems self-appointed. Including your name in that album title only works once— on your self-titled debut—and she’d already gotten away with it doing it again on “The Emancipation of Mimi.”
*The project ran out of steam even before it came out: Originally titled “The Art of Letting Go,” the new album was first slated to be released sometime in 2012 or early 2013 following the release of first single, “Triumphant (Get ‘Em)” in 2012…. a song that’s not even on the new album, by the way. Then it just kept getting moved back for nearly two years. Add that to it seemed a sure shot for May 6 and then it mysteriously got moved to three weeks later and everyone just seemed confused about the actual release
*No killer single: By the time the album was came out, it was more than a year since the track that had received significant mainstream radio play, “Beautiful,” featuring Miguel, had gone to radio. People’s memories are short and subsequent singles, while they may have had success at other formats, particularly dance, didn’t gain traction at radio.
*Lack of promotion: If you combine everything Carey did over the past 18 months, from appearing on “American Idol,” to performing on “Good Morning America” and “Today,” and assorted other shows and her primetime special with Matt Lauer last Saturday (yeah, I had no idea about it until after the fact either… ), it may have added up to significant exposure, but the appearances were scattered over so long a period of time, her casual fans can’t be blamed for having no idea that the album had actually dropped on May 27.
*Tone deaf publicity: Carey kept showing up in the press but for the wrong reasons, like her Norma Desmond-like ride on a New York subway last week clad in a formal gown and white gloves. That doesn’t make her seem street or one with the people, it makes her seem confused about where she is and out of touch. If she wants to ride the subway, something I imagine she hasn’t done in decades, as a publicity stunt, that’s fine, but don’t do it in a way that only makes you seem even more unrelateable.
So what happens next? It would be nice if her label found a way to keep working the album because there are some really strong songs on there that could be radio hits, including “Cry” and “Make It Look Good.” (read our review here) The album is better than the opening week sales reflect and here’s hoping that it finds the audience that it deserves.