[More after the jump...]
Charles Kelley tries to mend his broken heart
Singer records some of seventh set on the road
“Riser,” Dierks Bentley’s seventh album, out this fall, will focus on a number of personal topics, including his father’s death last spring.
“Riser” takes its title from a song called “I’m A Riser,” about recommitment. “Life in general has a way of knocking you down,” Bentley said in a statement. “It’s different reasons for different folks – could be personal reasons, could be family reasons, your job, drugs, alcohol. That song really applies to anybody that’s lived. There have always been those moments when we have to get back up and get on our feet. They are defining moments…breakthrough moments.”
The album, produced by “Tip It On Back” co-writer Ross Copperman, was recorded in a variety of locales, including Bentley’s tour bus and Copperman’s house. “It was important to get out of the studio and sing in different places, and to do it with other people in the room,” Bentley said. “That way, you have an audience and you get a sense of what’s working, what’s not working, when it’s feeling good, not feeling good. It brings a little more emotion and energy out of your voice.”
Bentley’s last album, “Home,” debuted at No. 1 on the country chart. He is on tour with Miranda Lambert through October. He is opening a bar, Dierks Bentley’s Whiskey Row, in his native Arizona on July 4.
Deerhunter and Beach House also on bill for Los Angeles event
Yeah Yeah Yeahs, My Bloody Valentine, TV on the Radio, and MGMT are among the acts that will headline the 10th FYF Fest, held Aug. 24-25 at Los Angeles State Historic Park. It will be MBV’s first U.S. show since 2009.
Other artists on the bill include Deerhunter, Beach House, Solange, Yo La Tengo, Devendra Banhart, The Breeders, Death Grips, Roky Erickson, Foxygen, Holy Ghost! and The Melvins.
Weekend passes, which go on sale on Thursday, start at $99. Day passes are $65.
The full lineup for FYF Fest 2013 is:
!!! (Chik Chik Chik)
Fear of Men
FLAG (Keith, Chuck, Dez, Billy & Stephen playing the songs of Black Flag)
Horse Meat Disco
How to Dress Well
Kurt Vile & the Violators
Les Savy Fav
My Bloody Valentine
The Breeders (Performing Last Splash)
Thee Oh Sees
Toro y Moi
TV on the Radio
Yeah Yeah Yeahs
Yo La Tengo
What is holding up a new album and the latest on Christine McVie
Fleetwood Mac is having tremendous success on its current sold-out tour. The band is playing its classic hits with verve and enthusiasm, plus, since the recent release of 4-song EP, "Extended Play," the quartet has new material to sink its teeth into. Guitarist Lindsey Buckingham spoke to HitFix about the current state of Fleetwood Mac, the delight he takes in his still dynamic connection to Stevie Nicks, the latest on a full album from the band, and if Christine McVie will join her former band mates when they play London in the fall.
Hitfix: I saw the band two weekends ago at Jazz Fest in New Orleans and it seemed like you were on fire. The band was playing in daylight without any of the bells and whistles of an indoor arena show and no one missed them at all.
Buckingham: There’s a lesson there. We’ve all come to feel that we need to rely on the constructions of quite elaborate set design and the backdrop that changes from song to song and, really, this band, because we are a band of musicians and a great singer, we could go up there and with a couple of spotlights prevail probably just as well. It should be about the music first and, of course, with us, it is.
“Extended Play,” a four-song EP with your first new music in 10 years, came out on April 30 and landed in iTunes top 10. How gratifying was it that people were so eager to hear new music?
I haven’t paid too much attention to how things are going with it because, really, Mick [Fleetwood] and John [McVie] and I got together last year and we cut a bunch of tracks and then Stevie came to the table later. Even early on, Mick and John and I felt that the songs that we were doing were some of the best stuff we’d done in quite a while.
I am also happy with what it represents with the subject matter. The dialogues to Stevie that are, miraculously, still going on back and forth between Stevie and myself after all these years, I find that to be quite touching and somewhat surprising— something that neither one of us would have predicted years and years ago that we’d still somehow be driving each other’s motivation from a distance, and so I’m very happy with the way the EP turned out and it’s great to be doing some new things on stage.
You wrote one of the new songs, “Sad Angel,” for Stevie. What was her reaction when she first heard it?
I was not there, but I believe she latched onto it immediately. [When] that song was written, I was trying to reach out to her a little bit... she had a very good experience making her solo album [2011’s “In Your Dreams”] and it took her awhile to kind of sort of ease into the mentality of being in Fleetwood Mac again this time... That was a song to help lure her in a little bit, not that there was an agenda to do that, but it just seemed appropriate to what was going on at the time... “Hello Sad Angel, have you come to fight the war” and “Here we are, we fall to earth together/the crowd calling out for more.” It’s really sort of sweet that all of this is still taking place.
With piano ballad “It Takes Time,” you’re pleading for patience to someone who wants to heal you. What's that about?
I guess the reflection is that I’m actually looking at some of the actions that I’ve taken over the years and maybe judging them more objectively and maybe getting to a point in one’s life where you can look back and say, “Hmmm, maybe I could have done that differently” and acknowledging that much of the motivation that has driven certain creative actions and certain decisions has come from that dialogue that seems to have unfolded in slow motion over a period of many years. We are still somehow on a road of evolvement.
Is that one about Stevie?
What's the new version's close connection to the original?
Britney Spears and Adam Levine also make the list
1. Macklemore & Ryan Lewis: The pair pull off a “heist” on the Billboard Hot 100 as they become the first duo in the chart’s history to land their first two singles at No. 1.
2. Mariah Carey: After a few less than “triumphant” starts, it looks like she has a hit on her hands with “#Beautiful” featuring Miguel. Do lambs like hashtags?
3. Paul McCartney: A telegram requesting his presence to play bass with Jimi Hendrix, Miles Davis and Tony Williams has surfaced. The recording never happened because of Hendrix’s death, but that’s way cooler than Sir Paul playing with the remaining members of Nirvana.
4. Randy Jackson: He becomes a free agent: first Mariah Carey dismisses him as her manager, making the next few weeks on “American Idol” potentially even more awkward, and the last original judge declares he is quitting the show after this season. What up, Dawg ?
5. Madonna: She’ll receive an award at the Billboard Music Awards for last year’s MDNA tour, last year’s top grossing tour.
6. Cher’s mom: Yes, Cher’s mom. Georgia Holt debuts on Billboard’s country chart at No. 43 with her first album, “Honky Tonk Woman.” She’s giving Tony Bennett some competition for the oldest hipster on the charts!
7. Adam Levine: Not only did “The Voice” revive his and Maroon 5’s career, he now has a development deal with NBC. The band's name may be burgundy, but the only color he’s seeing is green.
8. Britney Spears: She confirms her long-rumored Las Vegas run to, of all places, Shape magazine. Expect full details about the Planet Hollywood stint to be unveiled by month’s end in Gun and Garden magazine.
9. Carrie Underwood: She replaces Faith Hill as the voice for the Sunday Night Football theme. Doesn’t that count as cheating on her NHL-playing husband?
10. Tim Lambesis: In this week’s weirdest story, member of Christian rock band As I Lay Dying pleads not guilty to charges that he tried to have his wife murdered. We’re pretty sure that’s breaking one of the 10 commandments.
'The Great Gatsby' and new Rod Stewart land in the top 10
Lady Antebellum will land its third No. 1 album on the Billboard 200 next week as the country trio’s fourth set, “Golden,” has a commanding lead over the soundtrack to “The Great Gatsby” for the top spot.
“Golden” is poised to sell up to 155,000 copies, according to Hits Daily Double, while the soundtrack to Baz Luhrmann’s interpretation of the F. Scott Fitzgerald novel will move around 95,000 units.
They are joined by three other newcomers: “Now That’s What I Call Music 46” will likely be at No. 4, while Miranda Lambert’s side project, Pistol Annies’ “Annie Up,” will be at No. 5 and Rod Stewart’s “Time,” his first album of self-written material in nearly 20 years, will bow at No. 8.
Michael Buble’s former No. 1, “To Be Loved,” will be at No. 3, and Justin Timberlake’s “The 20/20 Experience” continues to sell well enough to be at No. 6.
This week’s No. 1, Kenny Chesney’s “Life On A Rock,” slips to No. 6, while Blake Shelton’s “Based On A True Story” is at No. 9. Macklemore & Ryan Lewis, who have the No. 1 song on the Billboard Hot 100 with “Can’t Hold Us,” will likely be at No. 10 on the Billboard 200 with “Heist,” although Bruno Mars’ “Unorthodox Jukebox” may steal that spot.
The shift is akin to switching deck chairs on the Titanic
Today, the RIAA (the Recording Industry Assn. of America) made big news with its decision to include on-demand audio and video song streaming in its certification methodology. Here’s how it works: previously, songs had to sell 500,000 units (through physical and digital sales) to be certified gold and 1 million units to be certified platinum. Two million and above counts as multi-platinum.
Now, streaming will figure in the tabulations: every 100 streams will count as the equivalent of 1 download. Take something like Psy’s “Gentleman” or Baauer’s “Harlem Shake,” both of which were much bigger streaming sensations than digital sales successes. They will go gold much faster based on a few days’ worth of streams (although only US streams will count in the designations) than a song that people are plunking down money to buy. User-generated videos will not count.
To be sure, the music industry has been horrifically slow to embrace change and new technologies. Its arrogance and belief that consumers would continue to buy full albums when they wanted singles lead to the creation of Napster and widespread piracy. Plus, internecine fighting over whether steaming counts as a sale or as airplay further muddied the issue, especially when it came to figuring out royalty payments for songwriters and artists, so congrats to the RIAA for not moving at a glacial pace and for getting the industry to agree to the changes (although finding new ways to congratulate themselves have never been the music industry’s problem).
Also, once Billboard added YouTube streaming into the calculations for the Billboard Hot 100 (it already included select other streaming services), it was really only a matter of time before the RIAA made this call. Billboard’s move helped legitimize streaming. Among the streaming services now included in the RIAA’s tabulations are MOG, Muve Music, Rdio, Rhapsody, Slacker, Spotify, Xbox Music, MTV.com, Vevo, Yahoo and YouTube.
Here are my issues with the decision:
*Streaming is not a sale. RIAA certifications, whether or albums or singles, have always been based on sales. Even in this transitioning world between physical vs. digital and buying vs. streaming, a sale still counts as a level of commitment that streaming does not. Now, if I have an incredible yen to listen to The Beach Boys’ “Sail On Sailor” and I’m too lazy to go into the other room and grab the CD, I simply call up Spotify and play it 12 times in a row (yes, this is a true example). My laziness will now help songs become certified gold and platinum.
*This move comes at a time when the music industry continues to be evolving as sales continue to fall. Digital sales have not increased to offset the decline of physical sales, much to the disappointment of the music industry. In some ways, this feels like a panacea for the music industry to falsely convince itself that the sky isn’t falling because it can now crow about increased certifications and make artists feel good about themselves. The music industry has never been shy about finding ways to pat itself on the back, but this is basically rearranging deck chairs on the Titanic.
*People consume music differently now than they did even two years ago, and the RIAA’s move is recognition of that, however the 100:1 ratio seems too low to me as the opening rate. As we move toward sustainable subscription models, that ratio could be correct, but for now, the ratio should be higher: maybe 1000 streams to one download. As sales continue to erode and streams climb even higher, then bring the numbers closer together, but by starting at 100:1, the RIAA hasn’t left much wiggle room as the climate continues to shift.
What do you think about the shift?
What happens to Pink's single?
Macklemore & Ryan Lewis set a record this week at “Can’t Hold Us,” featuring Ray Dalton, goes to No. 1 on the Billboard Hot 100 making them the only duo in the history of the pop chart to land its first two singles at the top.
“Can’t Hold Love” follows “Thrift Shop,” which spent six weeks at No. 1. A third song from the pair, “Same Love,” is at No. 83 on the Hot 100). The last solo act to hit No. 1 with its first two singles was Bruno Mars in 2010-11 with “Just The Way You Are” and “Grenade,” according to Billboard.
“Hold” swaps places with Pink’s “Just Give Me A Reason,” featuring Nate Ruess, which was No. 1 for three weeks. Justin Timberlake’s “Mirrors” rises 5-3, while Rihanna’s “Stay,” featuring Mikky Ekko, slips 3-4. Bruno Mars’ “When I Was Your Man” slides up 6-5.
The previously mentioned “Thrift Shop” falls 4-6, Icona Pop’s “I Love It,” featuring Charli XCX, continues its upward climb rising 9-7. Imagine Dragon’s “Radioactive” rises 10-8. Florida Georgia Line’s “Cruise” sails its way 13-9 based on the remake of the duo’s tune with Nelly.
Wrapping up the Top 10 is Pitbull’s “Feel This Moment,” featuring Christina Aguilera.
Maybe she should have played hard to get?
Selena Gomez continues on her path to let us know she’s all grown up in her video for “Come & Get It.” The beautifully-lensed video for the song, which sounds like a Rihanna reject, opens with Gomez luxuriating in haute couture in a beautiful flower-filled field, as one does.
[More after the jump...]