August 2010 Archives

VMA Album Guide

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MTV went on the air on August 1, 1981, and produced its first Video Music Awards just three years later. That makes for almost three decades of marrying the most popular pop music with televised spectacle. In assembling this guide, we picked albums that in our minds were inextricably linked to the videos they spawned, such as "Smells Like Teen Spirit" from Nevermind, "Waterfalls" from CrazySexyCool, and "Stan" from The Marshall Mathers LP. Including every last album was impossible, and so we tried instead for a pan-genre, multi-era sampling of the impact this once-upstart network has had on both pop music and pop culture. Enjoy.

20100830-blue_note_560x225.jpg The most well-known jazz label in history, Blue Note is famous for its amazing roster, the vibrant, full-bodied sound of its recordings and for its iconic record sleeves. The label's greatest period is considered to be the '50s and '60s, when it practically defined the hard bop and soul jazz movements. Blue Note is still going strong today, cultivating new talent as it celebrates its 70th anniversary, which we commemorate with this selection of the coolest jazz sides you'll ever hear. And dig those classy album covers... Girls! Cars! Saxophones! Sweaty foreheads!

While you're reading, click here to listen to a Blue Note Records Sampler playlist.


20100831-alt-country-560x225.jpg Back in the '80s, Kenny Rogers and Dolly Parton, both together and separately, ruled the airwaves and became the "face" of country. And while "Islands in the Stream" and the whole urban cowboy thing made me run far, far, away from country music, there were artists living in a parallel universe that made me, and many of my friends, like country music.

Stripping the veneer off the glossy Nashville sound, artists such as Steve Earle, Jason & the Scorchers, and Rank and File injected an irreverence — sometimes downright snottiness — into their music, shaking things up. With the exception of Dwight Yoakam and, grudgingly, Steve Earle, most of the artists herein were shunned from commercial country radio outlets, but all were regularly added to the punky, alternative playlists of college radio stations throughout the country. Oddly enough, many of these artists sounded more country than what was playing on country radio at the time.

Back then, we called it cowpunk. Alt-country, no depression, modern twang are all monikers that followed, and generally speaking, they describe the zeitgeist, if not the sound. Here is a list of 10 superb cowpunk/roots/modern twang/no depression/whatever-you-want-to-call-it albums that not only helped me get through the '80s, but also planted the seeds for a blooming romance with country music.

Los Amigos Invisibles, Commercial

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It's easy to hear why Los Amigos is such a popular band to see live. Their fifth album grabs up just about every vibrant, booty-shaking, up-'til-dawn genre that's ever lived and throws them into a giant party mix: lounge grooves, cosmic funk, alt-rock, dub and a whole lotta disco. The kitschy campiness that dominated Superpop Venezuela is toned down but not gone, thankfully. Instead, it's shaped into subtler hints, like the kicky lead single "Mentiras" (which has an air of Saturday morning cartoons about it to our ears) and the flat-out awesome, Latin dance butt-rock that is "Merengue Killa." — Sarah Bardeen

Hear It Now!


On the Record is a video series where rock stars gush about their favorite records -- in exactly 45 seconds. Click above to watch Thao Nguyen of Thao and the Get Down Stay Down talk about her favorite album of all time.

Thao is featured along with My Morning Jacket, Indigo Girls, Steve Earle and many more on the benefit album Dear New Orleans.

Rhapsody subscribers can listen to Dear New Orleans and millions of other albums whenever and however they want. Click here to sign up for a free Rhapsody trial subscription and see what we're all about.


ALBUM:
Dear New Orleans

Record:
Car Wheels On
A Gravel Road


More videos you might like:.


Brian Wilson
On the Record

Sia
On the Record

La Roux
On the Record

Animal Collective
On the Record

MGMT x The Beach Boys

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On the Record is a video series where rock stars gush about their favorite records -- in exactly 45 seconds. Click above to watch Ben and James of MGMT talk about their favorite album of all time.

Rhapsody subscribers can listen to Congratulations and millions of other albums whenever and however they want. Click here to sign up for a free Rhapsody trial subscription and see what we're all about.


ARTIST:
MGMT

Record:
Surf's Up


More videos you might like:.


Brian Wilson
On the Record

Sia
On the Record

La Roux
On the Record

Animal Collective
On the Record
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On the Record is a video series where rock stars gush about their favorite records -- in exactly 45 seconds. Click above to watch Janelle Monae talk about her favorite album of all time.

Rhapsody subscribers can listen to The ArchAndroid and millions of other albums whenever and however they want. Click here to sign up for a free Rhapsody trial subscription and see what we're all about.


ARTIST:
Janelle Monae

Record:
Earth, Wind & Fire
Greatest Hits


More videos you might like:.


Raphael Saadiq
On the Record

Mike Posner
On the Record

Jay-Z
On the Record

Mayer Hawthorne
On the Record

Mark Van Hoen, Where Is The Truth

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On his first album in six years, Mark Van Hoen continues to explore his distinctive brand of murky, moody downtempo. While he's still using synthesizers and the occasional breakbeats, acoustic strings and piano lend Where Is the Truth a richer, warmer tone than his previous albums, while scraps of radio transmission blur the music's edges. Reminiscent of Brian Eno's music from the '70s, it's a hazy sound that seems to operate just beneath the surface of things -- wallpaper music that peels in strange, captivating patterns. — Philip Sherburne

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Dusty Springfield, Dusty in Memphis

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 In 1969, Dusty Springfield went to America and put herself in the hands of the Atlantic Records masterminds. They had her ease up and go for lyrical nuance - to stunning effect. "Son of a Preacher Man" is the lasting hit, though every tune here is a marvel, and "I Don't Want to Hear It Anymore" (written by Randy Newman) and "No Easy Way Down" (Carole King) are two of the saddest songs ever committed to tape. Dusty in Memphis didn't sell a lick, but it is now considered to be Dusty's crowning achievement. This edition is loaded with over a dozen bonus cuts from the same sessions. — Nick Dedina

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Nneka, Concrete Jungle

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 American soul singers, stand down. Nigeria's got a lock on it, in the form of one Nneka Egbuna, the half-Nigerian, half-German singer who's got Erykah Badu on the brain and Macy Gray in the pipes. Rarely has a singer sounded so passionate and catchy at the same time, with top-shelf production ricocheting between R&B, hip-hop and reggae while her lyrics tackle, you know, the usual: love, exploitation in the Nigerian delta, feelings, the horrors of unbridled capitalism. It's a heady mix, and one that threatens to make R&B socially relevant again. Think Curtis Mayfield rather than R. Kelly. — Sarah Bardeen

Hear It Now!

Dan Black x Prince

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On the Record is a video series where rock stars gush about their favorite records -- in exactly 45 seconds. Click above to watch Dan Black talk about his favorite album of all time.

Rhapsody subscribers can listen to Un and millions of other albums whenever and however they want. Click here to sign up for a free Rhapsody trial subscription and see what we're all about.


ARTIST:
Dan Black

Record:
Sign O'
the Times


More videos you might like:.


Sia
On the Record

La Roux
On the Record

Ladytron
On the Record

St. Vincent
On the Record
20100824-countrys-fleetwood-mac-560x225.jpg "Lady Antebellum is like the hillbilly Fleetwood Mac," inebriated host Kid Rock opined from Nashville's CMT Music Awards stage back in June. "Except I suspect they don't do drugs or sleep with each other." Ba dum-bum. Except maybe Kid could've added that the trio also doesn't sound much like Fleetwood Mac ever did, unless the mere fact of relying on male-female harmonies, plus a certain vague throwback mellow-gold atmosphere and architectural production touches (some of which are quite beautiful), count. Truth is, they're not even the most Mac-like act on the country charts (and not just because the Dixie Chicks had a No. 2 country hit with a cover of "Landslide" eight years ago). But more on that later.

Depeche Mode, A Broken Frame

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 Martin Gore took over as band leader here, balancing elements of Vince Clarke's original style with the kind of semi-experimental and melancholy tinges that would soon earn them the "Depressed Mode" moniker. While "See You" and "Leave in Silence" were deserving choices for singles, the lovely yet oddly unheralded "Sun & the Rainfall" remains one of their best tracks. This remastered edition comes with rare material and live versions. — Nick Dedina

Hear It Now!
20100824-miles-davis-kind-of-blue-560x225.jpg When the world works the way it's supposed to, don't question it. Just accept it and say, "Amen."

This brings me directly to Miles Davis' Kind of Blue, which is renowned as the biggest-selling, most popular jazz album of all time.

It deserves its place in history.

The jazz community immediately embraced the album, but it was not initially as popular with the public as some of Davis' other LPs of the period. Kind of Blue proves that avant-garde music can be flat-out beautiful and enjoyed equally by professorial types and people who don't know the difference between Count Basie and Count Chocula. Kind of Blue wasn't just a left-field hit -- every new generation picks up a copy in the same way that different people keep discovering Revolver, Innervisions, Pet Sounds -- or Glenn Gould piano recordings or Billie Holiday's voice.

Great artists use their limitations as strengths. The somewhat frail Miles Davis did not possess the trumpet muscle and dazzling technical ability of Louis Armstrong, Dizzy Gillespie, Harry James or Clifford Brown. Instead of playing to the rafters, Davis went inward, distilling complex emotions into sound while working with his different groups the same way that a film director works with genres, actors and cinematographers. He concentrated equally as a bandleader, sonic innovator and soloist. Part of his talent was devouring others' ideas, keeping his ears open and discovering possibilities. On Kind of Blue, his horn becomes a part of the music instead of the main focal point.

Frank Foster, Manhattan Fever

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Frank Foster's had a long and distinguished career with Count Basie's band (both as a star soloist and as group leader) but his sessions as the leader of his own unit have too often gone unrecognized. A case in point is 1968's Manhattan Fever, an undeniable set of hip-grooving soul jazz, finger-snapping mainstream bop and even the kind of experimental work you'd find on a Herbie Hancock or Wayne Shorter album from the same era. More than highly recommended, this one catches the real breadth of Frank Foster's talent as a bandleader. — Nick Dedina

Hear It Now!

Traffic, Traffic

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Released in 1968, Traffic's second record offers a telling portrait of the band, with half the songs written by pop-prone Dave Mason and the other half penned by Steve Winwood and Jim Capaldi, who were more interested in expanding the borders of rock music than making hit records. You can appreciate Mason's "You Can All Join In" and "Feelin' Alright" (reportedly written while the dude was on the verge of a nervous breakdown) as much as Winwood's trippy-funk gem "Pearly Queen." — Mike McGuirk

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20100824-pakistan-560x225.jpgEditor's Note: The news from Pakistan is bad. One-fifth of the country's landmass has been flooded and 20 million Pakistanis have been affected. To date, the international response has been, at best, tepid. Rhapsody has compiled a list of credible organizations working on the ground in Pakistan who can make a difference in the lives of people who've lost everything and are now threatened with homelessness, disease and (potentially) starvation. If you're moved to, please donate to one of the charities below. And read on to learn more about Pakistan's rich and enduring musical culture.

Action Aid Pakistan

UNICEF

Oxfam

CARE

To donate by text message, text "SWAT" to 50555, and reply "Yes" when asked to confirm to make a $10 donation.

Pakistan's history as a passageway for every marauding army of the past few millennia has left it a simmering cauldron of ethnic tensions ... and also, incidentally, musically rich. In general Pakistani music hews close to Indian traditions that have drifted up from the south, with the additional spice of Persian, Moghul, Turkish and Central Asian elements. Its classical music works on the same modal, raga-based scale as Indian classical music, and the country is most famous for its ghazals, love songs composed in rhyming couplets and sung in Urdu, a linguistic cousin of Hindi that is one of Pakistan's national languages. (Urdu is traditionally considered a beautiful and romantic language, well suited to poetry and literature.)

Folk traditions continue to be important throughout the country; all are specific to regions and are woven into life's significant events. Pakistan's most famous folk music hails from Punjab, a region split in half between India and Pakistan in 1947, during partition, and chances are, you know it: bhangra. This music, a folk style invented to celebrate the harvest, joined forces with Western instruments and became one of the region's biggest musical exports, a sound that has incorporated hip-hop and become an important part of the desi experience. The music is underpinned by the deep thrum of the dhol, a two-headed drum, which mingles with the high, jangling sound of the single-stringed tumbi. Traditionally the lead singer is backed by a group, who interject rhythmic nonsense syllables to heighten the tension of the song — you'll frequently hear "hoi, hoi" or "bolle, bolle" or the rolled "r" of "brrrr-ah." Bhangra is party music, and it's mad infectious.

On the pop music front, Pakistan, like India, leaves it to the movies. Pakistan's film industry is located in Lahore. Known as Lollywood, it's never rivaled Bollywood in terms of scale or cultural impact, but it has nurtured talents ranging from Noor Jehan (back in the 1950s) to today's hit singers like Imran Khan (not the cricket player/philanthropist). Styles such as rock and hip-hop have small but devoted followings, and for some reason, heavy metal has gained a strong foothold in Pakistan, with bands like Black Warrant gaining international recognition.

But Pakistan's most iconic music is qawwali, the mystical Sufi music that offers its adherents the chance to experience truth and divine love in a direct and personal way. The music most likely has pre-Islamic roots, though for centuries it has served both singers and listeners as a way to get closer to Allah. Qawwali performances are beautiful and marathon events — a single singer performs, usually (though not traditionally) backed by a group of singers and accompanied by the droning, accordion-like harmonium, the tabla drum and a bowed instrument called a rebab. The singer will frequently labor over a phrase for upward of 15 minutes, singing and re-singing it to elicit its depths, using vocal embellishments and elaborations to take what was a simple phrase and render it, in the end, almost without meaning. The meaning migrates to the sound, which becomes a means of experiencing divine union. The music's most famous proponent was Nusrat Fateh Ali Khan, a mountain of a man who became the music's international ambassador before his death in 1997. Though his son carries on his legacy, the female singer Abida Parveen has, in recent years, come to fill his shoes as qawwali's preeminent singer.

Check out some of our picks for great Pakistani albums below. And please don't forget to donate!
20100817-clash-london-calling-560x225.jpg What can we say about London Calling that hasn't already been said? It's a monster, a megalith, a landmark double album that hasn't stopped giving, 30-plus years after it was first released. Rolling Stone named it the best rock 'n' roll album of the '80s (it released in 1979) and later bequeathed to it the eighth spot in the magazine's list of the 500 greatest albums of all time. (And some might quibble that it deserved a higher spot.) Generations of disaffected youth have grown up imbibing Joe Strummer's fairly coherent and frequently convincing politics and absorbing — without knowing it — the music behind The Clash's broad strokes of sound: rockabilly, dub, ska, New Orleans R&B, early rock 'n' roll. Of course, London Calling didn't just arrive on earth, fully formed and gloriously perfect (though gloriously perfect it is). Like everything else, it's a product of a time, a place and a whole lot of music that came before. We've got our spades out; come excavate this behemoth's roots with us.

Radiohead, OK Computer

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Before the torrent of praise for this 1997 album, Radiohead were far from being one of the world's most revered bands. On OK Computer, they pull out influences as disparate as Miles Davis, Ennio Morricone and DJ Shadow, and flip their focus from inward despair to outward desolation and oppression. With layers of arpeggios, distortion, electric piano, strings, even cowbell, the band take inspiration from the bleakest corners of the collective consciousness and create a haunting beauty. This edition collects B-sides and live cuts that previously were scattered across singles and EPs. — Stephanie Benson

Hear It Now!

New Orleans: The Rebirth

20100824-NO-SG-levee-break-560x225.jpg If Hurricane Katrina was one of the great tragedies of modern America, then New Orleans’ resurrection in its aftermath is one of our greatest triumphs. The road hasn’t been an easy one, but the Crescent City has returned to its rightful place as one of the cultural capitols of the world. It’s a place that is one of the key birthplaces of modern music and, on the fifth anniversary of Hurricane Katrina, we pay tribute to the great city with a selection of the best it has to offer - past, present and future.

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Hear the music from the hit series Treme.
Play!
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Check out this star-studded benefit album for New Orleans!
Play!
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Laissez Les Bon Temps Rouler with our Mardi Gras radio station!
Play!
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An audio history of New Orleans music
Play!
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Trombone Shorty's new album, Backatown
Play!
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Listen to a songs that reflect on the tragedy of Hurricane Katrina
Play!

Katy Perry's Teenage Dream

20100824-katy-perry-SG-main-560x225.jpg Her days of kissing girls may be over, but Katy Perry is still one of pop’s most compelling and colorful figures. And with the successes of her smash singles “California Gurls” and “Teenage Dream,” she’s also one of music’s biggest superstars. For her sophomore album, Perry floats the kitschy aesthetic of '80s teen movies in a meditation on youth as a metaphor for love, fun and emotional turmoil. But don’t worry, this is meditation as keg stand, and Perry is as over-the-top and fun as ever. Listen to the album below, and be sure to check out all the special features we’ve lined up to reveal the wickedly wild world of this teenage dream.

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Rhapsody reviews Teenage Dream
Play!
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Read our Camp Rock album guide
Play!
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How duets with hot young things breathe life into aging artists' careers
Play!
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Listen to a hot mix of Cali-centric Pop
Play!
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Check out our Pop Hits Radio
Play!
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Explore Katy's full discography
Play!
20100817-single-phile-560x225.jpg It may be a bit of an overstatement, but in many ways The Beach Boys really hit the nail on the head when they said, "I wish they all could be California girls." Whether or not Cali's female population has the same siren effect on you as it did on Brian Wilson and company, there's no denying that the state has had a certain hold over the American imagination — and especially over American pop stars. Katy Perry's "California Gurls," a sampling of references to Cali pop (from guest star Snoop to the Boys themselves), is only the latest chart-topper to capture us with dreams of beaches, bikinis and sweet, sunshiney beats. We've compiled some of our Cali pop favorites here, culled from our massive California Girls (and Boys) playlist.




On the Record is a video series where rock stars gush about their favorite records -- in exactly 45 seconds. Click above to watch Brian Wilson talk about his favorite album of all time.

Rhapsody subscribers can listen to Brian Wilson Reimagines Gershwin and millions of other albums whenever and however they want. Click here to sign up for a free Rhapsody trial subscription and see what we're all about.


ARTIST:
Brian Wilson

RECORD:
Between the
Buttons


More videos you might like:.






20100824-katy-perry-SG-review-560x225.jpg The concept of youth as a metaphor — for love, for fun, for emotional turmoil — couched in an '80s teen movie aesthetic suits Katy Perry, who is both a bit juvenile and fond of a good gimmick (see also: girl-kissing). It's also pretty friendly territory for pop music in general, with its fountain-of-youth, 60-going-on-16 fixation on all things pretty and young, and Perry's got a slew of solid, stick-to-the-walls-of-your-brain pop tunes here.

Teenage Dream starts out in party mode — or at least in halfhearted party-regret mode (and we all know Perry loves to play the naughty girl): the '80s teen movie soundtrack-ready title track (think "I Think We're Alone Now" meets "More Than Words"), the '10s teen-movie soundtrack-ready "Last Friday Night (T.G.I.F.)." Then K.P. spends the second half getting all angsty: the high-drama, industrial-lite dance track, fascinatingly silly "E.T." nails it, while stabs at seriousness like "Who Am I Living For?" (which also seems to be a bit steeped in Perry's contemporary Christian music past) are a bit hard to swallow from an artist with a penchant for riding giant bananas.

If at least five or six of these tracks don't immediately start rattling around in your head, we'll eat Perry's giant banana. They are near-perfect pop confections: light, fluffy, easy to swallow. But while that makes for good pop, it doesn't necessarily do a whole lot for Perry, an artist with a smallish, blandish voice that tends to make all her hooks run together a bit. She's also an artist who might be in the throes of an identity crisis, now that Lady Gaga and Ke$ha have come along and out-freaked and out-trashed her, respectively, and the girl who once kissed girls is now a respectable married lady (well, more or less). Most of the camp and sass that made One of the Boys such a Technicolor dream is gone, apparently replaced by the new, candy-coated, mall/malt-shop shtick. The sole exception is the oh-so-subtle "Peacock," which is perhaps Perry's most distinctive song to date — and sounds almost nothing like her. In other words, despite (or perhaps because of) all its pitch-perfect conceptualizing, Teenage Dream doesn't do much to tell us who Katy Perry is.

Camp Rock Album Guide

20100824-katy-perry-SG-camp-rock-560x225.jpg Excessive. Over the top. Larger than life. Camp is almost impossible to define without delving into its propensity for blowing culture up into massive, magnificent, drag-queenly proportions. But camp is about more than just overblown parody — or, rather, it hinges on the notion that the very act of spectacle itself can have significance. Camp can often be a strategy of social critique. Susan Sontag famously defined camp as a "sensibility that converts the serious into the frivolous" — in other words, a tactic of taking some of the wind out of the sails of culture that takes itself a bit too seriously. But camp isn't all snark and sass either: it can also be a loving homage to something very near and dear to the camper's heart, an example of teasing as loving. What camp does is make something so big and so silly that its flaws can't be hidden, but it also can't help but look fabulous.

In music, camp can encompass an exaggerated tribute act, immersion in the stylistic and structural particulars of a particular genre or just over-the-top, gooey-centered pop goodness. Campy aesthetics come in and out of fashion in music: the disco era, for instance? High camp. But grunge, not so much (though it's itching for a camp parody). And present-day pop is so steeped in it that its fingers (fiercely manicured, of course) are all pruney: Gaga is the most obvious example, of course, but every diva from Beyonce to Shakira gets into the game (and cases could be made for the likes of Fall Out Boy and 3OH!3, too). And then there's Katy Perry. Her songs themselves aren't always so shticky, though there are exceptions to that rule: "Ur So Gay" from her first album, for instance, and the innuendo-laden sass attack "Peacock" from her latest. But the girl is high drama, and she works very hard in both her videos and her general persona to create a kitschy aesthetic so excessively candy-coated, it's guaranteed to necessitate filler — er, fillings. Perry's a little too self-serious (and a lot too mainstream) to truly be camp, which is historically a territory of the margins and the underground (not to mention, uh, the actually gay, as opposed to gays-for-a-day pink-face poseurs like Perry). But we've assembled this album guide to the girl who kissed girls' fabulous foremothers.
20100804_80salternative_560x225.jpg The 1980s had it all -- big hair, big shoulder pads and big sounds. All the '70s art-rock weirdos -- from Bowie to Roxy to Eno to Waits -- and the survivors from the punk movement converged in the '80s to come up with post-punk, synth pop, indie rock, the paisley underground and more. It all got lumped together as alternative rock and we had a fun week fighting over each of the finalists for this 25 essential albums list. The screams of pain were so loud when the Specials, the Psych Furs, and Jesus & Mary Chain were knocked off the final list that we're already planning a sequel.

Justin Bieber's Slowth Spurt

20100817-bieber-800-560x225.jpg August is always a slow news cycle, so it's somehow fitting that this month's big viral sensation was about a really slow song.

The song in question is Justin Bieber's "U Smile," but you've never heard it like this before. Using a free audio application called PaulStretch, a musician named Nick Pittsinger has slowed the tune 800%, stretching the 3:16 tween-pop ditty to over half an hour long. (You can, and should, listen to it here.)

Ray Charles, A Portrait of Ray

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This string-laden ballad set from 1968 combines standards, jazz-blues and modern tunes and went Top 5 in the R&B and jazz charts. It didn't include any hit singles, yet "The Sun Died" and Ray's cover of the Beatles' "Eleanor Rigby" (which composer Paul McCartney cherished) ended up becoming key Ray Charles numbers. "Understanding" is a hot R&B protest tune, "The Bright Lights and You Girl" is a jazz jumper, "Am I Blue" recalls Nat Cole's reading of the standard and "Yesterdays" pays homage to Frank Sinatra's version of the tune while offering up a tasty Brother Ray piano solo. — Nick Dedina

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Bob Dylan, Desire

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Recorded before Dylan embarked on the crazed, legendary Rolling Thunder Revue, a tour in which he took about 20 musicians all over the U.S. "Hurricane," the story of framed prizefighter Reuben Carter, is one of Dylan's biggest hits, but "Isis" is the one on this album you need to listen to until your ears fall off. — Mike McGuirk

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The Cars, The Cars

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Perfect pop/rock tunes topped off with a detached New Wave perspective make this a great debut in the same way that the first Boston and Ramones albums are (everything that came after refined the same formula). This actually was not a big hit in 1978, but every single song on The Cars eventually hit the singles charts and it continued selling throughout the '80s, bridging the gap between classic rockers, New Wavers, and the general public. — Nick Dedina

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Wilco, Summerteeth

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Anyone following Jeff Tweedy's songwriting path since Uncle Tupelo was not surprised when Wilco released Summer Teeth in '99. A lush-sounding record that is more Beach Boys than Hank Williams -- Wilco took the studio-as-instrument approach and created an at-times majestic album that effectively balanced the solemn with the joyous. — Eric Shea

Hear It Now!

Highlife Classics

20100817-high-life-560x225.jpg Ever wonder where The Very Best got that awesome riff that permeates "Warm Heart of Africa"? Wonder no more. The artist was Victor Uwaifo, the song was "Guitar Boy," and the music was Highlife -- the effervescent sound that swept through West Africa from the 1930s into the late '60s. Part calypso, part brass band pomp, highlife was also shot through with swing, Cuban son and -- later -- soul music. But the basic building blocks were always African rhythms and melodies. The result is something that has the joy of early jazz and the DIY ethic of garage rock -- these guys were just going for it. Highlife is seriously fun music, as more than a few indie pop bands have discovered.

Find out for yourself with our Highlife Classics playlist.
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A while back, I re-listened to all the theme songs (and most of the scores) to the first wave of James Bond movies with Sean Connery. Please go here to check that Coup De Stereo post out or just blaze ahead and dive deep into the Roger Moore era.

If Sean Connery was the Gold Standard of James Bonds then Roger Moore was the Revenge of the Aristocracy.

Well, before we get there we have to get through a bumpy George Lazenby detour. If Roger Moore was Revenge of the Aristocracy then Lazenby was Australian Career Suicide In Action.

Break out your Bond Score Cards as it gets even more complicated: Lazenby was Bond for one film and then Connery returned before Roger Moore came to the rescue and brought out 007's caviar eating side.

OK. Put down your score cards: lets take a look at the music for the movies from this era:

Annbjorg Lien, Felefeber

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Lien is a heavyweight of Norwegian fiddling, and her work on this 1994 release feels formal and nearly classical. Her fiddle -- whether it's the modern instrument or the traditional hardingfele -- is an insistent presence, frequently underpinning itself with a drone but also recalling Celtic fiddling in its bright, easy manner. These songs mine Norway's 19th-century folk tradition. — Sarah Bardeen

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Essential '70s Soft Rock Albums

20100804_softrock_560x225.jpg Call it what you will -- folk-pop, blue-eyed soul, lite/jazz/yacht rock, whatever -- but soft rock was the ruler of the airwaves during the 1970s. Scaling back the endless guitar solos and putting the song front-and-center, this oft-maligned genre came from noble roots: Dylan, the Beatles, Simon & Garfunkel, soul and L.A.'s country rock scene. Sometimes soft rock was just escapist fun but the best music often contained '70s confusion, emotional grit and (at times) bitter lyrics -- Van Morrison, Joni Mitchell, Steely Dan, Fleetwood Mac, Paul Simon and Elton John describe the decade as well as any author or filmmaker. Lasting art aside, you can just dip into soft rock as if it was the condo Jacuzzi from the singles community of your dreams.

20100817-jazz-spot560x225.jpgEditor's Note: Listen to a selection of the songs mentioned here on a playlist at the end of this post, or click through to listen to all of these artists on Rhapsody. If you're not a member, click here and listen to all of your favorite music as much as you want — whenever and wherever you want!

We are now well over halfway through the year and I am already having trouble whittling down my best-of list for jazz. I originally had 25 albums for hungry jazz fans to wolf down, but I chopped that one up to get the following 10. Since jazz is an expansive sonic canvas that brings to mind down-home juke joints, rarified concert halls, romantic evenings and more, I have broken things out into a few distinct categories:

Fighting It Out With the Year's Best (and that means music in all its forms, rock, country and rap elitists!)

He's Old & Still Crafty, So Shut Up & Listen (because Get Off My Lawn! was already taken by this summer’s hip-hop reunion tours)

It’s a Big Wide Beautiful World (because if you avoid the war zones, industrialized wastelands and strip malls — it usually is)

Crossing Over with Class (because musicians still deserve to make at least half of what your great uncle brings in as a greeter over at the unnamed corporate monolith)

There is a heckuva a lot more fine jazz out there, but in the meantime sample the following 10 items. Better yet, leave the sampling to the ADHD-addled masses; just dive in and luxuriate in some fantastic music.

Synth Pop Classics

20100817-synth-pop-classics-560x225.jpg I was probably 12 or 13 when I first discovered Gary Numan, sprawled out in front of the television set, flipping through basic cable. Forget MTV: in the early '80s, a show called Night Flight was where the really freaky stuff was. Bauhaus, Cabaret Voltaire, crucifixes and gore and stuff I was damned sure my parents, asleep upstairs, would in no way be down with.

Most of it I couldn't even understand, and not only because videos in the early '80s were supposed to be nonsensical. I didn't get the style or the references or the context. I just knew that it was alien: it came from across the ocean, from adults who wore skinny ties under blazers with narrow lapels, nothing an Oregon kid had ever seen in person. (I would learn the hard way not to try to replicate such alien fashions in middle school, when I sewed my very own skinny tie in Home Ec — out of purple satin, at that.) More importantly, I think I vaguely grasped that all this cryptic signifying was a reaction to something — that same something that my adolescent mind couldn't stand, even if I couldn't give it a name. I only knew that the enemy of my enemy was my friend.

Ohio Players, Fire

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Emboldened by the crossover success of 1974's "Jive Turkey," The Ohio Players followed through with their most commercially successful and artistically sophisticated release. The title track and "Runnin' from the Devil" are classic slabs of loose and easy 70s funk, while the spring-heeled soul of "Together" shows that the group can work within tighter pop paradigms. — Sam Chennault

Hear It Now!
20100817-west-coast-freestylin-560225.jpg In our constant search for an imagined golden age of hip-hop, the early '90s shines particularly brightly in our imaginations. It was a rough period for artists, though. Major labels regularly tossed albums onto the market with no clue how to promote them and then summarily dropped those artists when the albums didn't yield results. The multiplatinum success of Dr. Dre's The Chronic initiated seismic changes in the rap world, so mainstream fans and record executives weren't enthusiastic about anyone who couldn't hang with the G-funk formula. And since hardcore rap fans thought real hip-hop came from the East, and the West Coast was full of Crips, Bloods and pimps, West Coast emcees that weren't gangstas found it difficult to get heard.

With the exception of Tha Alkaholiks and The Pharcyde, nearly all of the artists on this list endured short, painful major-label careers and only found redemption with the rise of indie hip-hop in the late '90s. Despite all the obstacles, however, they pioneered a free-flowing style, heavy on sunshine beats and off-the-dome lyricism, or freestyling, that reverberates to this day. Early '90s West Coast hip-hop may have been the musical revolution that wasn't, but it was still fun.

20100817-mellencamp-560225.jpg Put to tape in just a few days, in T Bone Burnett-produced mono, on antique mid-'50s equipment, in musically historical locales across the South (Sun Studios, North America's oldest black church in Savannah, a hotel room in San Antonio where Robert Johnson recorded), John Mellencamp's new No Better Than This culminates Indiana's favorite son's now decades-long quest for authenticity. It's a journey he's been on at least since Scarecrow in 1986, and maybe since "Great Mid-West" on the first album he charted with, 1979's John Cougar. A decade later, on Big Daddy, he confessed that he "never wanted to be no pop singer, never wanted to write no pop songs." So ever since, he's basically been a folkie. And last month, he put out an ambitious retrospective box set, overwhelmingly favoring that side of his persona.
20100817-ray-lamontagne-560225.jpg Ladies love The Ray. It's true. Old ones, young ones, middle-age ones, Oprah -- they all swoon for the man and his forest-like facial hair. Why? Well, because he is, a man. Not only that, he's a man who understands, cerebrally, his own virility. In other words, he's both chivalrous and enlightened.

There's really no underestimating LaMontagne's sex appeal. It's his music's fuel. In an age when most of pop music's male singer-songwriters are metro-sexual hybrids of Jack Johnson-inspired beach rat, radio-friendly emo twerp and Coldplay cadaver Chris Martin, LaMontagne is a genuine throwback, crooning pungent tales of love, loss, heartache, understanding and even more love in a musk-soaked voice that's tough yet also tender. Not unlike his idol Stephen Stills, he's a cinematic amalgamation masquerading as a pop star: the outlaw lover-man (Robert Redford in Butch Cassidy and the Sundance Kid), the steel-eyed war vet (Bobby De Niro in The Deer Hunter) and the factory worker who just so happens to be a barbed-wire intellectual (Jack Nicholson in Five Easy Pieces). On top of all that, he could probably get work as a model in the big city. So yeah, Ray LaMontagne is basically sexier than a single red rose nestled next to a porcelain teacup of fine organic chocolates.

Country Roundup

20100817-country-corral-560225.jpg As fall approaches, things are heating up in the world of country music, and not a minute too soon. This summer has been sluggish in terms of landmark releases, but things are definitely picking up! We're talking new releases from Trace Adkins, Taylor Swift, Zac Brown Band, Blake Shelton, Kenny Chesney, Reba and plenty more. Let's call it this the music industry's Indian summer, shall we, because these releases are HOT.

Trace Adkins: Cowboy's Back in Town
The big lug's been on a roll since 2008's X, his eighth and strongest album. And he keeps getting better at big-bam-boom butt-rock, with near-metal riffs to shake honky-tonking badonkadonks: barn-sex stomp "Brown Chicken Brown Cow," Crimson Tide shout-along "Ala-Freakin-Bama," mean fisticuff warning "Whoop a Man's Ass." He also shows perfect comic timing with "Hold My Beer" (about gettin' hitched) and "Hell, I Can Do That" (about bein' a couch potato). And if the album's middle gets a bit bogged down in lovey-dovey slow jams, Trace's soul-and-western baritone keeps things manly regardless.

Teenage Fanclub, Shadows

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Five years after their last release, Teenage Fanclub offer up more bittersweet power guitar pop from three distinct songwriting talents. The band is still refining its sound -- many of the songs on Shadows take woozy, orchestral detours that will please anyone with an affection for Love or forgotten acts like The Blades of Grass or modern indie bands like The Clientele. There is a consistency of vision, yet every tune is distinct. Highlights? This is Teenage Fanclub -- every number sounds like it belongs on the radio. — Nick Dedina

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Curse of The Gun Club

20100817-gun-club-560225.jpgFor whatever reason, the endlessly tortured combination of blues and punk that The Gun Club bummed the world out with in the early '80s often gets forgotten. Their first record, Fire of Love — with demonic, tribal drums, scritchity-scratchity guitars and Jeffrey Lee Pierce's talent for doomed-man poetry — was representative of the earliest shots in the alternative-rock wars. Unfortunately, Pierce's rock-star behavior (lots of booze and drugs, acting like an a-hole) submarined the band after only three records, and Pierce himself tragically died of a brain hemorrhage in 1996. Still, their gothic aesthetic had a major effect on the downer attitude of the alternative music that came after them, culminating in the pervasive depression that marked grunge. Fire of Love is the rare record whose influence can be detected throughout the range of alternative rock — from garage punk to major-label indie rock. Below, we've compiled a list of some of the albums more heavily influence by The Gun Club, whether musically or thematically.
20100817-single-phile-560x225.jpg Habitually the playground of pretty young things and hot up-and-comers, the charts are also occasionally home to pop's founding fathers and fogies — you know, artists who've been around the block, put out a few albums, made it past the age of 30. So how do these incredibly old people manage to keep their careers vibrant and viable? Do a wildly inappropriate duet with one of the hot young things, of course! OK, we're exaggerating a little bit, but some of the moment's biggest hits happen to be the result of multigenerational partnerships: Eminem and Rihanna, Snoop Dogg and Katy Perry, Ludacris and Justin Bieber (OK, that one's not really an exaggeration). We break down the makeup of pop's May-December (or at least March-November) pairings.

The Fountain of Youth (aka Down with the Kids, aka 21 and Holding!)

The (overly) simplest justification for intergenerational duetting is, of course, aging. Call it the Ferrari-and-toupee formula of pop songwriting, the Forever 21 business model. Whatever you call it, just keep in mind that it may backfire and wind up making you come off more old-man-rocking than cool-big-brother.
Quintessential Couples: Luda and Justin Bieber ("Baby"), Madonna and Justin Timberlake ("4 Minutes")



Outside Lands Festival 2010

ol_header.jpg gogol_fan.jpg Outside Lands holds the distinction as the coldest "summer" music festival in the country. An August day in San Francisco is generally a dicey (and cold) proposition, and an afternoon spent at the furthest edges of Golden Gate Park requires some bundling. But for those who braved the conditions were treated to a pretty awesome show of spectacular music, surprisingly amazing food and general good-spirited revelry. Below you'll find exclusive interviews, blow-by-blow accounts of each day's activities, and incredible pictures of some of the day's best live sets.

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Janelle Monae talks future funk
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An insider's look at the Outside Lands Festival
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Gogol Bordello frontman Eugene Hutz talks festivals
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Inside the Fog: Outside Lands Photo Galleries
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Chromeo discuss playing in Golden Gate Park
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Q&A with this year's performers
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Queen, A Night At The Opera

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a-night-at-the-opera.jpg Generally considered one of the greatest rock albums of all time, A Night at the Opera's overlaying of heavy metal, genius stereo gimmickry, Broadway swish and British pomp is as vital and riveting to listen to today as when it was released in 1975 (and went triple platinum). "Bohemian Rhapsody" is beyond unique, but so is the zillion angel chorus that provides Freddie Mercury's backing vocals and the instantly identifiable warble of Brian May's guitar. "Sweet Lady," "Death on Two Legs," "I'm in Love with My Car" -- these are some of Queen's absolute best songs. — Mike McGuirk

Hear It Now!

Outside Lands: Day Two

outsideLandsrecap.jpg NasDamian_560x400.jpg Life is a bit of an expectations game. If you're thinking filet mignon and they bring you a hamburger, you're going to be bummed. But if you're expecting gruel, and out comes a nice, juicy Niman Ranch burger, you'll probably be pretty stoked. I'd only been to one previous Outside Lands - the festival's 2008 bow that was plagued by poor organization, gate crashers, bad sound and generally bad vibes. Combine that with a 2010 line-up that had been cause for considerable grousing as well as one of the coldest SF summers in recent memory, and I was expecting wilted succotash.

I'm happy to report that I was wrong. This edition of Outside Lands was one of the better conceived and executed festivals in recent memory, with a line-up that may have lacked the big-ticket "wow" factor, but offered an immensely satisfying and more idiosyncratic take on modern music.

outsideLandsphoto.jpg TemperTrap2crop.jpg The Temper Trap at The Outside Lands Festival in San Francisco.
outsideLandsphoto.jpg Phoenix5crop.jpg Thomas Mars of Phoenix at The Outside Lands Festival in San Francisco.
outsideLandsphoto.jpg NasDamian1crop.jpg Nas & Damian Marley at The Outside Lands Festival in San Francisco.
outsideLandsphoto.jpg JanelleMonae4crop.jpg Janelle Monae at The Outside Lands Festival in San Francisco.
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outsideLandsphoto.jpg AlGreen1crop.jpg Al Green at The Outside Lands Festival in San Francisco.

B.o.B. x Beach House

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On the Record is a video series where rock stars gush about their favorite records -- in exactly 45 seconds. Click above to watch B.o.B. talk about his favorite album of all time.

Rhapsody subscribers can listen to B.O.B Presents: The Adventures Of Bobby Ray and millions of other albums whenever and however they want. Click here to sign up for a free Rhapsody trial subscription and see what we're all about.


ARTIST:
B.o.B.

RECORD:
Teen Dream


More videos you might like:.






Rilo Kiley, More Adventurous

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More adventurous indeed. Rilo Kiley's third album found the indie darlin' realizing the potential their alt-AM (plus guitars) coffee-shop rock always held -- commercial success. It's a good match: the professional polish of their major-label debut suits Rilo's "adult music for indie kids" (or, perhaps more accurately, "indie music for the adult alternative set") schtick. Former child actor Jenny Lewis' meticulously nuanced vocals and carefully crafted lyrics warm up tunes like public-radio hit "Portions for Foxes" and dark, buzzy dance-rocker "Love and War." — Rachel Devitt

Hear It Now!
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We caught up with Janelle Monae after an intimate performance at the Chase Freedom Lounge at this year's Outside Lands Festival. In this interview she talk about the central figure from The ArchAndroid, her vision of the future and the struggles involved with the creation of a concept album.
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On the Record is a video series where rock stars gush about their favorite records -- in exactly 45 seconds. Click above to watch Miles Doughty of Slightly Stoopid talk about his favorite album of all time.

Rhapsody subscribers can listen to Closer to the Sun and millions of other albums whenever and however they want. Click here to sign up for a free Rhapsody trial subscription and see what we're all about.


ARTIST:
Slightly Stoopid

RECORD:
King
Yellowman


More videos you might like:.






outsideLandsphoto.jpg Janelle575.jpg Janelle Monae at the Chase Freedom Lounge at Outside Lands Festival in San Francisco.
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Outside Lands: Nneka Interview

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We caught up with the boys of Wolfmother before their set at this year's Outside Lands Festival in San Francisco. Watch the interview above to hear the band talk about AC/DC, rockin' the home-made tie dye and their love of The Grateful Dead.
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In this interview with Sierra Leone's Refugee All Stars the band discusses the recording of the new album in New Orleans, spirituality and how touring is influencing their musical vocabulary.

Outside Lands: Day One

outsideLandsrecap.jpg 20100815_outside_crowd_560x225.jpg Day one of the third annual Outside Lands Music Festival has come to a close and I must say I have never felt more relaxed after a full day of sunshine (well ... clouds), stage-hopping, beer-guzzling (well ... wine tasting), picture taking, TP-stashing, and, most of all, straight up rocking. Maybe it was the cosmic noodling of San Francisco's legendary Phil Lesh and Bob Weir or the whiffs of herb blanketing the Polo Fields, but somehow I walked out of Golden Gate Park unfrazzled and without any desire to punch anyone.

This is one of the tamest music festivals I've been to. And that, my friends, is a good thing. What an improvement from Outside Lands' first year, when fences came ripping down and Radiohead's sound went out... twice. This year the capacity was a comfortable 60,000 and the lineup was diverse enough to keep the hip kids on one side (The Strokes) and the OGs on the other (Further).

Disney, The Jungle Book Soundtrack

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trombone-shorty-backatown.jpg Forget about what songs your kids like or even what songs you enjoyed when you were a tyke. The Jungle Book soundtrack has a catchy, universal appeal, and tunes such as "The Bare Necessities," "Baloo's Blues" and Louis Prima's "I Wan'na Be Just Like You" can be enjoyed by hep jungle cats of all ages. Of all the classic Disney soundtrack albums, this one and the equally jazzy Lady & the Tramp stand up the best for casual adult listening. — Nick Dedina

Hear It Now!
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If you've ever seen Gogol Bordello's Eugene Hutz onstage (click here for photos from Outside Lands), it isn't hard to imagine that he doesn't really believe in "downtime". Watch the interview above to hear him talk about living in Brazil, accidental immigrant smuggling, and staying busy with creative projects.
outsideLandsphoto.jpg wolfmother4.jpg Ian Peres and Andrew Stockdale of Wolfmother
outsideLandsphoto.jpgmy_morning_jacket1.jpgJim James of My Morning Jacket.
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The Faces of Outside Lands

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outsideLandsphoto.jpg gogol_bordello_1_outsidelands.jpgEugene Hutz of Gogol Bordello.
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Jahson Bull, Ashade Pearce and Ruben Kovona of Sierra Leone's Refugee All Stars
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trombone-shorty-backatown.jpg Phonte and Nicolay's Foreign Exchange is perfect make-out music for cool kids. Phonte's day job is as emcee for indie group Little Brother, but he has a nice voice, and, though lacking range, he manages to project a svelte warmness. For the most part, he's content to simply purr here. As an approach, it's limited, but it's also preferable to endless melisma calisthenics. Nicolay's production, meanwhile, is appropriately lilting. The lush key work on songs such as "If She Breaks Your Heart" point toward the lite-R&B of the mid-'80s, and the pattering "Sweeter than You" is light, dreamy and romantic. — Sam Chennault

Hear It Now!
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We had a chance to sit down with Andy Butler of Hercules and Love Affair before their Night Show at Mighty in San Francisco kicking off this year's Outside Lands Festival. Watch Andy talk about Hercules' upcoming record on Moshi Moshi, learn about his favorite things to do in San Francisco and hear the story of how he plucked their new vocalist, Sean Wright (he just looked so fab!), from the crowd at a show.

Trombone Shorty, Backatown

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trombone-shorty-backatown.jpg A multi-talent whose knick-name may come from the fact that he's been a professional since childhood, Andrews also sings and plays everything from keyboards to drums to trumpet to the drums. Overall, this plays like a primer in how various New Orleans forms are still vital popular music. You got that? Jazz is still popular music. Lenny Kravitz guest spot on "Something Beautiful" is the most inspired he's been since his Fats Domino tribute (move to Treme, Lenny!) while "Fallin'" has the makings of a neo-soul hit. There is also real rock muscle on tracks like "The Cure" and "Suburbia." — Nick Dedina

Hear It Now!

Mike Posner x Outkast



On the Record is a video series where rock stars gush about their favorite records -- in exactly 45 seconds. Click above to watch Mike Posner talk about his favorite album of all time.

Rhapsody subscribers can listen to 31 Minutes to Takeoff and millions of other albums whenever and however they want. Click here to sign up for a free Rhapsody trial subscription and see what we're all about.


ARTIST:
Mike Posner

RECORD:
Aquemini


More videos you might like:.






20100810-stooges-source-material-560x225.jpg Editor's Note: Listen to a selection of the songs mentioned here on a playlist at the end of this post, or click through to listen to all of the artists listed here on Rhapsody. If you're not a member, click here and listen to all of your favorite music as much as you want — whenever and wherever you want!

The Stooges have traditionally been talked about as a beginning — of punk rock, maybe heavy metal. But though they managed to come off as Cro-Magnon wild men from the rust belt, cheetahs walking through riot-torn Detroit streets with hearts full of Vietnam napalm, they were really conscious artists from a college town (Ann Arbor, Mich.). They synthesized all sorts of influences, many of which Iggy Pop has enumerated over the years: this column's format doesn't leave room for Link Wray, the Bar-Kays, Eddie Cochran, lots of others. And focusing it around The Stooges' most unhinged album (1970's Funhouse) rather than their most primal (1969's The Stooges) or heaviest (1973's Raw Power) — both of which peak with greater songs — is somewhat instinctual, if not arbitrary. You might also want to check out the pile of archival live and outtake sets that have just been made available. That said, here are some predecessors that made their noise possible.

Rock's Second String

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The revolving-door aspect of rock bands is a time-honored tradition. Musicians leave and are replaced, sometimes even successfully. Take for example Journey's Arnel Pineda, a Filipino YouTube dude that took over for Steve Perry in 2008 and actually sounds more like Perry than Perry does himself, minus the prima donna behavior Perry is famous for. Sometimes lineup changes are not so successful, as in the case of Gary Cherone, the singer for Extreme who took over for Sammy Hagar in Van Halen for about five seconds before Eddie and Alex came to their senses and canned him.

We see replacements falling into three categories: The Closers — artists who come along at the tail end of a band's popularity; The Preseason Picks — people who step in before a band takes off (undoubtedly bumming out whoever they replace forever); and The Replacements — not the overrated band or the terrible football movie, but rather the artists who actually replace a singer or instrumentalist who wasn't working out, or died. What we'd like to do here is shine a light on these second-stringers — some you probably know, and some  may come as a surprise.

Bobby Bare, The Moon Was Blue

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His first album in (get ready for this) 22 years finds Bobby Bare singing the country staples that he always wanted to record, but never got around to. Mark Nevers from twang band Lambchop gives Moon a velvety Charlie Rich feel, especially on "Everybody's Talkin." Nashville's Lazarus has risen from the dead! — Eric Shea

Hear It Now!

Rock Roundup

20100810-rock-roundup-560x225.jpg Editor's Note: Listen to a selection of the songs mentioned here on a playlist at the end of this post, or click through to listen to all of the artists on Rhapsody. If you're not a member, click here and listen to all of your favorite music as much as you want — whenever and wherever you want!

If you're a rock fan with a hectic schedule, no worries. Keep abreast of all the latest releases with Rhapsody's semi-regular rock roundup guide. In this installment, check out new releases from Avenged Sevenfold, Live's Ed Kowalczyk, Crowded House, Chimaira, legendary Beatles drummer Ringo Starr and much, much more.

One more thing: get a taste of each album with the playlist at the end of this post.

Happy exploring!
20100810-when-genres-collide-560x225.jpg Remember back in the day, when hip-hop was hip-hop and rock was rock and men were men? All right, so the lines between pop genres have never been as neat and tidy as they want to be, and hip-hop was always a hybridized creature, and John Wayne wore pink lacy panties. OK, maybe not that last one, but you get the point: boundaries are manufactured and movable, and today's musical climate is all about tearing them down, baby. Which means the hip-hoppers are into alt-rock and singing, and the mall punks are rapping, and we are all gobbling it up at lightning speed. The most recent addition to this genre collision is Mike Posner — fraternity brother, Duke University grad, burgeoning pop star, emcee — and his debut album, which sounds like the love child of Justin Timberlake, Timbaland and Asher Roth created after a sweaty closeted tryst at a Greek mixer. (Also, 31 Minutes to Takeoff sounds much better than insecure lead single "Cooler Than Me.") We sandwich Posner among his genre-bending brethren on this playlist of hybrid hip-pop-rock — otherwise known as, you know, music today.

Tracey Thorn, Love and Its Opposite

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At 47, Tracey Thorn has cut a sublime midlife crisis album. "Oh, the Divorces" features Thorn's biting, novelistic impressions of her friends' lives, while the narrator on "Why Does the Wind?" wonders if she's also headed for a breakup. The mother on "Hormones" sees herself shrinking next to her blossoming daughter -- is she also the one sneaking off to the "Singles Bar"? Thorn's strongest numbers are haunted by the past; "Kentish Town" is bleak enough to reconcile the most hateful exes. But this is strictly art: Thorn still shares a life with Everything But The Girl bandmate Ben Watt. — Nick Dedina

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The Box vs. Zac Brown Band



We collected over 300 of your questions for Zac Brown Band and put them in a box -- THE Box, in fact. Watch Zac share the story behind "Free," express his feelings for Hank Williams Sr., and share his thoughts on gender, sexuality and Zen Buddhism. HEAVY.
20100518_young_jazz_vixens_575x225.jpg Listen to all your favorite jazz artists — old and new — whenever and however you want with your Rhapsody subscription. If you don't have one, click here to sign up for a free trial and see what we’re all about.

Esperanza Spalding's gorgeous Chamber Music Society has us once again thinking about the state of crossover jazz.

Esperanza_170x170.jpg Spalding, a quadruple threat bassist-vocalist-songwriter-bandleader, could have immediately tried to become an R&B act. Instead she cut Chamber Music Society, which melds delicate jazz, classical, vocals and Brazilian music.

We were so dazzled by the album that we snagged it for a Rhapsody pre-release exclusive...so while you give the album a deserved early listen, why not start checking out more Esperanza and some of her peers... other young jazz artists who deserve as big an audience as possible.

 
JorisVoorn In this installment of Rockstar Guide to the Galaxy: Amsterdam, we meet up with Dutch techno producer Joris Voorn at Amsterdam's underground (but rapidly surfacing) club Trouw, where he and label partner Edwin Oosterwal hold their monthly Rejected parties. Watch the video for a guided tour of Joris' favorite spots in town, including a newly repurposed 20,000 square-meter shipping warehouse, a bohemian cafe a short ferry ride out of the city center, and, of course, his own home studio.



Trace Adkins: The Cowboy's Back

20100810-trace-adkins-SG-main-560x225.jpg Trace Adkins. The very name makes women swoon and men sit up a tad straighter. Fifteen years into his recording career, Adkins has entered elite territory. The man known for his deep-throated baritone and no-nonsense approach to life has earned a place among the most esteemed artists of his generation. Adkins has built a solid career and a strong fan base with his resonating lyrics and smart, slightly dark Honky-Tonk sensibility, both of which color his songs from start to finish. As Adkins embarks on a new chapter in his career (he's now signed to Toby Keith's record label), Rhapsody takes a look at this country music icon through his new album, Cowboy's Back in Town. Hear the album, plus an assortment of Trace Adkins-related playlists and radio stations.

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Read Chuck Eddy's review of Cowboy's Back in Town
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Hear a great mix of Trace's best songs.
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The low-down on Country's new releases.
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Listen to Country Hits Radio
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Visit Trace's Artist Page on Rhapsody.
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Get a Behind The Scenes peek into Trace's new single.
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20100810-trace-adkins-SG-review-560x225.jpg Editor's Note: Listen to a selection of the songs mentioned here on a playlist at the end of this post, or click through to listen to all of the artists listed here on Rhapsody. If you're not a member, click here and listen to all of your favorite music as much as you want — whenever and wherever you want!

Loveable country lug Trace Adkins has been on quite a roll lately. His albums used to be really inconsistent, but 2006's Dangerous Man was a keeper (high point: an ode to a curmudgeonly grandpa called "The Stubborn One"), and 2008's X was his strongest full-length ever. It managed to balance trashy boogie humor ("Hauling One Thing," "Marry for Money"), smoldering Southern soul sex ("Let's Do That Again"), baptismal gospel ("Muddy Water") and spooky seriousness ("I Can't Outrun You," "Til the Last Shot's Fired.")

For a few years now, Adkins has been inching toward music that, if it came from any city other than Nashville, would be acknowledged as butt-rock in the great motorcyclable BTO/Foghat/Molly Hatchet tradition. And on his ninth and newest album, Cowboy's Back in Town, his big bam boom gets even bigger, with plenty of near-metal riffs to make honky-tonking badonkadonks shake: witness, for instance, barn-sex stomp "Brown Chicken Brown Cow" (where farm animals observe some hot hay-rolling), Crimson Tide shout-along "Ala-Freakin-Bama" (where Adkins declares himself a Bear Bryant fan to impress a Juicy Fruit-chomping Southern belle), and mean fisticuff warning "Whoop a Man's Ass" (where he comes out swinging at creeps who hit women and curse at kids). "Hold My Beer" (about taking a break from the brewskis to get hitched) and "Hell, I Can Do That" (in which a clueless couch potato swears he can outdo the athletes and leading ladies' men on his flat screen) demonstrate excellent comic timing, to boot.

The new album's middle goes maybe a bit too heavy on lovey-dovey slow jams, none of which can come close to Adkins' greatest slow one ever (and one of the best country singles of the past decade), 2001's devastatingly spare divorced-dad hit, "I'm Tryin'." But he's still got one of the richest male voices of our time, and his soul-and-Western baritone in, say, "Cowboy's Back in Town" (about a working woman's secret weekend flings) and the bouncy "Don't Mind If I Don't" manage to keep even the mushier stuff sufficiently manly. In a power ballad called "Break Her Fall" near the end, Trace reflects back on being 18, and deflowering a tragic angel in the backseat of "the best Plan B that Detroit made" while she's "humming that old Tom Petty song." Seems like he should mean "Free Fallin'," but that wouldn't make sense; Trace turned 18 in 1980. So, "Refugee" maybe? Anyway, then he closes the album by opening his can of whoop-ass, and in both songs he brags about having long hair. Long may it wave.


Lollapalooza 2010 Recap

lolla_recap.jpg20100810-lolla-SG-main-560x225.jpg Hate to break this to you, but summer's dangerously close to winding down. Pretty soon it'll be Labor Day, then Halloween, then Thanksgiv -- oh forget all that. IT'S STILL SUMMER!!! Anyone in need of proof need look no further than a) your window (assuming you're not on the other side of the equator) and b) this smorgasbord of Lollapalooza coverage. Below you'll find exclusive interviews, blow-by-blow accounts of each day's activities, and some truly harrowing photos. So please dive in, enjoy and keep the sunscreen coming for at least a couple more weeks.

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B.o.B. talks the future of music
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Blow-By-Blow: An insider's look at Lollapalooza
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Hot Chip discuss electro-pop and cancer
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Day Freaks: Lollapalooza Photo Galleries
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MGMT reveal their secrets
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Exclusive Dan Black Interview
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Blog rap's second wave epitomizes hip-hop's scales of artistic justice. Just as complaints over the new rap generation's increasingly pop output have reached a fever pitch, a new crop rises that embraces the familiar codes of street life. What makes them different from the usual parade of thugs is their youth — descriptions of a hipster thug lifestyle abound — openness to new sounds and varied collaborators, and linguistic dexterity, an unexpected benefit of Lil Wayne's memorable 2007 mixtape run and its underlying theme that any fledging rapper, no matter how lame, can transform himself into a great emcee with hard work.

This isn't a definitive list, but just a small sample of a few artists burning the Internet. All of them have material on Rhapsody; other promising voices such as Atlanta rapper Pill (1140: The Overdose) and DaVinci (The Day the Turf Stood Still) were left out because they don't. Interestingly, nearly all of them are survivors of the major-label system, having signed development deals a few years ago and then summarily been dropped, only to attract renewed interest after converting Internet hustle into industry buzz. Only Shabazz Palaces doesn't fit among this group, but their excellent recordings were impossible to omit.


Van Halen, 1984

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Van Halen's last record with David Lee Roth (read: last good record), 1984 brought the band an unholy amount of success. From the endlessly played "Jump" to the numbers-perfect rockers "Panama" and especially "Hot For Teacher," 1984 found Van Halen in top form. It's a shame they couldn't get along. As good today as when it came out. — Mike McGuirk

Hear It Now!

Music for Falling Asleep To

20100810-ambient-560x225.jpg Do we do an injustice to a work of art when we use it for purely instrumental purposes? The conventional wisdom might say yes: surely there's something unseemly about a dude who throws on Jack Johnson merely as part of his seduction technique, and not to, you know, marvel at the intricacies of the fretwork. (Plus: Jack Johnson, really?)

But it's normal to select our music with one ear tuned to its utility. (I won't pretend I haven't turned to D'Angelo's Voodoo when mood lighting alone wouldn't do.) We might turn to Feist for wiping the cobwebs from our eyes over coffee; maybe Lady Gaga for hitting the gym after work. (Hell, even LCD Soundsystem's James Murphy recorded an album expressly made for jogging.)

Personally, the most important record of the day is the last one I put on, right before I hit the sack. It has to be relaxing, but it also has to be interesting—there's a difference between something music for falling asleep to, and music that's merely "snoozeworthy." Plus, I like it to be something I also listen to during moments of full wakefulness; I like to think that the hypnagogic effects of a particularly psychedelic piece of nighttime music return when you listen to the same thing in daylight. Since my tastes run towards ambient and avant-garde music, broadly speaking, it makes the selection process slightly easier.

Despite the title of this post, don't think that the following albums are only appropriate for soundtracking the sandman's entry. Some of them offer some of the most exciting, entrancing deep-listening music I can think of—not simply for turning in and dropping off.

lolla_day3.jpgrain_crowd_560x250.jpg What a difference seven solid hours of sleep and a day without any official duties to attend to makes! Having spent Saturday mostly behind the scenes, I was ready to get my fan girl on come Sunday. So many shows to see, so many lobster corndogs to eat, so much ... rain to contend with! Yes, unfortunately, the day began rather damply with a big, fat rainstorm. Stalwart festgoers trudged through the puddles (did you know Tom's shoes foam when totally saturated? I did not) until -- wonder of wonder, miracle of miracles -- the sun broke through somewhere around 1:30. After that, the weather took a turn toward the swelteringly, punishingly hot. At least one of the festival's green-leaning water-refilling stations even ran out of water!

The wide-ranging weather was not only quintessentially Midwestern, but also an appropriate complement to Lollapalooza's own commitment to musical diversity. OK, that's a stretch, but come on -- I'm trying to make a metaphor out of a miserable weather front! Anyway, the point is that I decided to spend the day taking in a tour of Lolla's vast and varied musical landscape, seeing artists I was really excited about but also taking in acts that aren't necessarily in my wheelhouse as a pop writer. It was a good trip. Here are the highlights:

I'ma Looza Baby, Pt. 3

lolla_looza3.jpgarcadefire2.jpg Arcade Fire's Richard Reed Parry catches some rays.

When you wake up on festival day and it's raining, you quickly begin imagining a circus of mud and sludge, bodies covered in brown paste like Arnold Schwarzenegger at the end of Predator. I was up for it, having made no preparations for such circumstances. Alas, it was only the first couple performers of the day, Nneka and Health, who had to deal with the showers during their sets. The former I felt bad for, the latter, well, their racket of sub-bass and squelching seemed like it could only be improved by a good dousing. And even if I was slightly disappointed that thunderstorms failed to majestically appear during Arcade Fire's dramatic, emphatic set, the day, on the whole, went just swimmingly.
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Devo, Q: Are We Not Men?

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The uber-dorks who made America uncomfortable for a few years in the 1980s, Devo have emerged as one of the most influential bands of that era, thanks to this 1978 debut. Not only did they make new wave safe for the masses, they gleefully turned rock 'n' roll icons on their heads without forgetting to make music that truly rocks (see "Uncontrollable Urge" for proof). This remastered edition includes a concert performance of the entire album. — Mike McGuirk

Hear It Now!

Q&A: MGMT @ Lollapalooza

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After their hot and sweaty Lollapalooza set, Tomer Yosef, Ori Kaplan and Tamir Muskat of Balkan Beat Box sat down to talk about the relationship of music to conflict, discuss the state of Roma punk today and argue with us about whether or not their latest album, Blue-Eyed Black Boy, is their most diversely influenced yet.

Q&A: Rusko @ Lollapalooza 2010

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In addition to being one of the most sought after producers in music right now (he's spent studio time with the likes of Britney, T.I., and Rihanna recently), Christopher Mercer, aka Rusko, is a tireless live performer, has a new album called OMG, is a huge Rhapsody fan, and is, well, orthodontically challenged. He talks excitedly about all of these things and more in this interview. Enjoy.
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Edward Sharpe & The Magnetic Zeros: I believe I can fly, I believe I can touch the sky

I'ma Looza Baby, Pt. 2

lolla_loozapt2.jpgbeachball2.jpg Public service announcement: water, people. Drink it! I'm amazed that after all these years I'm still witnessing concert goers being carted off by medical staffers drenched in sweat, clearly experiencing acute dehydration. Chicago is hot, and up near the front of these stages it can be like a million degrees, and you can get stuck up there, sandwiched between hundreds of equally sweaty fans. It's easy to lose track of one's basic bodily needs. Take Edward Sharpe & The Magnetic Zero's barnburner yesterday, where thousands of people totally lost their minds.
lolla_day2.jpgdragonette1.jpg Day two at Lollapalooza and both the festival and your trusty team of Rhapsody reporters were hitting our stride. What that meant, however, is that we spent most of the day flitting around the loooong festival grounds and hanging out in the media area on "official business." Much of the time, working a festival from its backstages and bowels can be an exciting! Incredible! Glamorous! (OK, not really glamorous. Have we mentioned that it's hot? Also, there are biting flies! And they are vicious!). This experience is what we are here to convey to you -- the insider info, the behind-the-scenes beef, the "real story" behind your favorite artists' fest experiences (or as much as they'll admit to). Sometimes, however, having a media pass can mean you end up with festival tunnel-vision. Not that I'm complaining or anything -- goodness knows I love my job (you hear that, bosses?) and feel very lucky to slip that dirty, sweaty media bracelet on each day! But since Saturday involved a good deal of writer-ly tasks, I thought I'd just roll with it and provide a glimpse of Lollapalooza from the perspective of someone working it. Then on Sunday, I'll put my fan girl hat on, do nothing but see shows and eat and give you the fest-goer perspective. Sound good? Yes, yes it does.

Lee Ritenour, Six String Theory

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Guitarist Lee Ritenour does his own version of It Might Get Loud by inviting his favorite guitarists into the studio for a six-string celebration. Ritenour gets to duet/battle with the likes of John Scofield, Pat Martino and B.B. King, but he also turns over the spotlight to Andy McKee, Keb' Mo', Taj Mahal and George Benson (who delivers a ravishing reading of the standard "My One and Only Love" before joining organist Joey DeFrancesco on a soul-jazz romp through "Moon River"). Ritenour has delivered a real valentine to his fellow guitarists … and to listeners. — Nick Dedina

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Q&A: Dan Black @ Lollapalooza

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Sure, Dan Black (the man behind the hit "Symphonies" and its gorgeous cinematic video) is charming, quirky, adorable and a FOKC (that's Friend of Kid Cudi, yo), but is he a diehard hip-hop head? Yes, yes he is. As well as a film geek and a classical music buff. Oh, and he can rock both the color yellow AND face paint. We pretty much love him, especially since he managed to remain both charming and adorable, despite the "animals" attacking him during our interview (that would be the Midwest's friendly biting black flies).

Lollapalooza Day 2 Photos

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Q&A: Mike Posner @ Lollapalooza 2010



Ready or not, Mike Posner is poised to become pop's latest polarizing figure. Is his a story of talent and serendipity set against a backdrop of frat parties and bedroom recordings? Or is he just another Asher Roth (or Shwayze or Paul Barman, etc.). After catching up with the man himself in the Music Lounge high above the streets of Chicago, we're betting more on the former. Dude is charming, witty, and pretty down to earth. Dig it as he discusses a number of topics, including his new record (out Tuesday), Kelly Ripa, and a possible run for office in 2024.

I'ma Looza Baby, Pt. 1

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This is Jamie Lidell. He's wearing somebody's carpet.

I guess most of you probably know this, but for those who don't let me say this: Chicago is awesome. There's like this big reflective sculpture thingy affectionately known as "the bean," a Frank Gehry-designed concert auditorium that throws free shows in the summer, this inexplicably huge lake the far shore of which you can't even see, and then, on certain days of the year, there's this massive festival going on right in the middle of it all, and that's awesome, too. Having been to my share of these Death Star-sized music festivals, I'm pretty close to pronouncing Lollapalooza as the A-No. 1 can't-miss event of the summer. A couple reasons why: 1. The Line-Up is untouchable; 2. the setting (nestled in the belly button of downtown Chicago, flanked on three sides by skyscrapers that cause the sound to echo throughout the whole city so that Lady Gaga's set is audible from literally miles away) is utterly magical; and 3. the beer lines are short! Plus the water's cheap. Plus there's an area in the shade full of hammocks you can just go lay in. Plus did I mention the beer lines are short? It's like they've thought of everything. Anyway, here are my highlights so far:
lolla_day1.jpggaga_metal_dance_560x225.jpg Lollapalooza is many things. It is a sprawling, sweaty, cacophonous music and arts festival, of course. But it is also, to name just a few: A throwback to a classic era of music (reunited Soundgarden!), as well as a showcase for today's hottest artists (B.o.B.!). A (new this year!) example of environmentalism en masse, complete with recycling contests, boxed (as opposed to bottled) water and "green" fest schwag (whatever that means). An opportunity to hang out with a few thousand of your sweatiest best friends while you're all trapped together on the lawn waiting for Lady Gaga. A place where, as the good Lady herself said, "young people can come together to talk about things that are important to them and get drunk."

Lollapalooza is also a story of rebirth and reinvention. Founder and Jane's Addiction frontman Perry Farrell was reborn as a successful businessman and musical curator, and he reinvented the once-rambling fest itself in 2005 as a destination showcase hosted by Chicago. And, of course, the festival is a tribute to popular music's penchant for constantly inventing and reinventing itself. What better headliner, therefore, than an artist who not only reinvented herself as Lady Gaga, but whose entire career is predicated upon the idea that her fans can be "whoever and whatever they want," as she shouted more than once during her Friday night performance? Not every Lolla attendee would agree with us, of course: Despite the fest's rebirth as an anything-goes affair, it's still a holy site for rock(ism) for many, including the guy at Gaga's concert, who, when she told a story of an ex-boyfriend derisively asking her what she knew about Mark Bolan and glam rock, bellowed back "What do you know?" Ugh.
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It's an obvious choice these days: Pair an underappreciated soul singer with the rock canon and see what happens. But when you get into Interpretations, you realize Bettye LaVette is not covering these songs. She's schooling us, and she's schooling the songs -- making them what they could have been, evoking their substance more purely than, in most cases, even the original acts could. This is no affectation: LaVette is literally singing songs like "Wish You Were Here" or "Nights in White Satin" the only way she can -- with a truth and pain in her voice that makes them entirely new. — Sarah Bardeen

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Q&A: The Ettes @ Lollapalooza 2010

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We had a chance to talk with Coco of Nashville rock band The Ettes backstage at this year's Lollapalooza. Watch the video above to hear about The Ettes' collaborations with The Black Keys' Dan Auerbach, Drew Barrymore and Coco's love for the Ladies of Southern Music.

Q&A: Hot Chip @ Lollapalooza 2010

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Watch above as Hot Chip members Al Doyle and Owen Clarke, two of six English reeds in an American sea, share their thoughts on news from Washington, the explosion of electro-pop in the States and Gaga's possible financial woes.

Q&A: B.o.B. @ Lollapalooza 2010

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We had the pleasure of sitting down with B.o.B. just after his set at Lollapalooza to talk about Barak, Gaga and the future of music: "Non-gre" as in "non-genre". Check it.

B.o.B. sets it off

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B.o.B. performing at Lollapalooza 2010.

Saving Abel, Miss America

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That cover says it all: Miss America is red-blooded American power-rock packed full of hip-swaggering riffage, sexy talk, macho vibes and arena-sized anthems. Lead howler Jared Weeks has a love-hate relationship when it comes to the opposite sex. One minute the "sex is good," the next, love is a "contagious" disease that has forced him to his knees in ecstatic pain. Weeks, in other words, has got the blues, only his sound is more like Nickelback and Creed than Robert Johnson and John Lee Hooker. — Justin Farrar

Hear It Now!

LOLLA-ing Out Loud

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Da Bears! Da Bulls! Da tree-day, one hundred and twanny band festival known as Lollapalooza! Team Rhapsody is in the building. Er, make that park, Chicago's Grant Park to be exact, where it's a sunny 80 degrees. As evidenced by the above photo, it's the quiet before the storm here. B.O.B. goes on in 30 minutes, and after that it's a non-stop procession of jammers. Stay tuned to this space for multiple daily updates from the festival ground, including interviews, photos, and blow-by-blow accounts. Hey wait, is that Perry Farrell? Gotta go.
20100804_classicrock_560x225.jpg The shadowlords who run this site allowed me a little freedom when compiling this list of the top classic rock records of the '70s, so I was able to go with some personal faves mixed in with the must-haves that tend to appear on every list of this kind. That means some folks will undoubtedly get riled up when they don't see Dark Side of the Moon and even I am angry at myself right now for putting Meddle on here instead of Animals, but the idea is not to give the last word on classic rock or point out the biggest sellers of the era. I just want to shine a light on the major moments of the '70s while giving some love to the records I like to crank at parties. So please calm down.

20100803-traffic-source-material-560x225.jpg Editor's Note: Listen to a selection of the songs mentioned here on a playlist at the end of this post, or click through to listen to all of the artists listed here on Rhapsody. If you're not a member, click here and listen to all of your favorite music as much as you want — whenever and wherever you want!

Traffic's most popular albums — John Barleycorn Must Die, The Low Spark of High Heel Boys, Last Exit — cemented the band's reputation as earthy rockers given to long, winding jams and jazzy improv. A killer fusion of The Rolling Stones and The Allman Brothers Band, this is the band's enduring legacy. Yet it overshadows Traffic's roots. Released at the tail end of 1967, Heaven Is in Your Mind (aka Mr. Fantasy) still stands as one of the finest examples of mid-decade British psychedelia, a kaleidoscopic balance of blue-eyed soul, British folk-rock and fuzzy mod reverb that song-for-song is the equal of such classics as The Pretty Things' S.F. Sorrow, Small Faces (1967) and The Move's Move.

Let's get historical and spotlight six albums that will help us understand how such an awesome record came about.

Jane Birkin, Rendez-Vous

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By the 2000s, the very English Jane Birkin was a French pop institution. But she was also enjoying a new reputation among maturing American and British indie rockers. On this duets set, Birkin directs things at this new audience by revisiting her old hits and doing cover versions with stars from both sides of the pond. It's hard to find fault with the bilingual set selection or Jane's choice of singing companions: Bryan Ferry helps make his Roxy Music freakout "In Every Dream Home" even more sinister, and Beth Gibbons (Portishead) and a pre-fame Feist help out, too. Brazil's Caetano Veloso and Italy's Paolo Conte join French stars Francoise Hardy, Micky 3D, Alain Chamfort, Etienne Daho and Manu Chao. — Nick Dedina

Hear It Now!

Genre Roundup: Hip-Hop

20100803-roundup-hip-hop-560x225.jpg Editor's Note: Listen to a selection of the songs mentioned here on a playlist at the end of this post, or click through to listen to all of the artists listed here on Rhapsody. If you're not a member, click here and listen to all of your favorite music as much as you want — whenever and wherever you want!

Rap music has dominated the airwaves and the blogs this summer. If it's not Eminem and Drake topping the charts, it's Big Boi earning plaudits for his solo debut, Sir Lucious Left Foot ... Son of Chico Dusty. Dig deeper into this season's crop and you'll find more jewels, from Guilty Simpson's latest collaboration with Madlib to French beat producer Onra's instrumental gem. (And sorry, Eminem Stans, but Recovery didn't make the list.)

Big Boi: Sir Lucious Left Foot ... The Son of Chico Dusty
It's a wonder Big Boi's Sir Lucious Left Foot made it to stores. Four years of untangling industry red tape has taken its toll, and the album is missing several early singles, including key tracks with his OutKast partner Andre 3000. What's left of this long-delayed solo debut is very hit-or-miss. The 15-track, hour-plus album teems with guests — from Jamie Foxx and George Clinton to Janelle Monae and YelaWolf — but generates precious little synergy. However, it has enough highlights — including the futuristic funk of "Shutterbugg," "Night Night" with B.o.B., and "Shine Blockas" with Gucci Mane — to make the wait seem worthwhile.

Weird Rhapsody

20100803-weird-rhapsody-560x225.jpg Editor's Note: Listen to a selection of the songs mentioned here on a playlist at the end of this post, or click through to listen to all of the artists listed here on Rhapsody. If you're not a member, click here and listen to all of your favorite music as much as you want — whenever and wherever you want!

The old adage that it takes all kinds to make the world go 'round is doubly true for music. Within the Rhapsody catalog, you’ll find everything from gay gangster rap to TV theme songs, but even these seemingly disparate niches fit into a certain range of acceptability. The albums collected here — from wolf noises to Charlie Manson’s folk collection — are, to put it bluntly, on some other sh*t. Are they important works or even great works of art? No. Not by any stretch of the imagination. But they are most certainly intriguing.

Sounds of Nature: The Howling of Wolves (Le Chant Des Loups) (Fonda-Mental S.A., 2006)
Backwoods blues singers and gothic garage rockers have been trying their pseudo-lupine darnedest to howl like wolves since the glory days of, well, Howlin' Wolf, and there was even a well-documented trend of indie bands with wolf names a few years back. But hey, why settle for less than the real thing? Neither coyotes, jackals, hyenas, nor German shepherds, these scary wailing timber canines and their cute yelping pups will add frightening atmosphere to your coven's next witches'-brew potluck for sure. — Chuck Eddy

Supertramp, Breakfast in America

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Breakfast In America

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Supertramp's biggest record came out in that period in-between the excesses of the 1970s and the Reagan era, when all music started to sound like it was actually made out of cocaine. "The Logical Song" and "Take the Long Way Home" ensured perpetual classic rock rotation, but everybody knows Supertramp's real contribution was the beautiful "Goodbye Stranger." — Mike McGuirk

Album Guide to Global Psych

20100803-world-psychedelia-560x225.jpg Editor's Note: Listen to a selection of the songs mentioned here on a playlist at the end of this post, or click through to listen to all of the artists listed here on Rhapsody. If you're not a member, click here and listen to all of your favorite music as much as you want — whenever and wherever you want!

The advent of psychedelic rock in the 1960s let off a kind of DayGlo miasma that wafted around the globe, leaving electric keyboards and wah-wah peddles in its wake. The recipients (in Asia, Africa, Eastern and Western Europe, South America) initially imitated what they heard coming out of the U.S. and U.K. -- those oh-so-painful/oh-so-amazing covers -- but it wasn't long before they were making mutations, sending taproots into the fertile musical soil of their home countries to come up with entirely new sounds. Hence chicha, cumbia's hallucinatory cousin. Hence Afro-rock, which took funk and, impossibly, made it funkier. Hence tropicalia, which fed hash to samba, bossa nova and maracatu. The list of lysergic-damaged musical movements goes on.

Psych music was, and still is, a profoundly strange musical development, one which is fundamentally anti-commercial despite its commercial successes: at its most extreme, it eschews the three-minute pop song, verse-chorus-verse song structure and, in some cases, listenability. In the hands of Amazonian Indians, or deranged Frenchmen, or acid-damaged Brazilians, it took on whole new dimensions. Decades later, it's easy to view the international spread of psychedelic music as cute, or an oddity. But in reality the music meant so much more: both at its birthplace and around the world, it provided the aural soundtrack for a generation that was experimenting not only with drugs, but with throwing out social orders they disagreed with. It was a sonic refusal of the status quo, a way for youth to assert their modernity and individuality at home, while participating in an international culture abroad. Maybe that sounds quaint, but it mattered at the time -- and perhaps it still does matter.

Perhaps most importantly, it made for some crazily compelling music.

20100803-arcade-fire-560x225.jpg Editor's Note: Listen to a selection of the songs mentioned here on a playlist at the end of this post, or click through to listen to all of the artists listed here on Rhapsody. If you're not a member, click here and listen to all of your favorite music as much as you want — whenever and wherever you want!

Everyone's got Arcade Fire pegged as an arena rock band, dropping names like Springsteen and U2 as inspirations for their ambitious, outsize sound. But this overlooks just how weird that sound is, what a shambolic patchwork of eras, moods, instruments and feelings it consists of -- the fact that it works for arenas is what makes this band so captivating. On their third full-length, The Suburbs, they tackle urban sprawl with an intimate portrayal of not just sameness and shopping malls, but also the nostalgia and jadedness that comes with it all. They also tackle an even more robust sound that had us pointing to myriad influences. Below, we look at some albums that we think helped ignite the Fire this time around.

20100803-gaga-remixes-560x225.jpg Editor's Note: Listen to a selection of the songs mentioned here on a playlist at the end of this post, or click through to listen to all of the artists listed here on Rhapsody. If you're not a member, click here and listen to all of your favorite music as much as you want — whenever and wherever you want!

A good song deserves more than one life — and a bad or mediocre one deserves a second chance. Right? That's our remix philosophy, anyway! The actual masterminds behind the often-brilliant reconstruction of beloved hits (or bombs) may have a different take on it, however. So what makes for a good remix, and what purpose does it serve?

We started thinking about our favorite pop remixes and the ethos behind them thanks to a new collection of reconstructions of Lady Gaga hits by a variety of dance, electronic and pop producers and DJs. Dance remixes of Lady Gaga songs might sound redundant or superfluous. After all, club-ready dance-pop is what the good Lady specializes in, which explains why the tracks on The Remix don't always feel like they add or change all that much. But unobtrusive isn't necessarily a bad thing. The Sound of Arrows' mellow reworking of "Alejandro," for instance, evens out some of the original's high drama without diminishing it. Elsewhere, it's all in the details: a cute little Latin beat on "Paparazzi," the ping-ponging beats on "Telephone." LLG vs. GLG's take on "Poker Face" is maybe even saucier than the original.

Luke Bryan: Country Man (Live)



Watch Luke Bryan perform Country Man live from Rhapsody Rocks the 2009 CMA's in Nashville.

Play Tailgates & Tanlines
Luke Bryan, Luke Bryan is a one-man auto industry bailout. Scantily clad women dance on his truck (or sometimes tractor) on the peppy smash hit "Country Girl (Shake It for Me)"; later, a truck is Bryan's means of escape in a surprisingly bluesy, growly mini-suite of brooding jams kicked off by "Muckalee Creek." It's pop country with muscle and, as befits a third album, expanded range, sexy but wholesome, adult but almost childlike: "Tangle me up like Grandma's yarn," he tells the shaking ladies. The lovelorn "I Know You're Gonna Be There" is legitimately sad, but he'll always have his four-wheeler.

- Justin Farrar
20100803-roundup-hard-rock560x225.jpg Editor's Note: Listen to a selection of the songs mentioned here on a playlist at the end of this post, or click through to listen to all of the artists listed here on Rhapsody. If you're not a member, click here and listen to all of your favorite music as much as you want — whenever and wherever you want!

Rock music -- metal to indie -- started giving up on blues chords at least three decades ago. But some bands still make hard rock that'd be recognizable as such to folks old enough to remember the '70s. Lately there's even been a minor deluge of the stuff: new Buckcherry, The Black Crowes, and Gov't Mule albums, for instance, all in the same week! Here's a rundown of recent releases, followed by a playlist with a few selections.

Buckcherry, All Night Long (Eleven Seven)
In a nutshell: Having returned from radio oblivion when the strip-clubbing "Crazy Bitch" and apology ballad "Sorry" made their 2006 album 15 their biggest ever, these L.A. sleazers-for-life aren't about to chance another whiff like 2008's Black Butterfly.
For those who like: Tattoos, rebellious couples on the run, "My Generation" quotes, token protest songs, late-period AC/DC, occasional lovey-dovey ballads. — C. Eddy

Luke Bryan: Doin' My Thing (Live)



Watch Luke Bryan perform Doin' My Thing live from Rhapsody Rocks the 2009 CMA's in Nashville.

Play Tailgates & Tanlines
Luke Bryan, Luke Bryan is a one-man auto industry bailout. Scantily clad women dance on his truck (or sometimes tractor) on the peppy smash hit "Country Girl (Shake It for Me)"; later, a truck is Bryan's means of escape in a surprisingly bluesy, growly mini-suite of brooding jams kicked off by "Muckalee Creek." It's pop country with muscle and, as befits a third album, expanded range, sexy but wholesome, adult but almost childlike: "Tangle me up like Grandma's yarn," he tells the shaking ladies. The lovelorn "I Know You're Gonna Be There" is legitimately sad, but he'll always have his four-wheeler.

- Justin Farrar

Genre Roundup: Electronic

20100803-roundup-electro-560x225.jpg Editor's Note: Listen to a selection of the songs mentioned here on a playlist at the end of this post, or click through to listen to all of the artists listed here on Rhapsody. If you're not a member, click here and listen to all of your favorite music as much as you want — whenever and wherever you want!

It's been a great year for electronic music, both for going out and staying in. We've picked out the best recent releases to suit either mood, from John Digweed's enveloping techno mixes to the Chemical Brothers' psychedelic return to Horse Meat Disco's decadent dance.

Squeeze, East Side Story

AOTD_banner560x60.jpg squeeze.jpg
Play! Squeeze
East Side Story
Squeeze's first three records were littered with superb pop songs, but this was their first (and only) truly great album, from the first track ("In Quintessence") to the last ("Messed Around"). Producer Elvis Costello may've had something to do with this, pushing the unpretentious lads to experiment and open up more on songs like "Women's World's and "Vanity Fair," both of which recall Paul McCartney and Ray Davies "little English vignette" songwriting style. Decades later, "Tempted" (vocal by keyboardist Paul Carrack) is still played on the radio, but it wasn't the breakaway hit it should've been at the time (a space joined by "Is That Love," "Mumbo Jumbo" and "Someone Else's Heart"). — Nick Dedina

Luke Bryan : Do I (Live)



Watch Luke Bryan perform I Do live from Rhapsody Rocks the 2009 CMA's in Nashville.

Play Tailgates & Tanlines
Luke Bryan, Luke Bryan is a one-man auto industry bailout. Scantily clad women dance on his truck (or sometimes tractor) on the peppy smash hit "Country Girl (Shake It for Me)"; later, a truck is Bryan's means of escape in a surprisingly bluesy, growly mini-suite of brooding jams kicked off by "Muckalee Creek." It's pop country with muscle and, as befits a third album, expanded range, sexy but wholesome, adult but almost childlike: "Tangle me up like Grandma's yarn," he tells the shaking ladies. The lovelorn "I Know You're Gonna Be There" is legitimately sad, but he'll always have his four-wheeler.

- Justin Farrar


Watch Luke Bryan perform Rain Is A Good Thing live from Rhapsody Rocks the 2009 CMA's in Nashville.

Play Tailgates & Tanlines
Luke Bryan, Luke Bryan is a one-man auto industry bailout. Scantily clad women dance on his truck (or sometimes tractor) on the peppy smash hit "Country Girl (Shake It for Me)"; later, a truck is Bryan's means of escape in a surprisingly bluesy, growly mini-suite of brooding jams kicked off by "Muckalee Creek." It's pop country with muscle and, as befits a third album, expanded range, sexy but wholesome, adult but almost childlike: "Tangle me up like Grandma's yarn," he tells the shaking ladies. The lovelorn "I Know You're Gonna Be There" is legitimately sad, but he'll always have his four-wheeler.

- Justin Farrar

Laura Marling, I Speak Because I Can

AOTD_banner560x60.jpg Laura Marling
I Speak Because I Can

Play!
It's been pointed out numerous times before, but there's no getting over the fact that Marling, age 20, sounds like she's lived a thousand lifetimes. First off, there's her deep, husky voice that shifts effortlessly from mystery to tenderness to flat-out defiance. Then there's the songwriting. A disciple of Joni Mitchell, she crafts touchingly intricate tunes that feel more like journeys than mere pop songs. If I Speak Because I Can is any indication, Laura Marling has a long career ahead of her. — Justin Farrar


On the Record is a video series where rock stars gush about their favorite records -- in exactly 45 seconds. Click above to watch Zac Brown of Zac Brown Band talk about his favorite album of all time.

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Marina Celeste, Acidule

AOTD_banner560x60.jpg Marina Celeste
Acidule

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Marina Celeste came to fame as one of the vocalists on the Nouvelle Vague covers project. Japanese fans were so taken with Celeste's voice that they bankrolled Acidule, a summery album that sounds anything but "acidic." The music goes deeper into the lounge-tronica sound of Nouvelle Vague and can easily be used as a portal to an aural vacation. That said, while the first few listens can paint Miss Celeste as a surface dweller gliding across her songs, repeated airings bring out a bite and depth in such tracks as "Le Temps Elastique" and the more upbeat "Mon Centre de Gravite." — Nick Dedina

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