A large contingent of the music industry lands in Austin, Tex., every March. Hundreds upon hundreds of hopeful artists stand side-by-side with some of the biggest buzz bands and headliners in indie, rock, hip-hop and electronic. We spotlight just a few of the performers set to hit the “Live Music Capital of the World” in 2011 with the playlist below. Hear newcomers like Cults and Yuck alongside vets like Bright Eyes and Queens of the Stone Age.
Not to butter our own muffin or anything, but America's favorite digital music subscription service expects to throw one of the best parties in the fine and wonderfully quirky city of Austin, Tex., on March 18. There are two reasons for this: (1) our major-league party skills are as finely tuned and well-oiled as Tim Lincecum's mechanics, and (2) we truly outdid ourselves in terms of delivering killer entertainment to the Lone Star State. In fact, we're pretty damn hip this year, with a music line-up culled from the indie-world's most fertile terrain, including retro-garage, chillwave, post-punk and modern electro.
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This bright, flowing and open-hearted sophomore set put Esperanza Spalding on the map as a breakout jazz artist of the 21st century. The bassist/vocalist/bandleader combines bop, Brazilian, soul and more into a unique style that brims over with unpredictable twists and turns. Still, Esperanza's contagious enthusiasm embraces mainstream audiences. Released in 2008, Esperanza had serious legs, charting numerous times as Spalding's career took off. — Nick Dedina
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 Watch Freddie Gibbs Interview |
 Watch Black Milk On the Record |
 Watch Skyzoo On the Record |
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Blue-Eyed Soul numbers such as "Sussudio," "Don't Lose My Number," and the ballad "One More Night" gleaned Phil Collins a universal radio presence in 1985, and serve as three very good reasons why No Jacket Required won the Grammy for Album of the Year. This LP, one of Collins' best, stands as a must-have for fans. — Linda Ryan
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 Watch The Box vs. My Chemical Romance |
 Watch The Box vs. Taylor Swift |
 Watch The Box vs. Lady Gaga |
 Watch The Box vs. Sara Bareilles |
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Winter is typically kind of a cold, barren wasteland as far as albums go, but in the Latin music world — like much of Latin America — things often manage to stay fairly caliente. The last few months (and granted, we are reaching back to the very edges of winter) have seen a number of exciting new Latin releases that encompass everything from alt-rock to Garifuna pop, reggaeton (lots and lots of reggaeton) to Ricky Martin. Catch up on current Latin music with our roundup of recent albums, complete with nutshell reviews, don't-miss tracks and further listening suggestions.
Ricky Martin
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Everybody's favorite sleuthing medical misanthrope gets an above average soundtrack. Massive Attack's "Teardrop" actually sounds like a TV theme, Elvis Costello's witty English wordplay fits Hugh Laurie's humor snuggly and Josh Rouse's "God, Please Let Me Go Back" mirrors House's tortured soul. You also get "Feelin' Alright," Joe Cocker's timeless Traffic cover. "Feelin' Alright" is featured in every movie and TV show that is not playing Iggy Pop's "Lust For Life." — Nick Dedina
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Much of soul history has been dominated by powerhouse African American singers — rightly so. Soul is often couched in the pain and joy, trials and tribulations of African American experiences. Every so often, however, along comes a white girl who has the blues — or manages to sing like she does, belting her way through one soul style or another with a big voice and bigger heart. Adele's recently dropped sophomore album is a perfect example: with richly nuanced vocals and a stylistic maturity that belies her youth, 21 is soul, through and through. Take a listen to the sweetly crooned pleasures and pathos of Adele and other soulful white girls like Nikka Costa, Dusty Springfield, Teena Marie, Amy Winehouse and more.
Listen to the full playlist here: Soulful White Girls
Time to travel back to the mythical mid-1960s, when the folk revival stumbled into the British Invasion and Phil Spector's wall-of-sound pop, resulting in a three-way collision that produced the now-legendary folk-rock boom.
People who were not around may not know — and even many of us who were around often forget — the power with which Whitney Houston exploded on the American consciousness when her self-titled debut came out in 1985. For one thing, her elegant beauty was downright shocking, but her voice was something people had, well, literally never heard.
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Highlighted by "Don't Stop Believin'" and the sweaty-palmed, dry-hump masterpiece "Open Arms," Escape was so popular that a Journey-themed arcade game was designed in its honor. The record may have spawned Pop Metal but it's also the sort of rock music that just doesn't exist anymore: orgiastically loud and utterly unselfconscious. — Mike McGuirk
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The songs that were nominated this year, as well as the ones that should have been.  |
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Listen to the 20 greatest Oscar winning songs of all time. |
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Get a run-down of all this years' nominees. |
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Check out the history of James Bond theme songs. |
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Listen to non-stop movie scores on our Cinema radio station. |
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Rediscover your favorite movie music on Soundtracks Radio. |
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From Sly to Outkast, listen to all the classics. |
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Get your cheat sheet for the top black music innovators. |
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Discover the influence of African Americans on Country music. |
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The Roots of dance pop: Where Gaga got her style from. |
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Discover the role of the black "outsider" in popular music. |
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Black Dialogue: History through Blues and Modern Soul music. |
Before we get started, it bears remembering that the black community is not monolithic. There are various segments within it just like any other. Just as there is a pop mainstream, there is a black equivalent, too. Historically speaking, black radio programmers can be more conservative than their white counterparts. Stars have long complained of being unable to crack black radio playlists, from Bob Marley to Public Enemy, who recorded "Bring the Noise" in response to black stations' boycott of hardcore rap music.
It's impossible to summarize the contributions of black musicians to our cultural history with a few random albums. Some of the innovators we could not fit into this short list include Prince, Whitney Houston, Mary J. Blige, Max Roach, Jimi Hendrix, Chic, Sam Cooke, The O'Jays, Lauryn Hill, the Supremes, Big Mama Thornton, Salt-n-Pepa and Ella Fitzgerald.
Boy, I already knew that I was behind on seeing movies from the past year, but when the list of Oscar nominations came out I discovered that I was really behind.
Twenty-ten was one of those years. It's not always my fault — I have heard great things about 127 Hours, for instance, but I could not get anybody to go see it with me because it involves the hero cutting off his own arm. The movie ended up getting six Oscar nods: all the major ones (Director, Picture, Script, Actor), plus one for Best Song and another for Best Score, which of course, are what really concerns us here at Rhapsody.
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The third proper White Stripes LP catches Jack and Meg at their finest -- not yet bored with the simple alchemy that brought them international acclaim, but mature enough to make the most of it. Starting with "Dead Leaves and the Dirty Ground," the record opens with five of Jack White's most fully conceived tunes, the best being the seductive "I'm Finding It Harder to Be a Gentleman." Aside from the downright ungentlemanly snarl of "I Think I Smell a Rat," there's hardly a miss. — Nate Cavalieri
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On this multi-platinum smash Sade mixes in even more of a dark emotional pallet with the band's deceptively glossy chill music. The celebratory "Kiss of Life" arrives like aural Prozac but the albums highlights include its bleakest moments: "Bullet Proof Soul" and "Pearls" which tackle the ravages of love and politics with the same clear-eyed stare. — Nick Dedina
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As the producer, Jack White makes Lynn's album sound like countrified White Stripes with better drumming, but that's just fine. This is the first time Lynn has recorded all her own songs on one record, and her music proves to be more haunting than any Nashville producer could have imagined. Oh, and the kids will dig it. — Eric Shea
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Michael W. Smith had already secured his place as Christian music's leading man and had penned several classic tunes for himself and other artists when he released his sixth studio album in 1990. Go West Young Man was still clearly a Christian release (see tracks like "Seed to Sow" and "Agnus Dei"), though it was also making a bid for mainstream attention.
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On the conclusion to Wayne's Carter trilogy, clouds of incoherence give way to the occasional beams of lucidity. For the latter, nonsense transforms into catharsis, and Wayne sounds like a modern-day, word-drunk Screamin' Jay Hawkins, angry and defiant as he stares in the mirror. Other times, Wayne simply sounds drunk, sputtering limp jokes and railing against imaginary haters. The album's highs ("Mr. Carter," "Dr. Carter") are stunning, but they sink beneath generic pop-hop ("Mrs. Officer") and mixtape material ("You Ain't Got Nottin'"). It's singular, but that's not always a compliment. — Sam Chennault
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In case you hadn't heard, a little Lady we like to call Gaga dropped the Huge! New! First! Single! off her upcoming Huge! Sophomore! Album! Yes, the buzz around this one has been deafening — and rightly so. Gaga has proven herself a trendsetter. In a very short amount of time, she dance-popified the charts. Now, as she puts her money where her mouth is by paying homage to her legions of gay fans, she is also clearly hoisting her own freak flag (think of "Born This Way" as the Little Monsters Creed, in other words). And once again, her fellow pop stars are right there with her. The pop world right now is full of songs and artists clearly invested in acts of rebellion, freakishness and monsterdom. So on this edition of single-phile, we take a walk on the wild side of the charts, analyzing the countercultural tendencies of your favorite mainstream pop stars.
As most of the country digs out from under snow and ice, things are heating up here at Rhapsody. New releases on labels big and small are starting to flow with some regularity. Isn't it great that with Rhapsody, you can listen to the latest offerings while ensconced on your own sofa? But where to start?
George Jones
Don't know what to listen to? Rhapsody's here to help with a roundup of releases spotlighting the latest in indie music. Read about and listen to new albums from vets like PJ Harvey, Bright Eyes and Mogwai and newcomers Yuck, James Blake and Cloud Nothings. Hear a few tracks from each of the albums mentioned below on this playlist.
PJ Harvey
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For three decades Social Distortion has been raking roots-rock over punk's hot coals. The band (along with The Replacements) foresaw the rise of The Hold Steady and other 21-century indie bands digging Springsteen's America. Hard Times and Nursery Rhymes is another solid entry in Social D's discography. Full of scratchy guitars and boisterous twang, it's their most country-flavored effort since 1992's Somewhere Between Heaven and Hell. Main man Mike Ness' love for the catharsis of flight never seems to wane: "We can run to the far side of nowhere/ We're gonna run until the days are gone." — Justin Farrar
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Welcome to another edition of Classic Rock Crate Digger, a column wherein Rhapsody nerd Justin Farrar wanders the never-ending maze that is our catalog in search of classic rock's forgotten gems. If you're new 'round these parts, then also check out the Crate Digger's archives.
Heavy metal is, in many ways, a music of tradition — it has by now accumulated more than 40 years of baggage, after all. So artists and fans alike have always been eager to pay homage to giants and dinosaurs who trod the earth in days of yore. In recent years, bands from all geographic and stylistic corners of the metal universe have taken to recording albums consisting entirely or primarily of cover versions, presumably as a way to highlight their inspirations — i.e., artists whose vinyl they wore holes through before becoming stars themselves. It's also an easy way to get new product on the streets, without having to bother writing new songs. So here's a stack of such albums — many with selections that may well surprise you.
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One of the defining albums of the late 1970s, Aja combines jazz fusion sophistication with sadly cynical observations on modern life. "Peg" was the hit single but "Deacon Blues" gave aging disco hustlers and suburban burnouts "a name when they lose." — Nick Dedina
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This 1989 debut would set the stage for an industrial revolution. Drawing from the metallic menace of bands like Skinny Puppy and Ministry, as well as the post-punk paranoia of Joy Division, Trent Reznor created a masterpiece, a well-oiled machine run on keyboards, drum machines, guitars and samples that, somewhat ironically, released a beast of raw emotion. The only things to remind us a human is behind this madness are those feverish howls and those lyrics of existential dread, all fed straight from the self-loathing depths of Reznor's boiling psyche. — Stephanie Benson
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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 Adele talk about her favorite album. Rhapsody subscribers can listen to 19 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. |
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Watch Janelle Monae On the Record |
 Watch Sara Bareilles On the Record |
 Watch Natasha On The Record |
 Watch The Script On the Record |
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Written by Roald Dahl, You Only Live Twice may just be the single greatest Bond film of all time (it's also famous for the scene where a bevy of Japanese agents are mesmerized by Sean Connery's manly chest-mane. Yes, a hot tub is involved). John Barry's work is superlative as always, including the Nancy Sinatra-sung theme song. Barry and other Bond composers would reuse the instrumental motif to this number every time James Bond came across an island oasis or female-strewn beach scene. — Nick Dedina
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The The's Matt Johnson had been tooling around for years, trying to get his career off the ground, when he released Soul Mining in 1983. Highlighted by the near-perfect should've-been-huge single "This Is the Day," this album features the work of an original voice that married the introspective singer-songwriter tradition with crowd-pleasing synth-pop and a dusting of the avant-garde. Over a career, Johnson's nonstop navel-gazing can grow tiring, but there is often a lightness to the music here that balances out his moody lyrics. The all-star guests include Jools Holland, who offers superb piano work on "Uncertain Smile," which joins "Perfect" and "This Is the Day" as the LP's best cuts. — Nick Dedina
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Released in late 1993, 12 Play isn't R. Kelly's best album, or even his most successful one. But it may be his most important work. All of the hallmarks of the eventual and unquestioned king of R&B are here, from the smooth bump-in-the-night bass rhythms to the brazenly hardcore come-ons. Unlike Teddy Riley, who often appropriated hip-hop trends at the expense of soul traditions, Kelly remained faithful to the legacies of the Isley Brothers, Stevie Wonder, and other pioneers. He merged the oft-conflicting worlds of quiet storm balladry and New Jack Swing, innovating a contemporary R&B style that has lasted to the present day (or at least until Timbaland reinvented the genre all over again a few years later).
Dubstep has been crossing over into pop music for a while now, but in all the potential ways the genre could have developed, perhaps the most unexpected line of flight is traced by James Blake, who started out sculpting idiosyncratic, atmospheric tracks in Burial's mold and now delivers a debut album that establishes him as a very different kind of musician. Largely leaving dubstep behind, James Blake finds the producer forging a more personal sound out of scraps of club music, ambient and R&B.
With consumers tightening their financial belts in the wake of the splurge-fest known as the holidays, the first couple months of the year aren't known as a hot time for high-profile rock releases. Those don't arrive until spring, really. That said, 2011 has already produced a few real gems, including Mission Bell, from singer-songwriter Amos Lee, and The Party Ain't Over, Wanda Jackson's wonderful retro-rockabilly collaboration with the officially ex-White Stripe Jack White.
It's fairly apparent that the contemporary dance-pop that currently has its robo-hand (like Beyonce's, get it?) wrapped around the charts in a vice grip is a style that's rooted in, well, roots — or, more specifically, in retro aesthetics. The four-on-the-floor beats of disco, the synth-obsessed sleekness of the '80s, the big beats of '90s club music, even the cyborg fascinations and post-apocalyptic anxieties of old-school sci-fi are all omnipresent in the nostalgia-steeped neo-futuristic world of today's pop.
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"Single" and "These Words" are unabashedly compulsive radio tracks, and when Natasha Bedingfield is upbeat, she's unstoppable. However, Unwritten also features one or two more considered numbers ("I Bruise Easily"), which merely serve to take the sheen off an otherwise toothsome debut pop package. — Jamie Dolling
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The past few years have been better than average in terms of African Americans scoring in country music. First there was Cowboy Troy, the six-foot hick-hop rapper who put out a couple albums after first showing up as a sideshow under Big & Rich's big top in the mid-'00s, and Rissi Palmer, whose 2007 hit "Country Girl" was the first country-charting single by a black woman in two decades. A year later, ex-Blowfisher Darius Rucker put out his first country album, which exploded; he's had four No. 1 country singles so far, making him easily country's most commercially successful black artist since the career of ex-Negro League baseball player Charley Pride started falling off in the early '80s. When you've accounted for Ray Charles — who played in a hillbilly band known as the Florida Playboys before he was a star, and whose 1962 Modern Sounds in Country and Western Music topped Billboard's album chart for 14 weeks — you've probably covered the extent of what most music fans knows about black people in country. But actually, the story goes back further than the genre itself. And all along, country and black American music (blues, jazz, gospel, soul) have never stopped interbreeding.
When Rhapsody learned that Disney was about to release a tribute album of modern jazz gems from their celebrated songbook, we jumped at the chance of having a pre-release listening party. That was before our jazz editor, yours truly, actually heard that album and got really excited. This svelte set is a whole lot of fun.
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Honky Chateau delivered Elton John from singer-songwriter status to pop star, thanks to songs such as "Honky Cat" and "Rocket Man." This is one of Elton's best albums; both he and Bernie Taupin have hit their stride. Casual listeners may opt for any of his Greatest Hits albums, but Honky Chateau should be in every fan's music collection. — Linda Ryan
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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 Thompson Square talk about their favorite album. Rhapsody subscribers can listen to Thompson Square 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. |
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Watch Taylor Swift vs. The Box |
 Watch Jason Aldean On the Record |
 Watch Danny Gokey On The Record |
 Watch Chris Young On the Record |
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If Sharon Jones adapts Stax's grungy soul, and Amy Winehouse makes it palatable for the Sunset Blvd. set, then Raphael Saadiq effectively photo-copies the stately swing of Motown's golden era. The best moments here ("Oh Girl" and "Love that Girl," among others) recall early Temptations, and Raphael obviously feels an affinity to the tight grooves and cooing harmonies of Eddie Hendricks and Co. Yes, this does feel a bit gimmicky, but Saadiq's ability to so accurately mimic a sound thought lost is admirable. — Sam Chennault
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Keren Ann's first solo album is also her best. Arranger/producer/co-writer Benjamin Biolay enhances her deceptively fragile melodies and increases her harmonic range with washes of Beatles-style psych pop and downtempo backgrounds that beam light into the wintry songs. Every track is a low-key wonder, though "Seule" and "Sur le Fil" are standouts. — Nick Dedina
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Between 1966-1976 Neil Young recorded some of the most important songs of his career. This '77 release compiles 35 of those songs, including a few recorded with Buffalo Springfield and Crosby, Stills, Nash and Young. Not only is this perfect for beginners, but also for fans still pining for the release of Young's box set. — Eric Shea
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More a comedy/bromance than an action/mystery flick, Sherlock Holmes sported two stellar lead performances and Zimmer's gloriously eccentric score, which often builds on Holmes' plucked violin. A real talent, Zimmer proves that not all blockbuster scores have to sound alike. This is how the Oscars are supposed to work: just because Holmes wasn't Best Picture material doesn't mean that Zimmer should be ignored for his work in it. Now give Jude Law a Supporting Actor nod and just hand Robert Downey, Jr., a statue for every performance he's ever done. No matter if any movie he's in is good or bad — Downey is always fun to watch. — Nick Dedina
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Simian Mobile Disco mark the definitive break with their indie dance roots on Delicacies. Following on the coiled techno intensity of their Is Fixed mix album, the instrumental Delicacies avoids obvious hooks in favor of dark, rave-inspired synth riffing and hell-bent machine rhythms. The sound itself is exquisite, owing to the duo's analog gear as well as their expert knob-twiddling: For all the evil intent of their tritones, there's plenty of love in these immaculately crafted odes to the dark side of dance music. — Philip Sherbure
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Last year, Ricky Martin ended years of speculation with one rather calm and graceful statement. "I proud to say that I am a fortunate homosexual man. I am very blessed to be who I am," he announced on his website; he had decided to come out while writing his memoirs. This year, he's following up that elegant exit from the closet with said memoir and his first album in five years, this week's Música + Alma + Sexo (Music + Soul + Sex). Beyond the titular summation of his life as an out-and-proud artist, the album showcases a self-assured and (as always) sexy Martin, who shimmies his bonbon through well-balanced dance cuts and dramatic Latin-pop slow jams. In short, he sounds positively liberated to be freeing himself from the closet.
Welcome to another edition of Classic Rock Crate Digger, a column wherein Rhapsody nerd Justin Farrar wanders the never-ending maze that is our catalog in search of classic rock's forgotten gems. If you're new 'round these parts, then also check out the Crate Digger's archives.
Hear the monumental album and the seeds from which it grew with our NIN's Pretty Hate Machine & Its Influences playlist.
Christian music continues to morph and change, but one thing that remains constant is the plentiful supply of faith-infused rock releases, including fresh sounds from promising newcomers. This winter is no different. New music from established artists and newcomers alike has our stereo speakers humming and throbbing. Here are a few of our current favorites.
I Am Empire
The world of rap music can be expansive and reductive at once. We tend to talk about the same handful of artists and albums, swapping out names according to their buzz at the moment. But the fact is that hundreds of rap albums get released during a calendar year. Some deserve to get ignored, but many undeservedly fall through the cracks.
David Banner & 9th Wonder
Gucci Mane
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Inspired by breakups and A.A., this debut feels like a triumphant rebirth, and it is: Frontman Alex Ebert didn't just undergo the above, he was also the singer from Ima Robot, the innocuous (at best) L.A. snide-rockers. But he has transformed himself here. He sings rapturously about a fictional character named Edward Sharpe as an 11-piece band whistles and hoots behind him, including Ebert's sweetheart, Jade Castrinos, who duets with him on the ridiculously catchy "Home." Everything else is fun and carefree -- think Free Design by way of the Polyphonic Spree pretending to be homeless. — Garrett Kamps
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All eyes are on Egypt as the citizens of that country have risen up to demand a regime change and a government that will justly meet the needs of the people. As the world watches with bated breath to see what will become of the days of protests, we're also learning a great deal about the rich and complicated cultural history of that country. That history includes a diverse musical culture, the influence of which extends across the Middle East, Africa and Europe. Ranging from classical Arabic traditions to Bedouin and Sa'idi folk music, from Nubian oud master Hamza El Din to quintessential pop diva Oum Kalthoum, Egyptian music is as vibrant, fascinating and prolific as the Egyptian people and their courageous decision to take their country's future into their own hands. 
Heavy metal, descended as it was from the deep and dark despair of mid-'60s garage-verging-on-psych bands like The Yardbirds, initially sounded doomy more often than not. Since Black Sabbath only had a couple of fast songs, and since so many of the genre's great early '70s bands (Uriah Heep, Sir Lord Baltimore, etc.) were more or less variations on the Sabbath template, there wasn't much need to distinguish "doom metal" in the old days. But as tempos picked up and thrashed out (say, Led Zeppelin and Deep Purple to Ted Nugent and Aerosmith to Van Halen and Motörhead to Metallica and Slayer), slowness went out of style; by the '80s, doom-ridden bands like Saint Vitus, Trouble, and Pentagram were unfashionable anomalies and needed a genre designation of their own. Hence, doom metal, which has since subdivided on its own into substyles as varied as stoner rock (meat-eating bands who worship green herbs and wish they were born in the '70s so they could get played in Camaros) and dark metal (bands from the coldest corners of Europe who get depressed a lot and dream of being Joy Division or the Swans), not to mention countless other shades of sludge, drone and ambient dirge. Herewith, a rundown of some representative and recommended albums from all corners of the frown-soaked doom universe.
Agalloch
Since the late 1960s, Dolly Parton has been charming people with her sweet Tennessee voice — not to mention her bubbly personality and straight talk. The '70s saw her stand on her own, allowing us the opportunity to get to know her a little bit better. By the time the '80s rolled around, Parton was a music phenomenon, crossing over into charts with such regularity, she made it look downright easy. The '90s saw her retrace her country roots, where she has comfortably spent the first ten years of the new millennium.
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Amos Lee has only grown stronger with each release, quietly and successfully selling his entire catalog year-after-year and earning new fans through his stirring concert appearances. Here, Lee keeps his soul-folk style intact while branching out into the kind of expansive bluesy rock music that Dave Matthews and Ray LaMontagne do so well. Completely sincere, Lee shows off his talents through pointed "good people in peril" lyrics and knowing exactly when to let the full power of his majestic voice loose. — Nick Dedina
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