June 2011 Archives

banner_HTC_white.jpg 20110628-radar-com-truise.jpg Welcome to another edition of Rhap Radar, our month-long survey of 24 up-and-coming artists that excite us. For a peek at what you've missed so far, here's a playlist of our first dozen honorees. And now we move on to a new batch, featuring a slow-burning blog-rap upstart, an Afro-Latin innovator (and politician!), Radiohead-esque indie rockers, a nostalgia-drenched electro-funker, and two women named Natalia (one a Latin-pop diva, the other a will.i.am-abetted pop star in training). Read on and listen in below.

Com Truise: The Synthesizer-Wielding Retro-Futurist

banner_HTC_white.jpg 20110628-radar-natalia-jimenez.jpg Welcome back to Rhapsody Radar, our month-long survey of 24 up-and-coming artists we're excited about. Today, we've got an exclusive chat with giggling Latin-pop diva Natalia Jiménez. For your listening pleasure, please also see our Natalia Jiménez's Ever-Expanding World playlist. Enjoy.

She got famous as the singer for Madrid-born, Latin-beloved band La Quinta Estacion, but it became clear over the course of our interview that Natalia Jiménez was destined to become a diva sola to be reckoned with. And we mean that in the best possible way. On the phone from her current home base of Miami (where she recorded her self-titled solo debut with Emilio Estefan — yes, Gloria's hubby), she is fierce, funny and fab.u.lous. She's also bubbly, sweet and earnest, with an easy, contagious giggle and a penchant for saying whatever happens to be on her mind at the moment. In short, she was pretty fantastic to talk to about just about anything, but especially about her experience working with Ricky Martin (she appeared on his new hit, "Lo Mejor De Mi Vida Eres Tú"), her musical "therapy" sessions after cancelling her wedding (on the day of!), and that big, powerful voice.

Missy Elliott, This Is Not a Test

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Album of the Day Arguably the most consistent and creative female artist in hip-hop, Elliott returns with album five, filled to the brim with futuristic production and old-school vibes. This Is Not A Test! keeps the party rocking from start to finish, with cameos from Jay-Z, Nelly, Mary J. Blige, Fabolous, Beenie Man and R. Kelly. —Brolin Winning

Hear It Now!


The Wonderful World of CeeLo

20110628-CEE-LO-main-560x225.jpg CeeLo Green is a renaissance man for our young, bewildering century. He's got hit songs in multiple guises (Goodie Mob, Gnarls Barkley and most recently as a solo artist); a plum spot on much-praised new singing-competition reality show The Voice; and now his very own Fuse program, Talking to Strangers, wherein he's free to, say, challenge Lupe Fiasco to a staring contest. To celebrate his increasing good fortune, we proudly present a quick, celebratory peek into the hip-hop soul man's universe: a playlist of his greatest hits, a celebration of songs titled "Fuck You" or the immediate equivalent, an exclusive Talking to Strangers clip, and a special playlist provided by the man himself (Train!). Tune in and go crazy.


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CeeLo builds us a personal playlist, starring Keri Hilson, Lupe Fiasco, Train (!) and more
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Some feisty clips from CeeLo's new Fuse show, Talking to Strangers
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The Best of CeeLo: From Goodie Mob to Gnarls Barkley, a tour through his greatest hits
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The "Fuck You" playlist: CeeLo isn't the first artist to title his song with the ultimate kiss-off
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Electronic Roundup, June 2011

20110628-electro-essentials-560x225.jpg This week brings us one of the year's most anticipated albums: London's masked producer SBTRKT has finally arrived with his debut full-length. Featuring a diverse and wildly talented bunch of singers (including Little Dragon's Yukimi Nagano), it's a stunning realignment of pop along bass music's principles — or perhaps vice versa. Recent Ghostly signing Com Truise and the Oneohtrix Point Never-related Ford & Lopatin, meanwhile, prove that there's still plenty of future left in '80s electro pop, while Sarcastic Disco hero DJ Harvey brings us bleary-eyed Balearica with his Locussolus project, and Berlin's Trickski puts a slow-motion spin on house music.

Keep reading to check out all those and more, including new releases from Depeche Mode, Vladislav Delay, John Digweed, Robert Hood and the Hot Creations/Hot Waves family. Also be sure to check out our Hot New Electronic Releases - June 2011 playlist.

SBTRKT
SBTRKT
After a few years of EPs and remixes for the likes of M.I.A. and Basement Jaxx, London's SBTRKT finally drops his debut LP, and it's enough to blow a sideways hole in bass music. Drawing from dubstep, garage and U.K. funky, his beats snap with club-tested precision, but it's the fullness, the songfulness of his productions that really carries you away. Rotating singers Jessie Ware, Little Dragon's Yukimi Nagano and the velvety Sampha inhabit the music with ease, practically luxuriating in the music's glistening architectures; they also temper the harder edges with a weary grace. This isn't dubstep, per se, but it's unthinkable without the context dubstep gave it — in that sense, it's probably dubstep's finest incursion into pop music yet, and all without losing any of the vitality or dynamism of the underground.

cheat_sheet_top_header_560x62.jpg 20110628-fusion-560x225.jpg Ever since fusion devolved into flaccid pop-jazz in the 1980s, the genre has been treated with suspicion by more than a few jazz snobs. In fact, fusion didn't get a fair shake right out of the gate. When Miles Davis went electric and started performing before rock audiences, critics couldn't stop condemning the man. "SELLOUT!" they proclaimed ad nauseam, even though the music he made was wildly challenging and ambitious.

Between 1969 and 1976, fusion's first and second waves produced some of the most powerful and forward-looking music of the post-hippie rock landscape. This is the era I'll spotlight here. Now, it's important to point out that fusion took on many forms throughout the 1970s. In addition to rock, jazz mingled with funk, Latin music and even avant-garde classical. We'll touch on all these incarnations. That said, the decade also produced something called "jazz-rock," a phrase critics and fans often used when talking about Blood, Sweat & Tears; Chicago; The Electric Flag; and similar ilk. These artists don't figure here; however, definitely check out my Cheat Sheet on Classic East Coast Horn Rock, if you dig classic rock with brass and horns. And while I'm touching on related topics, do explore my Krautrock Cheat Sheet: much like progressive rock, the German movement had quite a lot in common stylistically with fusion.

Last, but certainly not least: don't forget to crank my Glory Days of Fusion playlist.


Hip-Hop Roundup

20110628-hip-hop-RU-560x225.jpg "Delayed gratification" is the theme of June's rap slate. Big Sean's Finally Famous has arrived long after the Detroit rapper signed to G.O.O.D. Music in 2007. Bad Meets Evil's Hell: The Sequel is a "follow-up" to an abandoned album once planned for the end of the '90s, back when Eminem was issuing his major-label debut, The Slim Shady LP. Indie-rap titans Sean Price, Guilty Simpson and Black Milk have finally brought us Random Axe after announcing the project in 2009. Blue Scholars just released Cinemetropolis, their first album in four years; Trae's King of the Streets 3 is his first full-length since 2008. Are they worth the wait?

Check out highlights from this month's Rap Roundup in the June 2011 Rap Albums Sampler playlist.


Songs Named "Fuck You"

20110628-CEE-LO-fuck-you-560x225.jpg CeeLo's "F*ck You" was an instant viral sensation upon release in the summer of 2010, triggering an avalanche of critical plaudits and exuberant cover versions (yes, we see you, Gwyneth). But it was hardly the first track to employ what you might call The Ultimate Song Title. No, a steady stream of rappers, tart-mouthed pop princesses, grunge grousers and (especially!) surly punk bands had already made their own contributions to the "F*ck You" canon. Here, an obviously and severely NSFW primer—look out for Methods of Mayhem's "Proposition F*ck You," starring none other than Tommy Lee in rap-rock mode, espousing a political philosophy we can all get behind. Crank it up, or play it very quietly and discreetly.

Click here to listen to Songs Named "Fuck You"


De La Soul, Stakes Is High

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Album of the Day After almost four years, Posdnuos and company emerge from the ether like the long-lost friends they are. Their wordplay assured in its subtle smarts, their delivery unassuming in its quick, unmacho mumble, their cultural awareness never smug about its balance, they bind up an identifiable feeling in an identifiable sound, and just about every one of the 17 tracks comes equipped with a solid beat and a likable hook or chorus. It's a relief to have them back. But it's never a revelation. (Grade: B+) —Robert Christgau

Hear It Now!


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Welcome to Rhapsody Radar, our month-long series highlighting 24 artists we're particularly thrilled about, from soul iconoclasts to fledgling Latin-pop superstars, from swag-rap viral sensations to hip dance-punkers. We'll be highlighting six new names a week, with tons of videos, playlists and additional ephemera to boot. Today, we've got an exclusive interview with ascendant rapper Big Sean, relaxing in his tour bus and recounting how he convinced Kanye West to sign him after accosting 'Ye at a radio station, turning 16 bars into one of the year's most anticipated debut albums. For further illumination, listen to our mix_play_18x14.gifBig Sean and the Leaders of the New Rap School playlist. Enjoy.

Big Sean
Finally Famous
Big Sean's major-label debut follows three volumes of Finally Famous mixtapes and his first radio hit, "My Last" (thanks to an assist from Chris Brown). His victory lap builds momentum with lyrical exercises ("So Much More" and "High"), and help from executive producer No I.D. and mentor Kanye West (who appears on "Marvin & Chardonnay"). Sean's best track, a rewrite of the popular mixtape cut "Memories" (for "Memories (Part II)"), gives voice to a winningly sensitive personality sometimes lost amid such slick pop-rap environs.

- Mosi Reeves
banner_HTC_white.jpg 20110628-radar-playlist.jpg We're a little more than halfway through Rhapsody Radar, our month-long tribute to a couple dozen up-and-coming artists we're particularly thrilled about, from L.A. to Mali, Alabama to the Honduras. Here's a quick playlist highlighting the best of our first 12 honorees: look out for Foster the People's "Pumped Up Kicks" and Kreayshawn's "Gucci Gucci" especially. Enjoy.

Click here to listen to: mix_play_18x14.gifRhapsody Radar 2011 Playlist I

20110628-beyonce-main-560x225.jpg One of music's biggest stars has gifted us with one of this summer's biggest albums: yeah, you might say Beyoncé's 4 is a pretty big deal. We politely suggest you listen to it immediately, perhaps while sifting through our Beyoncé-related fanfare. First, Rhapsody Pop Editor Rachel Devitt takes an in-depth look at 4,offers up a greatest-hits playlist reaching all the way back to Destiny's Child, and celebrates pop's girl-power proclivities, from Salt-N-Pepa to The Spice Girls. Speaking of Destiny's Child, Rhapsody Hip-Hop Editor Mosi Reeves takes a closer look at turn-of-the-century R&B girl groups from DC to TLC to SWV, and breaks downs the DNA of Dangerously in Love, B's much-beloved 2003 solo debut. Time to fall crazy in love all over again.

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Does 4 stand among B's best? We take an in-depth look.
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The Best of Beyoncé: a career-spanning playlist celebrating her biggest hits
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R&B Girl Groups: Destiny's Child, TLC, SWV and other sultry sirens
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Source Material: Dangerously in Love: The key components of her killer 2003 debut
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Girl-Power Pop: Beyoncé, Salt-N-Pepa, and other girls who run the world
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Senior Year: 2002 Cheerleaders: "Crazy in Love" and other floor-routine staples
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20110628-beyonce-dangerously-in-love-560x225.jpg When we think of Beyoncé 's Dangerously in Love, we remember the hits. "Crazy In Love," with its brassy horn licks (courtesy of The Chi-Lites' "Are You My Woman [Tell Me So]") and funky go-go rhythms, is one of the best singles of the past decade. "Naughty Girl" oozed an aggressive sexuality that seemed more visceral than the pre-packaged showgirl struts of her previous group, Destiny's Child. And "Baby Boy" was right in tune with the dancehall revival and synonymous club anthems like Lumidee's "Never Leave You (Uh Ooh, Uh Ooh)" and Elephant Man's "Pon De River, Pon De Bank."

But Dangerously was split between those celebrated numbers and nearly a dozen torch songs. It's not an easy transition. The singles arrived early and ended quickly, and Beyoncé spent the rest of the hour on melodramatic love tunes like "Yes," "Speechless" and "Signs," the latter coyly referencing her love affair with Jay-Z: "I was in love with a Sagittarius/ He blew my mind." Some of the ballads, particularly "Me, Myself and I," aren't bad, and they gave her a chance to demonstrate her incredible, octave-scaling voice. But the uptempo songs were so incredible that they left us wanting more.

20110628-beyonce-destinys-child-560x225.jpg Sisters With Voices. Total. Destiny's Child. You didn't need a lyric sheet to get the point with the legion of R&B girl groups who dominated urban pop music in the 1990s. It was plain to hear, from the coquettishly sexual lyrics to their sassy, irreverent tones and lovely multipart harmonies. Sadly, music critics tended to give them cursory attention, instead devoting their time to untangling rap music that often required a degree in regional slang to understand. And following the breakup of Destiny's Child and the quick dissolution of Danity Kane, the R&B girl-group phenomenon seems like it's over. Perhaps there can only be one diva in today's gladiatorial Fame Matrix, leaving little room for sisterhood.

Cheat Sheet: Girl Power

cheat_sheet_top_header_560x62.jpg 20110628-beyonce-girl-power-560x225.jpg "Run the World (Girls)" may mark the first time Beyoncé has ever assembled an actual army of ladies to stage a pop-culture gender coup, but she's always claimed a powerful position for girls with her music. Bey's been on a girl-power trip for a long time, from Destiny's Child's strong sister anthems (see "Bills, Bills, Bills" and "Independent Women Pt. 1") to the tables-turning "Suga Mama," from the "A Milli" answer song "Diva" to the Fosse-fied kiss-off "Single Ladies." As fiercely original as they are, however, those female-focused cuts are also steeped in a long history of girl-power pop: mainstream-friendly tunes that make you wiggle your booty and maybe think critically about what it means to do so.

Extended Review: Beyonce, 4

20110628-beyonce-ext-review-560x225.jpg After three solo albums and a full tour of duty in Destiny's Child, Beyoncé Knowles has earned the right to experiment. And that's just what her new record, 4, is: a bold, risky test of the parameters of pop stardom in 2011. Eschewing current dance trends (and really, club-ready tracks in general), she spends most of the album growling through gut-punching slow and mid-tempo jams steeped in solid-gold '70s soul, '80s R&B and rock, and even some New Jack Swing. To put it another way, if everyone else has gone robo-disco retro, Beyoncé's excavating a different throwback reserve, albeit one from an overlapping period: synthy horns, chunky keys and a whole lot of Prince-ly high drama. And while not all of it is somber, rain-against-my-window waxing about heartbreak, most of the tracks here — and even several of the up-tempo cuts — are pretty introspective. Or at least, that's what they're supposed to be.

Danger Mouse, Rome

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Album of the Day The word "prolific" doesn't do Danger Mouse justice. For Rome, the Grammy-winning producer gathered a cast of superstars to capture the mystique of the spaghetti Western: It's a natural progression, as hints of the dusty and desolate sound have popped up in his previous work with Beck, Sparklehorse & David Lynch, and Broken Bells. With help from composer Daniele Luppi, Rome features musicians who played on the original Ennio Morricone scores (how's that for authenticity?), and grants blockbuster starring roles to Jack White (the suave rebel) and Norah Jones (the soulful seductress). —Stephanie Benson

Hear It Now!




To celebrate the premiere of Talking to Strangers, the new freewheeling Fuse talk show hosted by none other than CeeLo Green, our friends at Fuse have hooked us up with this exclusive backstage clip, proving both CeeLo's backstage gregariousness and Keri Hilson's prodigious juggling ability. Tune in to Fuse tonight for more, and while you're here, feel free to browse our collection of CeeLo-centric content, from a sampling of his greatest hits to a playlist of songs named "F*ck You."
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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 Kreayshawn give it up for her favorite album of all time, Dr. Octagon's Dr. Octagonecologyst.

Play Gucci Gucci

Kreayshawn
Gucci Gucci

Dr. Octagon
Dr. Octagon-
ecologyst

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Album of the Day The Nashville neo-traditionalist with the soap opera name is back for another winning collection of classic country rave-ups and ballads. Rockers such as "Cotton Pickin' Time" and the Jimmy Buffett-style "Some Beach" offer up honest fun while the looser anthem "I Drink" shows Shelton's way with a narrative. —Nick Dedina

Hear It Now!


Isaac Hayes, Black Moses

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Album of the Day Black Moses marked the end of Isaac Hayes' classic early '70s run. His fifth and final Top 10 album depicted the soul icon's arms outstretched, bringing luscious soul to the people. Though the music was appropriately epic, with swelling orchestral strings adorning all 14 songs, Hayes was in a contemplative mood, having reportedly made this while his marriage was dissolving. His introspection led to breathtaking sounds, from the swirling arrangements of "Going in Circles" to the cinematic guitar licks of "Part-Time Love." Black Moses is a masterwork. —Mosi Reeves

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Snoop Doggy Dogg, Doggystyle

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Album of the Day After stealing the show on The Chronic, Snoop Dogg became a major superstar on the strength of this classic 1993 debut. Produced entirely by Dr. Dre, Doggystyle is one of the dopest, most influential, and just plain funkiest hip-hop albums ever made. Packed with hits, it includes "Gin and Juice," "Who Am I" and "Ain't No Fun." —Brolin Winning

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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 "Weird Al" Yankovic on one of his favorite albums, Credibility Gap's A Great Gift Idea.


"Weird Al" Yankovic
Alpocalypse

Credibility Gap
A Great
Gift Idea



On the Record is a video series where rock stars gush about their favorite records -- in exactly 45 seconds. Click above to watch Justin Moore talk about his favorite album, Hank William Jr.'s Whiskey Bent and Hell Bound .


Justin Moore
Outlaws
Like Me

Hank Williams, Jr.
Whiskey Bent
& Hellbound

Electric Wizard, Black Masses

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Album of the Day Droning distantly from the bottomless bowl of some moss-green substance, these veteran Brit stoners open thick, blurry, and muddy, then keep digging down into deeper concentric sub-basements of depressive molasses riff. By the second song, they're taking a title ("Venus in Furs") from the Velvet Underground and distorted vocals from the early Butthole Surfers as they honor dominatrix boots and the Zodiac. Countless bad-trip chants and occasional church bells later, "Crypt of Drugula" explodes space-metal into a black hole. Only one track is less than six minutes -- and that one only barely. —Chuck Eddy

Hear It Now!


senior_year-banner-560x60.jpg 20110621-4-H-club.jpg If you grew up in the Midwest, you know what the 4-H Club stands for. I mean, what it really stands for — not just the "head, heart, hands and health" motto that makes up the four H's. The idea is simple: teach young people and their families the skills they need to be proactive forces in their communities, and develop ideas for a more innovative economy. The program revolutionized the way science was taught outside the classroom; in 100+ years of active service, more than 60 million youth have used the program, from elementary school kids to high school seniors.

With its emphasis on agriculture, livestock and community, the 4-H is a natural fit for rural youth growing up in small towns and on farms. Naturally, these kids prefer country music, a style with lyrics reflecting both the charm and the claustrophobia of small-town living. If any song understood the need to pick up and run away, it was Sara Evans' "Suds in the Bucket." If any song reflected the joys of simple small-town living, it was Darryl Worley's "Awful Beautiful Life." And certainly, no one tapped into the heartbreak of sending former 4-H participants off to war better than John Michael Montgomery's poignant heartbreaker "Letters from Home."

All of these songs hit the country charts in 2004. If you were a senior in high school and 4-H member back then, chances are this playlist was the soundtrack to your life some seven years ago.

Click here to listen to the entire playlist: Senior Year 2004: Sounds From the 4-H Club


Senior Year, 1995: Party Girl

senior_year-banner-560x60.jpg 20110621-party-girls.jpg The 1995 film Party Girl stars Parker Posey as Mary, a club-hopping, party-throwing firestarter with plenty of street smarts, but not enough common sense.

A downtown New Yorker through and through, she lives the nightlife to the hilt; when she discovers a love for library sciences, she throws herself into the subject with the same gusto, going so far as to re-organize her roommate's records according to the Dewey Decimal System. Her system is so inspired, it bears reproducing in detail:

banner_HTC_white.jpg 20110621-miguel_560x225.jpg Welcome back to Rhapsody Radar, our month-long survey of 24 new artists we're thrilled about. Recently we had the pleasure of talking one-on-one with one such honoree: up-and-coming soul singer Miguel, who is apparently not only incredibly talented, but also smart, articulate and oh so charming. (Good thing he's so damn cute, or we might have to hate him a little!) He gave us the lowdown on his rebellious plans to shake up the music industry with his sexy, sexy songs, not to mention his secret fandom of Justin Timberlake and what it's like to work with Usher. For a better idea of what this guy's all about, check out our Miguel and His Influences playlist.




Watch Redfoo and Sky Blue of LMFAO share some stories about living in Los Angeles and the making of the new album Sorry For Party Rocking.

Like any good sequel, Sorry For Party Rocking is every bit as fun as its predecessor. Like 2009's (you guessed the title) Party Rock, it's full of throbbing dance beats, that "oonce-oonce" sound, tons of club synths and rapped lyrics about all the good things in life: parties, being sexy and champagne showers. Even if the idea is to get laughs (check out "Take It to the Hole," with Busta Rhymes), the bottom line is LMFAO really just wants you shaking your booty.

- Mike McGuirk

Tedeschi Trucks Band, Revelator

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Album of the Day Blues-rock lovebirds Derek Trucks and Susan Tedeschi have flirted with a large-ensemble sound in the past, but with Revelator, they attempt to make it a full-time occupation. This is one of them big, sprawling albums, one that incorporates numerous facets of deep Southern music. Though both principals know how to really cook, especially in the live setting, they keep the proceedings introspective and muted for the most part; keeping that in mind, Revelator feels like a first meeting, an opportunity for these musicians to establish a foundation upon which they'll build future temples. —Justin Farrar

Hear It Now!


20110621-SM-angelique-kidjo.jpg By 1998, Angelique Kidjo was already a much-heralded Afropop success story, with a sonic reputation for bridging cultures, continents and aesthetic categories, reflecting her own multicultural roots and routes. In other words, she made Afropop with both international and African appeal. But with her fifth album, Oremi, she took her gift for hybridization to the next level.

Armed with a plan to record a trilogy that explored the African roots of music in the Americas, Kidjo headed to New York, where she recorded with jazz artists (Cassandra Wilson, Branford Marsalis) as well as R&B/gospel singer Kelly Price, all while boldly re-imagining Jimi Hendrix's "Voodoo Child (Slight Return)." The resulting album is a graceful effort that subtly, smoothly laces together African and American music in innovative ways. An Afropop aesthetic dominates the sweet, sunny "Babalao" (a plea for the world's youth), with American soul providing nuance and adornment; for the church-choir-meets-girl-group slow-dance number "Loloye," she uses delicate African aesthetic gestures as a point of entry into American pop styles. The title track, meanwhile, offers a chicly cosmopolitan sound that more fluidly blends together hip-hop, soul, lounge music and African musical traditions.

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Welcome to Rhapsody Radar, our month-long series highlighting 24 artists we're particularly thrilled about, from soul iconoclasts to fledgling Latin-pop superstars, from roots-rock titans to hip dance-punkers. We'll be highlighting six new names a week, with tons of videos, playlists and additional ephemera to boot. Today, we've got an exclusive interview with Oakland-to-L.A. swag-rap sensation Kreayshawn, whose YouTube-enabled hipster-fashion anthem "Gucci Gucci" is one of 2011's biggest (and weirdest) hits. Here, she talks about her critics/haters, what she'd do if Gucci offered her free clothes, and the weirdness of Bay Area rap; to get a better idea of that weirdness, check out our Bay Area Hip-Hop: 101 Bangers playlist.

KreayshawnPlay Gucci Gucci

Bay Area rapper/filmmaker Kreayshawn’s aesthetic is as compelling as it is bizarre: she's like an escapee from the Mickey Mouse Club raised by hip-hop kids on the streets of Oakland. As evinced by her ridiculously addictive YouTube hit “Gucci Gucci,” she makes music that can be as goofy as Salt-n-Pepa's and as graphic as Tyler, the Creator's. If she can develop a sound with appeal outside the insular swag-rap community — which Columbia Records, who recently signed her, is betting she can — then we may be witnessing the birth of one of the most puzzling, controversial pop stars since Lady Gaga.

- Garrett Kamps
20110621-pitbull.jpg Pitbull's anticipated new album, Planet Pit,hits stores this week. Its first two singles, "Hey Baby (Drop It to the Floor)" and "Give Me Everything," have dominated pop-radio playlists for months, with the latter charting at No. 1 in several countries.

The Miami rapper is yet another example of how the worlds of dance-pop and hip-hop are intersecting. Pitbull has dabbled in both genres for years, as have Flo Rida, Lil Jon, Kid Cudi, Gorilla Zoe and many others. But while rappers increasingly rhyme (and sing) over progressive house and trance-inspired beats, more critics and fans are complaining that it's all just bad pop music made by cynical record labels for an undiscerning audience.

20110621-metal-RU-56.jpg Metal, as always, is detonating in several directions at once. But one encouraging trend seems to be a return to a certain songfulness — as if, after two decades-plus of metal mainly aiming to be "extreme" at the expense of musicality, the most forward-looking headbangers are suddenly beginning to realize that incomprehensibly thrown-up vocals (for instance) became a cliché eons ago, and having memorable songs doesn't automatically make you less heavy.

Which means, paradoxically, that the most forward-looking bands also frequently tend to be the ones looking backward — to the power-thrash mid-'80s, the NWOBHM early '80s, the biker-boogie '70s, and even the acid-rock late '60s, back before metal was called metal. Not exactly a brand-new development in all cases, but it seems to be picking up steam. It doesn't apply to all 15 of the notable 2011 albums tallied below, but it might apply to most. None of them are for everybody, but all of them are for somebody.

banner_HTC_white.jpg smod_560x225.jpg Welcome to Rhapsody Radar, our series highlighting 24 up-and-coming artists we're thrilled about, augmented with all manner of playlists, videos and other such ephemera. Today we've got an exclusive interview with Sam Doumbia of Malian rap trio SMOD. Enjoy.

Even over email and through a French-to-English translator, Sam Doumbia of SMOD has a lot to say, and a compelling way of making people want to listen. It's a rather useful skill for a hip-hop artist to have. It's also not all that surprising, his being so outspoken and charismatic—after all, he's the son of Mali's Amadou and Mariam, the blind couple who've worked magic on Afro-pop. But he and his band are in the process of carving out their own legacy, one that's steeped in the power of hip-hop to simultaneously critique and celebrate, but laced throughout with new innovations in African musical traditions. In the process, they're changing the African hip-hop game, and bringing it to the attention of people around the world.

Here, Doumbia talks with Rhapsody about working with Manu Chao (who produced their new, self-titled album), the complicated influence of West Africa's griot tradition on contemporary hip-hop, and musical life in his hometown of Bamako, Mali.

Rhapsody: Tell us the story of how you came to make music together.

Sam Doumbia: We all met in high school in Bamako and started jamming in the classroom when the teacher was away. The jam session got deeper when we hit Faladié, a popular neighborhood where you could meet MC's just around any corner. The SMOD crew basically got stronger and stronger by battling with Faladié MC's every night.

Queen, Sheer Heart Attack

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Album of the Day "Killer Queen" was the band's first U.S. hit and remains one of their biggest songs, well summing up the Queen credo: impossibly catchy songwriting and an impeccable recording, with Freddie Mercury's flawless vocals on top and Brian May's celestially harmonized guitars adding punctuation. Sheer Heart Attack marks the emergence of Mercury's thousand-angel-chorus (check "Stone Cold Crazy") and, with the jaw-dropping opener "Brighton Rock" and Roger Taylor's taut Bowie-metal contribution, "Tenement Funster," Queen's third album is required listening for any rock fan. —Mike McGuirk

Hear It Now!




You Tweeted your questions. We put them in a box. "Weird Al" Yankovic answered them. Watch the undisputed king of the rock song parody answer your questions about alternate career paths, facial hair and dealing with discouraging criticism.

The de facto king of the song parody's 13th album -- his first since 2006 -- Alpocalypse features the characteristically sniper-accurate re-animations and eviscerations of popular acts shot through with alternately absurd and smartly sarcastic lyrics. "CNR," a de(con)struction of The White Stripes, is almost too perfect; meanwhile, a Doors parody about Craigslist is both hilarious and oddly insightful, and maybe even a little creepy. Yankovic's accordion finally shows up on the brilliant mash-up of damn near everything, "Polka Face."

- Mike McGuirk

Cheat Sheet: Southern Gospel

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I'm a God-fearing, church-going girl who knows her Christian music, but because I grew up in California, one area has remained a mystery — until sister-brother-sister act The Martins sat down with me in Nashville to graciously explain the ins and outs of Southern gospel music. It's a good thing, too, because this is a genre where outsiders most definitely need a tour guide.

Southern gospel can trace its roots back to barbershop quartets, borrowing from those groups' tight harmonies and upbeat approach. Many of the performers come from poor and/or rural areas in the South — The Martins grew up in Hamburg, Ark., living without electricity and running water for several years — but unlike their musical counterparts who sing the blues, this group doesn't focus on their troubles or what they don't have. Southern gospel is all about putting on your Sunday best and singing about the joy of being saved. Listen closely and you'll hear traces of old spirituals and classic hymns. You'll also hear the kind of stellar harmonies that can come only from people who share a gene pool. In fact, many Southern gospel singers hail from large families, and the groups are often made up of siblings, parents and spouses.

Many of those who feel at home around this music were raised in it. They spent their childhood vacations traveling to the annual National Quartet Convention (the initiated just call it N.Q.C.), which draws upward of 40,000 fans a night. Here, anybody who is anybody (as well as those who hope to be) sets up a booth and meets and greets the fans. There are performances and other events, too, lending it the feel of a huge — if a bit more commercial — church picnic. This kind of unparalleled access to its star performers is something that sets Southern gospel apart. In fact, it's practically mandatory: an artist who doesn't take time to visit with fans before or after every show will lose their following fast.

Cheat Sheet: Hipster Dance Club

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We're not attempting to define the elusive hipster here, but we're guessing this dance party may just be rocking a consignment shop's worth of skinny jeans, neon headbands, Ray-Bans, Converse and off-the-shoulder T's … but we don't judge. From New York (LCD Soundsystem) to L.A. (Foster the People) to Paris (Daft Punk), London (Hot Chip) and Melbourne (Cut Copy), hipsters are ruling the dancefloor, and probably having more fun than you are (but without ever actually showing it). Here, we compile some key soundtracks to optimize your hipness. So bust a move, get ironic and keep the PBR flowing (can we fit any more stereotypes in here?), because it's a hipster dance party!

For eight straight hours of too-cool-for-school booty-shaking, go straight to our Hipster Dance Club playlist.


LCD Soundsystem
Sound of Silver
LCD's James Murphy may win the award for the '00s' biggest hipster, but this album proves, most improbably, that he's a hipster with a heart of gold. Irony and disaffection course through these mostly dance songs' frayed, bulbous and lumpy productions — yet there's undeniable warmth here, and the beats are constructed with mucho TLC. It's all anchored by "All My Friends," a natural high as fluent in Steve Reich's cerebral looping technique as it is the language of a sweaty Brooklyn dancefloor. — Garrett Kamps

Rock Roundup, June 2011

20110621-rock-RU-56.jpg The latest installment of my Rock Roundup column is dominated by legends and icons. Who can argue when Neil Young drops A Treasure, a rootsy live set from the mid-1980s that's heavy on Nashville flavor? And who can resist when Macca releases expanded editions of McCartney and McCartney II? The latter is a stone-cold masterpiece: homemade synth-pop that morphs from quirky to bizarre. There's this one bonus track called "Check My Machine" that sounds like proto-hypnagogic pop! (James Ferraro, you listening?) Also, don't sleep on The Hollies box set that gets an "honorable mentions" shout-out: those dudes were pop badasses. I never tire of "King Midas in Reverse," which Steven Soderbergh used to splendid effect in The Limey.

As for new jams, all across Rhapsody, I've been singing the praises of the Tedeshi Trucks Band's Revelator album. It's fab for sure. But you also have to check out the North Mississippi Allstars' Keys to the Kingdom. Yes, it came out in February, but I missed it back then — I'm basically an NBA referee making up for a non-call earlier in the game. Seriously, spend some time with the thing. It's my rock album of the year so far. Last but not least, Eddie Vedder far exceeded expectations with Ukulele Songs, a low-key joy perfect for rainy Saturday afternoons.

Be sure to crank my Roundup: Rock, June 2011 playlist. It's packed with over 40 tracks.


banner_HTC_white.jpg 20110621-RADAR-kreayshawn.png Welcome to week two of Rhapsody Radar, our series highlighting 24 up-and-coming artists we're thrilled about, augmented with all manner of playlists, videos and other such ephemera. This week we've got a blog-rap sensation, a couple of idiosyncratic soul/R&B rookies, a small-town country belter and more. Take a look, and then take a listen.

Kreayshawn: The Improbable YouTube Rap Sensation

Picture it in skywriting above the Golden Gate Bridge: "Nobody gettin' over me/ I got the swag and it's pumping out my ovaries." Whether that's one giant leap for feminism or just a rallying cry for swag rap's female generation probably doesn't matter much to Bay Area native Kreayshawn. She raps about being an Adderall dealer; it's doubtful she cares what you think. Born Natassia Zolot, the 21-year-old rapper/filmmaker has enjoyed a meteoric career trajectory over the last year, dropping an Internet-acclaimed mixtape, earning accolades from the likes of Snoop Dogg, garnering many millions of YouTube views for her (ridiculously addictive) "Gucci Gucci," and, perhaps most important of all, establishing herself as down with hip-hop's most notorious crew, Odd Future.

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hedwig_and_the_angry_inch.jpg If you're already a fan, chances are the novelty of Hedwig -- a transsexual rock star from East Germany who ended up with an "angry inch" and a mean string of broken hearts after a botched sex-change operation -- has worn off. (If you've yet to see it, my God! Get thee to a Netflix queue, posthaste!) But even if, like us, you've seen the movie more times than you've seen your mother, the soundtrack still stands the test of time: rock-star cynicism meets high camp, glam metaphors and gut-twisting pathos to the tune of tremendous, blistering rock. A true classic. —Rachel Devitt

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 Sky Blue and Redfoo of LMFAO give it up for their favorite album of all time, Michael Jackson's Thriller.


LMFAO
Sorry for Party Rocking

Michael Jackson
Thriller

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Album of the Day Before Imperial Bedroom, Nick Lowe was Elvis Costello's producer of choice. For this 1982 masterwork, Costello turned to Beatles producer/engineer Geoff Emerick for an album that reaches for the grandeur of Lennon/McCArtney and to sophisticated songwriters such as Bacharach, Porter and Gershwyn. That's a tall artistic mountain to climb but Costello actually succeeds by always sounding like himself instead of just a pastiche of influences. Best song? Take your pick -- "Man Out of Time," "Kid About It," "Beyond Belief," "Town Cryer" or "Almost Blue" which has gone on to become a modern jazz standard. Costello would lose some of his intense focus after this, often releasing sets with many incredible songs on them instead of complete, knockout albums. — Nick Dedina

Hear It Now!


Horace Silver, Song for My Father

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Album of the Day One of the greatest and most popular hard bop sets of the 1960s, this classic may just be Horace Silver's defining platter. The slinky title track deservedly became a jukebox hit (its piano line was later lifted for Steely Dan's "Rikki Don't Lose That Number"), while the aching "Lonely Woman" is one of Silver's best ballads. By the way, that's really Silver's pop on the album cover. — Nick Dedina

Hear It Now!


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Album of the Day Neil's music, going all the way back to the iconic Harvest, had always contained a pungent whiff of country music. But in the mid-1980s he made the conscious effort to morph into a Nashville crooner. In addition to dropping Old Ways, an album featuring both Waylon and Willie, he assembled the International Harvesters, a backing band of Southern session legends, including pianist Spooner Oldham, and toured the nation. A Treasure collects some of the best recordings from these jaunts, and it is a must-hear for any serious fan of Neil Young or the intersection of country and rock 'n' roll. — Justin Farrar

Hear It Now!


Bandmating: LMFAO (video)



Welcome to Bandmating, Rhapsody's new show where we put bandmates in the hot seat to test how well they know each other. In this episode we have Redfoo and Sky Blue of LMFAO.

And don't forget to check out their new album, Sorry for Party Rocking, right now on Rhapsody!

Like any good sequel, Sorry For Party Rocking is every bit as fun as its predecessor. Like 2009's (you guessed the title) Party Rock, it's full of throbbing dance beats, that "oonce-oonce" sound, tons of club synths and rapped lyrics about all the good things in life: parties, being sexy and champagne showers. Even if the idea is to get laughs (check out "Take It to the Hole," with Busta Rhymes), the bottom line is LMFAO really just wants you shaking your booty.

- Mike McGuirk

Prince, Prince

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Album of the Day One look at the cover and you can see how cool Prince was in 1979. If the original version of his first masterpiece, "I Feel For You," doesn't make your special someone want to, uh, get a back rub, then the bizarre, perverted "When We're Dancing Close and Slow" will do the trick. The rest is nothing less than Grade-A funk, highlighted by "I Wanna Be Your Lover." — Mike McGuirk

Hear It Now!


Seether vs. the Box (Video)



You Tweeted your questions. We put them in a box. Seether answered them. Watch John, Shaun and Dale give a lesson in African slang, execute some fantastic Bill Cosby impersonations, and reveal which one of them said "yes" when a fan proposed marriage.

Howler Shaun Morgan, after all these years, is still angry. If his seething lyrics are any indication, selfish women and fake friends wrong him on an hourly basis. Holding Onto Strings Better Left To Fray, in contrast, is far less intense musically than previous albums. Seether has traded much of their high-decibel riffage for sweeping melodies and acoustic-tinged introspection. On "Here and Now" the group sounds like a cross between Weezer and The Verve Pipe. The record's peak comes with the twangy rager "Country Song." Is Seether prepping fans for a jump into modern Southern rock?

- Justin Farrar
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Welcome to Rhapsody Radar, our month-long series highlighting 24 artists we're particularly thrilled about, from blog-rap princesses to fledgling Latin-pop superstars, from roots-rock titans to hip dance-punkers. We'll be highlighting six new names a week, with tons of videos, playlists and additional ephemera to boot. Today, we've got an exclusive interview with L.A. dance-pop titans Foster the People, whose Pumped Up Kicks is one of 2011's biggest breakout singles. Enjoy.

For more listening enjoyment, check out our Hipster Dance Club playlist.

Just in time for summer, L.A. trio Foster the People deliver their debut, a neon-lit electro-pop record that works every catchy element in the hip-kid's handbook. Torches starts off in the Daft Punk pyramid before reverb infiltrates and a flaccid falsetto snakes in. Breakout single "Pumped Up Kicks" should perk Peter Bjorn and John's ears up, its dark lyrics ("You better run, better run, faster than my bullet") disguised with a jolly whistle and a smooth dance groove. Elsewhere, hints of MGMT's kitschy pop and Passion Pit's relentless synth-bounce will have the kids flocking.

- Stephanie Benson

LL Cool J, Mama Said Knock You Out

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ll_cool_j_mama.jpg The fourth album from the Queens rap veteran, Mama became his best-selling record ever. Produced by beat maestro Marley Marl (Biz, Kool G Rap, Masta Ace, etc.), it reestablished LL to a skeptical audience that was beginning to doubt his longevity and relevance. Includes the blistering title track, as well as "Boomin' System" and "Around The Way Girl." — Brolin Winning

Hear It Now!


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Welcome to Rhapsody Radar, our month-long series highlighting 24 up-and-coming artists we're particularly thrilled about, from blog-rap princesses to country sirens, from guitar-rock titans to hip dance-punkers. We'll be highlighting six new names a week, with tons of videos, playlists and additional ephemera to boot. Today we've got an exclusive video chat with Latin-pop polymath Ximena Sariñana, one of this week's honorees. As part of our On the Record series—wherein an artist talks about his or her all-time favorite record for 45 seconds exactly—she'll be discussing John Lennon's Plastic Ono Band. Enjoy.


Ximena Sariñana:
Mediocre

John Lennon
Plastic Ono Band

20110614-motorhead-SM-560x225.jpg Back in their early days, Motörhead sure seemed like an anomaly in the heavy metal world. Thrash, aka speed metal, hadn't been born yet, and metal had been bloating itself into irrelevance since at least the mid-'70s. In fact, if we're talking about loud rock music that actually managed to exhibit over-the-top energy, punk (and eventually, to some extent, its descendants hardcore and oi!) had dang near supplanted metal — which probably explains why Motörhead reportedly tended to fare better with live crowds when they shared bills with, say, The Damned or The Adverts than when they opened for an increasingly decrepit Ozzy Osbourne.

In retrospect, some other metal had begun to speed up and strip down (somewhat) at the time — at least, by the early '80s, certain grassroots small-label British bands recording on poverty budgets. But those groups were even harder to hear about, certainly in the States, than Motörhead. And it might not matter anyway, since Lemmy Kilmister has long insisted that Motörhead were never even a metal band in the first place — and he may well have had a point. As far as he was concerned (and not unlike his Aussie fellow travelers in AC/DC), he was just in a rock 'n' roll band. He barked through gravel and leather and grime about motorbikes, gambling, amphetamines, customs offices and outrunning the law, not about Vikings, goddesses, wizards and ancient mariners.

Pop Roundup, June 2011

20110614-pop-RU-560x225.jpg Been living under a rock lately? Or perhaps just listening to too much rock? Catch up on the latest and greatest in new pop fare with our June Pop Roundup. Complete with nutshell reviews and don't-miss tracks, we break down the Top 10 releases of the last few months, from New Boyz to NKOTBSB, from newcomer Tinie Tempah to a certain Lady you may have heard a thing or two about.

1. Lady Gaga, Born This Way
In a Nutshell: Lady Gaga's second album steps ever so slightly away from the dance pop she helped dominate the charts with — or, rather, she widens her gait to include a broader musical range. Euro-industrial club beats meet metal meets anthemic classic rock (complete with cameos by E Street Band sax man Clarence Clemons) meets '80s mall pop — and all of it filtered through religious metaphors (from organ swells to "Judas"). It's a postmodern pastiche of pop references woven together by Gaga's earnest ethos of individualism and freak-flag-flying. — Rachel Devitt
Don't Miss: The Weimariffically weird "Scheibe." Odd duck girl power anthem "Hair."

senior_year-banner-560x60.jpg 20110614-SY-2004-anglophiles-560x225.jpg Earnest high school Anglophiles prefer to keep a low profile, ya know, because they're just a little cooler than you are, and also usually just a bit down and out. (It is always cold and rainy in their world.) But in reality, they're quite an easy lot to spot. They'll likely be decked out in a pair of skinny jeans, Doc Martens and a Joy Division T-shirt (recently bought online, but thoroughly tattered for authenticity's sake). They probably have the current issue of NME peeking out of their backpack at just the right angle. They're likely finding a way to slip in a reference to 24 Hour Party People at all social gatherings. And they're almost always blasting the latest British imports from their Mini Cooper's stereo.

For such lads and lasses who roamed the halls in the mid-'00s, there was plenty of great music to chat over tea about. Post-punk revivalists, Britpoppers and dance-punks dominated the airwaves, including some stars who weren't even from the U.K.; bands from New York City to Vegas crossed the pond in their own musical, metaphorical ways.

Click here to listen to Senior Year, 2004-5: The Earnest Anglophiles.


banner_HTC_white.jpg 20110614-radar-nicholas-jaar-560x225.jpg By now we've got a pretty good handle on the biggest stars of 2011: Adele! Gaga! Rebecca Black! But what about the next wave — the up-and-coming artists we're particularly excited about, those we expect will be clogging up RSS feeds and year-end critics' lists and possibly magazine covers sooner rather than later?

With that in mind, welcome to Rhapsody Radar, our month-long series highlighting 24 artists we're especially thrilled about, from blog-rap princesses to fledgling Latin-pop superstars, from roots-rock titans to hip dance-punkers. We'll be highlighting six new names a week, with tons of videos, playlists and additional ephemera to boot. Here's our initial batch, with all songs linked to their Rhapsody pages for instant discovery. Get acquainted, and have fun.

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Welcome to Rhapsody Radar, our month-long series highlighting 24 artists we’re particularly thrilled about, from blog-rap princesses to fledgling Latin-pop superstars, from roots-rock titans to hip dance-punkers. We’ll be highlighting six new names a week, with tons of videos, playlists and additional ephemera to boot. Today, we’ve got an exclusive interview with Mississippi rapper/producer Big K.R.I.T., a Dirty South revivalist with an affinity for everyone from OutKast to Adele. Enjoy.

Click here to listen to our Big K.R.I.T. Sampler playlist.

If you follow rap blogs, then you've probably already downloaded Big K.R.I.T.'s acclaimed mixtapes, 2010's K.R.I.T. Wuz Here and 2011's Return Of 4eva. The Mississippi rapper specializes in Dirty South revivalism, paying frequent tribute to '90s heroes like UGK and OutKast with bluesy reality rap. This EP includes five gems from those mixtapes, including a remix of his "Country Sh*t" single and "The Vent," wherein he proves he can mine deeper emotions than the thrills of Southern-flavored capitalism. If you don't know K.R.I.T., R4: The Prequel is a good way to get familiar.

- Mosi Reeves

Thao & Mirah, Thao & Mirah

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Album of the Day The power of one woman with a mic and a guitar is a force to be reckoned with. Now double that. Thao Nguyen (of The Get Down Stay Down) and singer-songwriter Mirah do just that on their debut, adding tUnE-yArDs' Merrill Garbus as producer for a trifecta of Bay Area female fierceness. The quirkier spots point to Garbus, like the clickety-clackety punch of opener "Eleven"; her eccentric touches balance beautifully with Thao's subtle grit and Mirah's softer inclinations. Whether they try on waltzing folk, sun-kissed acoustic, loopy pop or big-band jazz, it all fits like a glove. — Stephanie Benson

Hear It Now!


Summer Spectacular Survival Guide

20110614-sum-spectacular-main-560x225-v2.jpg Summer is here, and we all know what that means: beaches, barbecues, road trips, soaring temperatures, plummeting inhibitions, and generally lots and lots of what our good friends LMFAO refer to as "party rocking." We've put together the ultimate Summer Spectacular to guide you through it: learn what your favorite summer jam says about you and thrill to our epic, decades-spanning summer jam playlist, from "Heat Wave" to "Umbrella." Take a bluegrass-steeped road trip through the Blue Ridge Parkway. Explore our 10 favorite sticky Southern rock albums. Behold the literally (well, sort of literally) hottest heavy metal album covers of all time. Transport yourself with our surf-and-seagulls beach-centric playlist. Discover our favorite records of 2011 (so far). And most importantly, enjoy our exclusive leak of LMFAO's new album, Sorry for Party Rocking. Then go party rock yourself.

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Watch LMFAO answer your questions about shufflin' through the hard times and baby unicorns in LMFAO vs. The Box
Play!
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The Best of 2011 (So Far): Killer records from Adele, Antlers, Raphael Saadiq, Blind Boys of Alabama and more
Play!
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Hotter than Hell: From Slayer to Deicide, kneel before the hottest heavy-metal album covers of all time
Play!
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What Your Summer Jam Says About You: Take our eerily accurate personality test
Play!
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Ultimate Summer Jams: From "Heatwave" to "Umbrella," a decades-spanning playlist of the hottest hits
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Road Trip: Journey through the heart of Appalachia with Del McCoury, Bill Monroe, Carolina Chocolate Drops and more
Play!
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Hot Southern Nights: 10 killer Southern-rock albums for a sticky, humid summer
Play!
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Sounds of the Surf: The finest in beach-sound FX, brought to you by PJ Harvey, Otis Redding, M83 and more
Play!



The Best of 2011 (So Far)

summer-best-of-2011-so-far-560x225.jpg One aspect of summer that never fails to surprise is that the year is now nearly half over: we are closer to 2011's year-end critics-poll season than we are to 2010's. You've started drafting your own Top 10 list already, right? No? You haven't? Don't panic: here, Rhapsody's genre editors each pick their five favorite records of the year so far. How many will survive until November? Which ones will be replaced by Lil Wayne, by Beyoncé, by the soundtrack to Spider-Man: Turn Off the Dark? Time will tell, but for now, here are our picks for the year's best, half a year early.

Ultimate Summer Jam Playlist

summer-jam-playlist-560x225.jpg Summer, summer, summertime. It's that time of year again: barbecues, bikinis, lazy days at the beach and, of course, summer jams — those songs that just somehow define the best season of them all. We've assembled a massive collection here: more than seven hours of summer-themed classics, from "Heat Wave" to "Hot in Herre" to smash hits of more recent vintage, plus our predictions for some of the jams that'll be blaring out of every car window this year. Basically, it's the perfect soundtrack for all your summer adventures. So put together a pool party or a road trip, throw this sucker on, and sit back and unwind.

Click here to listen to the entire playlist: Ultimate Summer Jam Playlist.


summer-what-your-summer-jam-says-560x225.jpg Summer jams. Everyone's got one. That song that evokes instant images of sun and fun, that makes you smell the barbecue and taste the daiquiri, that just sings summer to you. But what does your summer jam of choice say about you and, more importantly, your summer personality? We've developed this handy-dandy little guide to psychoanalyzing your summer anthem —or at least finding the perfect drink to pair with it.

Your Summer Jam: "Summertime" by DJ Jazzy Jeff and the Fresh Prince
You're a classicist. None of these new-fangled, frenetic dance-floor anthems the kids get all sweaty for these days. You prefer your summers lazy, hazy and chill … and your summer jams slow, smooth and swaggering.
Your Summer Activities: Barbecuing. Riding down the street in a lawn chair on the bed of a truck. Sitting back and unwinding.
Your Summer Drink: Henny and coke. Spiked Kool-aid.
Your Summer Destination: Philly, or anywhere your family and your crew is.
Your Summer Outfit: Anything really, as long as it involves bright colors and a ball cap shoved rakishly to the side.
Your Summer-Romance M.O. You'll dance with whoever, but when the sun goes down, you're in bed with wifey.

summer-southern-rock-560x225.jpg I'm attempting to nail two themes with this, my latest cheat sheet. The first is a celebration of summer, of hanging on front porches while cranking killer rock 'n' roll. I know this concept has been slayed to death through the years, but only because it's a durable one. Rock music is capable of speaking to the deepest depths of the soul, as well as the most abstruse pockets of the brain. But oftentimes its most potent powers manifest themselves when in service of nothing more than good times and hanging out. The perfect chair, a rickety porch and sunlight filtered in just the right way can fuse with your favorite jams to elevate summer-month leisure time into something sublime and unique, something that infuses life with real meaning. Example: to this very day, I'll never forget the first time I heard The Flying Burrito Brothers' debut album, The Gilded Palace of Sin: the ice-cold beer bottle sweating into my palm, the blistering heat, the tattered recliner that should've been junked years ago and those incredible harmonies ... wow. What a wonderfully memorable slice of time.

As for my second theme, it's considerably more straightforward. Below you''ll find 10 (or so) albums that feature some of the latest and best sounds in modern Southern rock, blues rock, country rock, etc. Because genre classification has splintered into a million tiny shards over the decades, most of the artists I feature aren't often tagged rock: more like Americana, alt country or modern blues. Yet every one of them explore the same sounds and styles that were first established by The Band, The Allman Brothers Band, Gram Parsons, Tony Joe White, the mighty Lynyrd Skynyrd and other rootsy pioneers in the first half of the 1970s. So yeah, this stuff is rock 'n' roll.

LMFAO vs. the Box



You tweeted your questions. We put them in a box. Watch as Redfoo and Sky Blue of LMFAO answer your questions about shufflin' through the hard times, shoplifting from Save-on and baby unicorns.

And don't forget to check out the Leak of their new album, Sorry for Party Rocking, right now on Rhapsody!

Like any good sequel, Sorry For Party Rocking is every bit as fun as its predecessor. Like 2009's (you guessed the title) Party Rock, it's full of throbbing dance beats, that "oonce-oonce" sound, tons of club synths and rapped lyrics about all the good things in life: parties, being sexy and champagne showers. Even if the idea is to get laughs (check out "Take It to the Hole," with Busta Rhymes), the bottom line is LMFAO really just wants you shaking your booty.

- Mike McGuirk


On the Record is a video series where rock stars gush about their favorite records -- in exactly 45 seconds. Click above to watch Ledisi talk about her favorite album of all time, Stevie Wonder's Songs in the Key of Life.


Ledisi:
Pieces Of Me

Stevie Wonder
Songs in the Key of Life

Spoon, Transference

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Album of the Day Spoon had a pretty incredible '00s (seriously, four great albums). So for their first release in a new decade, and also their first self-produced effort, Transference is just what the title promises—a transferring of all that the band has learned and defined into a sound that is as familiar as it is fresh. Slight piano bumps, soft hi-hat hits, lo-fi guitar, the occasional echo, and the rare fuzz effect ebb and flow with the same patience and ease as Britt Daniel's coos. This is Spoon as you know and love them: minimalist, smart, catchy, always playing it cool. — Stephanie Benson

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 Seether express their love for Vanilla Ice's masterpiece To the Extreme.


Seether :
Holding Onto Strings Better Left to Fray

Vanilla Ice
To the Extreme

summer-surf-and-seagulls-560x225.jpg Nothing says "summer" quite like the murmur of the tide and the shrieks of seagulls wheeling in the setting sun.

In fact, there's a long tradition of pop songs infused with those very sounds, from the rolling waves of Otis Redding's "Sittin' on the Dock of the Bay" to the electronic birdsong that opens 808 State's ambient-techno classic, "Pacific." Lately, the trope seems to be enjoying a renaissance, as chillwave artists build nostalgic sand castles studded with '80s relics, and house-music revivalists evoke the Edenic splendors of Balearic disco's heyday.

We've gathered a sampling of some of our favorite examples into a 90-minute playlist spanning Metronomy, Quiet Village, Natalie Cole, Kool & The Gang, Procol Harum, M83, The Shangri-Las, The Temptations, Talk Talk, PJ Harvey and more. (We cheat a little bit—Don Henley's "The Boys of Summer" may not have actual seagulls in it, but between the squealing guitars and memories of the song's iconic video, it's impossible not to hear at least an echo of the shore in it.) Check out the full playlist here, and see if you don't feel the sand between your toes.


Sly & the Family Stone, Fresh

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Album of the Day Coming two years after the uncompromising brilliance of There's a Riot Goin' On and during a time when Sly was blowing everybody off to do drugs, Fresh may seem a little light, since the messages of the coming American apocalypse are absent. A closer listen reveals a deeply personal statement about his somewhat doomed attempts to rise above inner strife. — Mike McGuirk

Hear It Now!


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Album of the Day The debut album from Harlem's illest emcee. Big L goes all out on every track, dazzling heads with high-flying lyricism that is simultaneously brutal, hilarious and just plain awesome. Banging beats from Lord Finesse and Diamond D seal the deal. A slept-on classic, this record is truly outstanding. — Brolin Winning

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Ozzy Osbourne, Diary of a Madman

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Album of the Day Ozzy's second solo album (and last to feature Randy Rhoades), Diary of a Madman further cemented the singer's metal-icon status. "Flying High Again," "You Can't Kill Rock and Roll," "Over the Mountain"—these are among Ozzy's best and most recognized post-Sabbath songs. Along with Blizzard of Ozz, he and his band were essentially pointing the way for metal in 1981. This "Legacy Edition" restores the original bass and drum tracks (they were re-recorded for a 2002 re-issue) and includes an entire disc of live material from the Blizzard of Ozz tour. — Mike McGuirk

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Austra, Feel It Break

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Album of the Day Katie Stelmanis' voice is both anchor and horizon of Austra, her trio with drummer Maya Postepski and bassist Dorian Wolf. Multi-tracked up and down the stave, it holds down the band's New Wave arrangements and arcs off into dreamy harmonic tangents. Like Fever Ray and The Knife, Austra tread a path between cyber-worlds and meatspace, pairing supersaturated, superhuman vocals with gleaming electronics; you can bet they're fans of Depeche Mode's Violator. Fortunately, they're more than mere stylists, giving songs like "Hate Crime" a magnetic quality that keeps pulling you back. — Philip Sherburne

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20110607-singers-go-solo-560x225.jpg If they were really honest, most bandmembers would probably admit they’ve dreamed about being their group's frontman (or frontwoman) - and that frontman (or frontwoman) would cop to imagining what it would be like to go solo. No more collaborating, no more sharing the spotlight: they would be free to be the artist they were meant to be!

Well, maybe not, but the desire for singular stardom continues. Christian music is home to dozens of artists who have nursed the dream. Here are a few of our favorites.

The latest is Superchick’s Tricia Brock, who just released the worship project The Road to share her story of the hope, refuge and strength she found in God in the midst of her own spiritual desert. Superchick fans can breathe easy, though, because Brock has made it clear she has no intention of quitting her day job with the band that gave us hooky pop-rock tracks like “Barlow Girls.”

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Album of the Day It's an unlikely pairing, this collaboration between Gil Scott-Heron (an icon of '70s black radicalism) and Jamie xx (a white, British, twentysomething dance-music producer). Reworking Scott-Heron's 2010 album I'm New Here, Jamie xx builds new tracks around texts and songs by the elder statesman of spoken word. Stylistically, it ranges from hip-hop to the low-end lurch of dubstep and U.K. bass music; Scott-Heron's gravelly voice proves the perfect foil for his remixer's broken beats and air of elegant decay. — Philip Sherburne

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Indie Roundup, June 2011

20110607-indie-RU-560x225.jpg It's time for another look into the past month of new indie releases. We've got the vets (Death Cab, My Morning Jacket, Thurston Moore, Arctic Monkeys), along with some buzz-y newcomers (Cults, Givers, Foster the People) and exclusive live sets from indie mainstays Deerhunter and Kurt Vile. For more info on each release, read on and play away.

For a convenient two-track sample of each album, check out our accompanying playlist: Indie Roundup, June 2011.

Cults
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Couple/duo Brian Oblivion and Madeline Follin started Cults as a way to test out the playful experiments conducted in their NYU digs. Single "Go Outside," a soul-pop confection laced with glockenspiel, brought on blog buzz; roughly a year later came this, their full-length debut. Cults is shamelessly retro, fluttering between the reverb flush of The Raveonettes and the bittersweet effervescence of '60s girl groups. Follin's coos are alternately pining and distant, as the rhythms rock flirtatiously and the guitars jangle in a reverb haze that occasionally dips its toes in the Cali surf. — Stephanie Benson


senior_year-banner-560x60.jpg20110607-new-jack-house-party-560x225.jpg Do a little dance y'all! (Like this y'all, like that y'all!) Feel the groove! (I feel it, I feel it now!) Make a little love now! (Ooh, aah, ooh ooh, aah!) This party's at the funhouse, we're rocking high-top fades, Cross Colours tees and high-top Jordans, and the sound is the New Jack Swing.

It's been here since 1987, ever since Teddy Riley dropped a bomb on us with Keith Sweat's "I Want Her" and Kool Moe Dee's "How Ya Like Me Now." And it ain't going nowhere; as Guy's second album title put it, it's The Future. So what if G-funk and boom-bap lie just around the corner, and dudes were about to keep it too real and hardcore to have fun anymore, and soul music was about to get so horny it would make Digital Underground's "Freaks of the Industry" seem as G-rated as Disney's Beauty and the Beast? For now, U can't touch this, even if you rocked a pair of MC Hammer's yellow parachute pants.

And don't even get us started on New Edition. They're straight running things in 1990, whether it's Johnny Gill, Ralph Tresvant or Bell Biv Devoe, who had us on lock with "Poison." And don't forget Bobby Brown ... Cool used to do her, too. Yeah, buddy, you better heed EPMD's warning and watch out for those fly honeys: they might be a "Gold Digger," or may leave you thinking "I Thought It Was Me?!!" like B.B.D. But hey, every guy wants an "Around the Way Girl" like Uncle L, while the ladies just want to "Hold On" to their love like En Vogue. We're conscious enough to keep it Afrocentric, work out the battles between the sexes and build a true Rhythm Nation.

So swing your black medallions and get busy to the sounds of Janet Jackson and Father MC, and an era when R&B and hip-hop still seemed innocent and carefree.

Click here to listen to the entire playlist: Senior Year, 1990: New Jack House Party.


senior_year-banner-560x60.jpg 20110607-zoot-suit-560x225.jpg A bunch of punk kids form their own adult-scaring, mainstream-baiting subculture with a unique style, slang and sound. Sound familiar? That's the recipe for basically every pop music style ever, but the particular concoction we're talking about here resulted in the Latin-laden R&B and swing genre known as pachuco boogie, which came to life in the '40s and '50s.

It started when disenfranchised Chicano youth in the Southwest and California created an alternative subculture that combined Mexican, Afro-Caribbean and African American elements. Known as pachucos and pachucas, these hipsters had their own dress code (zoot suits were preferred), their own slang (known as caló), and very defined musical tastes: big-band swing mixed with a blues-based style that blended jazz, boogie woogie, early R&B, rock 'n' roll and rumba rhythms. Their Spanish and caló lyrics addressed the scene, its penchant for dancing and partying, and the joint alienation from and appreciation for American (popular) culture these kids felt. And people absolutely loved it: Don Tosti's genre-defining (and -naming!) 1948 hit "Pachuco Boogie" was the first Latin song to sell a million copies! Take a listen to original hipsters like Tosti, Lalo Guerrero and more with our Senior Year 1950: Bailar with the Zoot-Suited "Hooligans" of Pachuco Boogie playlist.
senior_year-banner-560x60.jpg 20110607-cheerleaders-560x225.jpg Ready? OK! Picture it: it's 2002-ish. You're a senior and totally, like, the hottest girl in school. Oh, and you're a cheerleader. Duh! Life is pretty sweet: you get to wear super-short skirts to school, you're dating the point guard, and Bring It On (and the sequel!) just came out, so everyone is, like, totally into cheerleaders right now. (As if they weren't already!) And? Bonus! The pop music of the day is totally awesome for killer floor routines: big, dance-pop beats (perfect for pom ripples!), and sexy (but not too sexy) lyrics performed by hot boys and girls who look like (or at least as good as) cheerleaders. (Britney! Beyonce! JT!) And don't forget the remixes! Imagine each massive pop hit like it was sandwiched into one of those Starburst-filled, basket-toss-friendly, completely obnoxious mega-mixes. Bring. It. On! Whether you were a cheerleader or just dreamed about being (or dating) one — or even if you, like, totally loathed the pom-pom zombies — you're gonna want to practice your spread-eagle for this one. S-E-N-I-O-R-S! Seniors! Seniors! Are the Best!


Click here to listen to the entire playlist: Senior Year 2002: Cheerleader Floor Routine Soundtracks.


20110607-asian-pacific-560x225.jpg May was Asian-Pacific American Heritage Month, a celebration of the history and contemporary contributions of Asian communities and cultures to this country. That celebration includes the roles Asian-Pacific artists have played in American popular music—contributions that have all too often been overlooked, underappreciated or restricted. The history of American pop music has often been a predominantly black-and-white (and sometimes Latino) one; Asian artists struggle to get noticed and acquire record deals in a demographics-based industry that doesn't seem to know how to market them. But even those artists who do make it often get written out of the history books: see, for instance, the Asian-American big bands who toured the country during the swing era, or even the more recent contributions of West Coast Filipino DJ culture to hip-hop.

Things are slowly starting to change, however, with the rise to prominence of artists of Asian heritage like Black Eyed Peas' apl.de.ap, Bruno Mars and, especially, Far*East Movement, pop's highest-charting all-Asian group ever. (For a breakdown of recent singles by Asian and Asian-American artists, see last fall's single-phile column, Far East Rising. In honor of Asian-Pacific American Heritage Month, and in tribute to their year-round contributions to to pop music, we present this playlist of some of our favorite pop stars.

Click here to listen: Asian-Pacific Americans in Pop Music


Trace Adkins, Cowboy's Back in Town

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Album of the Day 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. — Chuck Eddy

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Slayer, Reign in Blood (1986)
The wicked ibex of the netherworld is carried through his kingdom by his priestly minions as flames tickle his hooves and damned bodies decorate the walls, way down there a mile below earth with all those newly discovered Halicephalous Mephisto nematodes the journal Nature has been raving about lately. Slayer had already lowered metal cover art to the next sizzling sub-basement with 1985's Hell Awaits in '85, but Reign in Blood was a record-breaking heatwave that's yet to be equaled. Still, what with global warming and all, who the hell knows what's in store?

Temp: 3400ºC / 6140ºF. Metal melted: Tungsten.

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Therion, Symphony Masses: Ho Drakon Ho Megas (1993)
I don't know Swedish, but judging from this record's scorching cover art, "drakon" probably means "fire-breathing dragon," "megas" means he's really really huge, and "hos" are "zombies playing violin while Stockholm bakes." This weekend's ski trip has been hereby cancelled!

Temp: 3025ºC / 5477ºF. Metal melted: Osmium.

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Deicide, To Hell With God (2003)
Lots and lots of skeletons (at least 15, but it's kind of hard to count given that there also seem to be heads on sticks, which look aggravatingly similar) surrounding some fellow on top of a mountain with hands outstretched to the sun. And not only is the entire landscape a towering inferno, so is the band's logo!

Temp: 1770ºC / 3220ºF. Metal melted: Platinum.

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Death, The Sound of Perseverance (1998)
Simple but effective image: a giant pointy cave o' fire, ready to swallow you up like it's a brick oven and you're a pizza. When you come from Florida, heat is just a fact of life.

Temp: 1670ºC / 3040ºF. Metal melted: Titanium.

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Heaven & Hell, The Devil You Know (2009)
In which ancient metal geezers (Ronnie James Dio again, Tony Iommi, Vinny Appice and Geezer Butler himself) beat almost all those church-burning young bucks at their own game — well, at least on the cover, which depicts a lamprey-lipped Lucifer speaking with three forked tongues and sporting a pair of barbed and thorny horns and a serpent-wrapped scepter. That the crucifix behind him is withstanding the flames may be a miracle, of sorts.

Temp: 1536ºC / 2797ºF. Metal melted: Iron.

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Behemoth, Zos Kia Cultus (2003)
Interesting thing about this trio of blackened-death-metal Poles: all their other album covers (they have several) seem to be gray, black or midnight blue, as their dusky subject matter may well require. But this one is red red red all the way — with a large demonic goat-man sitting on his throne, basking in the helter-skelter swelter. He's got two saber-toothed fangs worthy of a carnivorous walrus, four much-tattooed arms and a couple spear-like weapon thingamajigs. Don't want to rush to judgment, but I'll take a wild guess that he's up to no good.

Temp: 1510ºC / 2750ºF. Metal melted: Stainless steel.

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W.A.S.P., Babylon (2009)
A colleague recommended these flunk-like-a-beasters' 1984 debut for this competition, but though that one sure does feature some unhealthy dungeon torture, W.A.S.P. didn't actually release their hottest-looking album 'til a quarter-century later. Maybe their best album, too, but what matters here is those four horsemen of the apocalypse riding their trusty steeds over the smoldering coals of the underworld. Of course, if they were really brave, they'd walk.

Temp: 1453ºC / 2647ºF. Metal melted: Nickel.

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Morbid Angel, Blessed Are the Sick (2003)
Sneaky one, this: looks like just a river of goop. Glowing tangerine-colored goop, but still. Yet reportedly, it's actually a reproduction of Satan's Treasures, an 1895 Belgian symbolist painting by Jean Delville wherein, in Wikipedia's words, "the artist depicts Satan with a wild, fiery head of hair and huge red tentacles instead of wings. Scarlet waves surround his left arm, as he presides over a river of unconscious men and women." Honestly, it still just looks like a river of goop to me, but I guess I'll take their word for it.

Temp: 1063ºC / 1945ºF. Melted melted: Gold.

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Holy Grail, Crisis in Utopia (2010)
Know that Black Sabbath line about "Satan laughing, spreads his wings"? Cool, what about that Meat Loaf line about "a bat out of hell"? Well, this album cover cleverly combines both images, except the Satan-bat is more like a pterodactyl, and there's sticky stuff dripping off his wings onto a skeleton in an orange-ashen, bonfire-ravished graveyard with a city skyline in the background. But the city, oddly, does not appear to be in flame, with rock 'n' roll or otherwise.

Temp: 961ºC / 1760ºF. Melted melted: Silver.

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cheat_sheet_top_header_560x62.jpg 20110607-voacl-electro-560x225.jpg Electronic pop is the most vocal that it's been in years. Between acts like Planningtorock, Austra and Glasser, we're riding a wave of strong new voices wrapped artfully in idiosyncratic sonics and synth-pop productions. Artists like James Blake and Gang Gang Dance, meanwhile, are using vocals as waveforms to be manipulated, tracing the human/machine interface with wires wrapped around vocal cords.

Some of it foregrounds its singers' impressively supple, versatile voices, emphasizing artifice and quirk, with kinship to not just Kate Bush and Cocteau Twins' Elizabeth Fraser but also Meredith Monk and Joan LaBarbara. Some of it relies upon heavy-duty digital processing — vocoders, reverb, AutoTune — to make strange and oblique something we normally consider essential and transparently expressive.

And some of it is really just synth-pop with some really good singers. I'm keeping things deliberately vague: I don't want to get hemmed into the usual distinctions of genre or underground-versus-mainstream. What's interesting is how prominent vocals are becoming in electronic music, across the boards.


Death Angel, Relentless Retribution (2010)
Have to hand it to these veteran Filipino American Bay Area thrashers: where other metal bands have long settled for just one devil goat, here there's a whole pile of 'em, stacked up like kindling on a campfire, with blazes billowing skyward. Not as frightening as it looks at first, but yo dude, who cares: awesome barbecue weather!

Temp: 930ºC / 1710ºF. Metal melted: Brass.

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Dio, Lock Up the Wolves (1990)
Confusing title, since usually when metal bands tell you to lock up somebody, it's your wives and daughters; are the wolves actually in danger here? What, does Dio have Sarah Palin and Rick Perry (coyote, same difference) in his band? Anyway, on the cover, two wolves are pulling a dogsled of sorts, driven through the fire-not-snow by a caribou-like creature with several hundred tree branches for legs. Okay, that's confusing, too, but scalding nonetheless, and it's about time reindeers got their revenge.

Temp: 640ºC / 1180ºF. Metal melted: Plutonium.

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Cradle of Filth, Nymphetamine (2004)
Just in case whoracles aren't sexist enough for you, here's Cradle of Filth to the rescue. Presumably that's Ms. Nymph herself there amid all the flaming combustion — which, curiously, doesn't seem to faze her much. Not sure about the "amphetamine" part: maybe she's just burning up really really fast?

Temp: 419.5ºC / 787ºF. Metal melted: zinc.

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In Flames, Whoracle (1997)
This one definitely gets ridiculous-album-title points. Also, said "whoracle" has several octopus-style appendages: always a plus. But the fire is merely raging behind her — so far, it has avoided the abandoned-looking medieval-architectural structure in which she's wailing. So she's not quite "in flames." Yet.

Temp: 327.5ºC / 621ºF. Metal melted: Lead.

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Celtic Frost, Into the Pandemonium (2003)
Ominous painting of an arsoned Dark Ages village at night, with somebody climbing ladders on one of the old buildings. Penalized, though, due to the fact that the ladder-climber might be a fireman, and because the art for their previous record, the aforementioned To Mega Therion, while less hot, looked a whole lot scarier.

Temp: 321ºC / 610ºF. Metal melted: Cadmium.

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Hellmouth, Gravestone Skylines (2010)
A vulture feasts on cadavers amid roasted-red ravishes of war as patrolling soldiers in nuclear suits charge through: not chilly by any means, but despite the band's bad-breath-reminiscent name, too earth-bound to seem truly hellish.

Temp: 232ºC / 449.4ºF. Metal melted: Tin.

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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 Big K.R.I.T. talk about his favorite album of all time, Willie Hutch's The Mack.


Big K.R.I.T. :
R4 The Prequel

Willie Hutch
The Mack


Lamb of God, As the Palaces Burn (2003)
Perhaps a castle is indeed cooking somewhere in this picture — they managed the proper vermillion tint, at least — but if so, it looks more like just a big hunk of meat. A delicious rack of lamb, perhaps! But a medium-rare one, at best.

Temperature: 97.83ºC/208ºF. Metal melted: Sodium.

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20110607-hotter-than-hell-560x225.jpg Heavy metal may well be the Viking soundtrack to an endless tundra of ice and snow and darkness, but the genre's also obviously always been obsessed with interminable conflagration amid Dante's nine steamin'-hot circles of Hell. Seriously: if you want a really excellent suntan all year 'round, metal's where to go. Google "kneecap burning sensation," as this writer did recently, and the No. 3 possible cause (right behind "patellar bursitis" and "peripheral neuropathy") is "heavy metal exposure" — true fact! So in honor of metal's "Eternal Summer" (as apparent Beach Boys fans Celtic Frost humorously put it in a song title on 1985's To Mega Therion, which bore impossibly evil-looking H.R. Giger cover art depicting Jesus in Satan's slingshot), we decided to take the temperatures of some of metal's most Hades-blazing album covers. Time to fire up the grill, slap on some Coppertone and stretch out on a lounge chair. It's getting hot in here, so take off all your clothes. Or, as Beavis would put it, "Fire! Fire! Fire!"

As a bonus, here's a playlist of metal songs about summer and/or extreme heat: Hotter Than Hell: Heavy Metal's Eternal Summer.

Click here to see the first album: Lamb of God, As the Palaces Burn


20110607-snubbed-by-the-rock-hall-560x225.jpg First off, there are those who question the very existence of a hall of fame and museum dedicated to rock 'n' roll, arguing that it goes against the anti-establishment fervor and rebellion the music stands for. I disagree. In the second half of the 20th century, rock 'n' roll created some of humanity's most vital and inspired culture, influencing everything — on a mass/global scale, mind you — from politics to sexuality. This history is important to archive and document.

That said, I have massive issues with the Rock Hall's induction process. Though the specifics remain a mystery to me (as well as to the overwhelming majority of fans out there), something is most obviously un-kosher when such icons as Rush, Deep Purple, the 13th Floor Elevators, Cheap Trick and Captain Beefheart have yet to be inducted, long after their "eligibility" has kicked in.

I harbor a slew of theories as to why that gleaming white temple — looming out in Cleveland, on the shores of Lake Erie — hasn't opened its doors to these groups and artists. Someday I will unload them in fine detail. (Hint: most of them revolve around Rolling Stone publisher and Hall founder Jann Wenner, whose personal aesthetics and political agenda appear to play a pivotal role in the induction process.) For now, let me say this: progressive rock, heavy metal and bubblegum — three genres I hold near and dear to my heart — are totally getting the shaft. And it blows!

If you're a malcontent like me, then definitely check out my 20 Greatest Rockers Snubbed by the Rock Hall playlist.

Apologies to Motörhead, Small Faces, Mitch Ryder (& The Detroit Wheels), Can, James Gang, Spirit and so, so many more. I will include you in my next playlist. If you want to write the Rock Hall and demand some justice, go here. Special thanks to the Future Rock Legends website for all its awesome research.

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Album of the Day Flexing stellar, jazz-laced production from beat maestro Pete Rock, Mecca is easily one of the most loved albums of the early 1990s. Addictively nice samples, dusty beats and signature horn flourishes back CL's mellow and positive rhymes. Features classics like "They Reminisce Over You" and "Straighten It Out." — Brolin Winning

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20110531-louie-louie-560x225.jpg The song "Louie Louie," or at least The Kingsmen's version, had an incalculable effect on the rock vocabulary. The Kinks' "You Really Got Me," The Troggs' "Wild Thing" and practically everything by The Stooges are directly descended from it. Granted, the chords and verses are infectious as hell, but it's more about the way the song sounds — with those keyboards and blown-out drums and endlessly unintelligible vocals — that makes it a true marvel of early rock 'n' roll.

When I was a kid, those unintelligible vocals were even the subject of a TV special debating whether the mumbled words were pornographic. I was like six years old, so I can't remember what the conclusion was — I just remember being impressed that they considered whether or not the lyrics were "dirty" as being so important, especially since the idea of something being "dirty" was a total mystery to me. I was pretty sure it had something to do with either taking a bath or going to the bathroom, or maybe going to the bathroom while taking a bath. Anyway — mysterious.

It turns out the lyrics aren't pornographic, it's just a product of the song being recorded with a single microphone that apparently was dangling from the ceiling, which means the bass player and vocalist had to lean back and yell into the air. That means he basically invented Lemmy's singing stance. Very cool. No wonder just about every garage-rock/punk-rock/whatever-rock band ever has covered it at one time or another.

Below, you'll find a playlist covering the song's origins (specifically, Richard Berry's original version, which can be deconstructed down to Louis Jordan's "Run Joe" and Chuck Berry's "Havana Moon"); the songs that were essentially rip-offs (but great anyway — see "Brother Louie," basically an awesome Frankenstein twin); and a selection of the song's many cover versions. Don't miss the Don & the Goodtimes version, and be careful with the Stooges' definitely-not-for-the-kiddies take. Apparently, Iggy and his buddies never saw that special.

Click here to listen to the entire playlist: In Praise of "Louie Louie"

Amon Tobin, Out From Out Where

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Album of the Day Defying categorization, Tobin drags drum 'n' bass through a thick sludge of hip-hop, industrial and jazz, resulting in a heady brew of sinister undertones, clanging noise and cinematic tension. Threatening, ominous, thrilling—listen to this for the same reasons you watch a horror movie. Then prepare for nightmares. — Mia Quagliarello

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Boris, Heavy Rocks

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i_want_you.jpg Not to be confused with either Boris' 2002 album with the same title or their Attention Please album released on the same 2011 day, this slab o' sludge opens with a lowdown monster-riffed downer-pounder called "Riot Sugar," then oozes from there: Sabbath chords wed to hardcore hoots and hollers, mournful funeral croons exploding rocketship-like into the stratosphere, modernized drag-race rock slowing to a standstill under kitschy "doo doo doo"s, maddeningly sluggish plod-metal disintegrating into the Radiohead ozone. To close, "Czechoslovakia" accelerates from classic doom to murderous thrash. — Chuck Eddy

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Marvin Gaye, I Want You

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i_want_you.jpg A collaboration with songwriter/producer Leon Ware, this stands up as one of Marvin Gaye's finest LPs, with a love vibe that out-mellows Barry White's cinematic soul and turns the Philly disco sound into waterbed music. Sure, this smooth, intricately produced make-out platter is more style than substance, but every record collection needs a little music this stylish in it. — Nick Dedina

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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 The Vaccines lose it over their favorite album, The Zombies' Odessey and Oracle..


The Vaccines :
What Did You Expect From The Vaccines?

The Zombies
Odessey and Oracle

Robyn, Body Talk

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Album of the Day If there's one thing we can learn from Robyn's impressive Body Talk series (and really, there are many things we can glean from it), it's that the sonic iciness of Scandinavian dance-pop is not antithetical to a warm heart. On the five new tracks that complete the Swedish pop darling's series, the beats could not be cooler and crisper, her vocals could not be more distant and affectless. And yet the lyrics are sensitive, emotional tales of love and pain ("Call Your Girlfriend" may just be the most empathetic "other woman" narrative ever). It is, indeed, a living, breathing body of work. — Rachel Devitt

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Alejandra Alberti, Alejandra Alberti

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Album of the Day You might as well just sit down now: Alejandra Alberti's pop-rock onslaught brooks no resistance. The riffs are big, the emotions billowing and the glissandos Christina Aguilera-esque. Alberti's motto most emphatically is not "Less is more." More like "When in doubt, overdo." But this kind of full-throated catharsis is what the pop charts demand, and it's so convincingly delivered that you'll have to forgive the fact that every song, no matter how different it starts off, seems to end up at the same uber-chorus. We like the risks she takes on "Dignidad De Mujer" and "Dentro De Ti," however. — Sarah Bardeen

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20110531-phil-collins-560x225.jpg Phil Collins was at a crossroads in 1980. With Genesis dropping their most successful and accessible album to date, the pop-driven Duke, he felt secure enough to undertake a solo album, one that would find him drifting even further from his roots in British progressive rock. At the same time, his marriage to Andrea Bertorelli had crashed and burned, leaving him to gaze at the wreckage and ruminate on what went wrong. It's this peculiar mix of outward artistic confidence and inner emotional despair that steered the making of Face Value, arguably the most ambitious and determined album of Collins' career.

Sonically, Face Value is a distillation of what Collins was grooving to throughout the second half of the 1970s: jazz fusion, soul music (Motown in particular), Beatlesque melodicism and ambient-flavored atmospherics. The album's watery textures and muted colors are very much inspired by "New Music," a phrase Soundcheck host and music critic John Schaefer coined at the time to describe a slew of pioneering musicians, from Brian Eno and Laurie Anderson to Jon Hassell and Philip Glass, who were exploring the intersection of synthesizers and other electronic instrumentation, world music, modern classical, jazz and, of course, pop.

Nowadays, the thought of Collins associating himself such avant-garde heavies might seem more than a little odd, yet in the '70s he worked with some of New Music's most probing artists, among them his old Genesis mate Peter Gabriel, Robert Wyatt, John Martyn, Brand X and the aforementioned Brian Eno. Right from Face Value's opener, the ceaselessly stunning "In the Air Tonight," it's obvious he gleaned a lot from these collaborations.

Boy Bands, Then and Now

20110531-boy-bands-560x225.jpg Backstreet's back, all right! And they've teamed up with the equally revitalized New Kids on the Block for brand-new super-boy-band extravaganza NKOTBSB, which has got grown-up ladies squealing like little girls. The tag-team revival of these two beloved groups got us thinking about the history of boy bands — not to mention their present and their future. Covering boy-band-friendly styles from contemporary pop to Motown, from Latin to New Jack Swing, we've assembled a mega-mix that encompasses squeal-worthy classics and big hits, as well as visions of what these "boys" have been doing since growing up to be, well, men. (Justin Timberlake's recent Saturday Night Live/Lonely Island three-peat, anyone?) So get out your favorite boy-band poster (we know you still have it somewhere), call your best girlfriends and get ready to moon over your long-lost crushes.

Click here to listen to the entire playlist: Boy Bands, Then and Now.


20110531-country-RU-560x225.jpg Whether you're a fan of country pop, traditional fare or something a bit more alt-leaning, we've got something for you in our spring roundup of new country releases. This time around, we're highlighting new albums from superstars (Brad Paisley), legends (Levon Helm) and newcomers (Craig Campbell) alike, along with a bevy of fresh singles from both well-known artists (including Kenny Chesney and Neil Young) and up-and-comers like Hunter Hayes. It's all just a click away.

Brad Paisley
This Is Country Music
As usual, Paisley breaks up emotional numbers ("One of Those Lives," "New Favorite Memory") with lighthearted songs that border on hilarious ("Camouflage," "Don't Drink the Water"). But he also steps outside the box for his eighth album, seamlessly melting Beach Boys harmonies ("Working on a Tan"), mariachi riffs ("Don't Drink the Water") and spaghetti Western flavor ("Eastwood") into his sound. Remarkably, these elements sound quite at home within each song — and that is Paisley's greatest strength. Guests include Alabama, Don Henley, Marty Stuart, Blake Shelton, Carrie Underwood and more. — Linda Ryan


20110531-mexican-regional-RU-560x225.jpg Regional Mexican music is a wide and varied world with hotly contested borders — its vast yet insular nature can be completely overwhelming to neophytes. From brass-tastic banda to romantic ranchera, from grisly narcocorridos to jubilant polkas (all sometimes in the same song!), this diverse swath of music pulses with the richness of Mexican cultures on either side of the border. The terrain encompasses the sounds of accordions and synthesizers, sticky-sweet pop and centuries-old folk traditions. It's a pretty exciting journey to take, and that's especially been the case in the first half of 2011, which has seen big-name release after big-name release (plus plenty of noise from hot new up-and-comers). We've rounded up this spring's hottest new releases in Norteño, banda, Tex-Mex/Tejano, duranguense, ranchera and more. So get ready to explore, and if you start to feel lost, just remember: almost all roads lead to Los Tigres del Norte.

1. Los Tigres del Norte
MTV Unplugged
Genre: Norteño
In a Nutshell: Los Tigres threw a party at the Hollywood Palladium in February 2011 and invited a number of high-profile guests from across Latin music. But it's a party with a unique purpose: by dabbling in Latin pop, rock and even hip-hop, it challenges the often heavily policed boundaries of Latin music. The results are groundbreaking.
Don't Miss: The funked-up "America" (featuring Calle 13's Residente) and "Somos Mas Americanos" (featuring an exuberant Zack de la Rocha), both of which are thick with artistic and activist politics.
For Those Who Like: Pop politics. Genre-jumping and border-crossing. Intocable. Flaco Jimenez. Los Huracanes del Norte.

New Edition, New Edition

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Album of the Day Taking cues from the Jackson Five, Boston boy band New Edition took the charts by storm in the early 1980s, racking up several major crossover R&B hits. On this, their major label debut (and first platinum LP), they serve up a collection of perfectly crafted pop songs, among them "Cool It Now" and "Mr. Telephone Man." — Brolin Winning

Hear It Now!


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