Give It 2 Me, the dancefloor stomper produced by Pharrell Williams, is quite possibly one of the best tracks from Madonna's chunky funky album "Hard Candy". What's incredible about the video is how amazing Madonna still looks. The woman is aspirational to 50 year olds who should know better. When Madonna shakes her ass, she's definitely putting out the right signals.
It's no surprise that the video medium was made for Madonna (or was Madonna made for the video medium?). Either way, put her in front of the camera, Madonna's musical persona becomes larger than life.
A welcome cameo appearance from Pharrell adds to the funky celebrations, making this the Butch Cassidy and the Sundance Kid party video of the year.
It comes to no surprise then, that Madonna's clock was probably ticking, and it was time to ditch Justin for the real deal.
Snazzy, groovy, stylish and fun. Madonna chalks up another winning pop video to add to her candy store shennanigans. The one goes out to all those bitches out there (who still haven't forgotten how to dance).
In 2004, Rundgren wowed fans and critics alike with the mind blowing return-to-form retro modern album "Liars". Expect the unexpected from the Wizard, A True Star. Todd's back, but this time he's not asking "can we still be friends?"
Rundgren's new album, "Arena", is a stripped down, back to basics collection of guitar rock anthems. Nuances and nods to vintage ZZ Top, Ted Nugent, RUSH, Robin Trower and AC/DC, make no mistake, this ain't no Salvation Army, formula rock dime store, digital plastic fantastic or a throwback to AOR radio. This ain't distant relative to the likes of REO Speedwagon, Foreigner and Journey.
Todd's got something to shout about. This time around he's really got his trip together, and the process is very entertaining. Like Neil Young, Rundgren continues to push the envelope.
The once-upon-a-time boy wonder who always reinvented the rock landscape with every new album he released, now, at the ripe age of 60, makes bands like the Strokes and the Killers sound redundant.
On his 1975 album, "Initiation", Rundgren once echoed the sentiments in the song "The Death of Rock and Roll"... "The critics got together and they started a game. You get your records for nothing, and you call each other names."
Twenty-eight years later, the former Hermit of Mink Hollow, continues to wave the rock'n'roll rule book in front of the noses of all those cynics who never even knew how to rock in the first place. It's a delightful display of self-recognition and an affirmation that he still holds all the cards close to his chest.
What you get on the new album is a one-way ticket into rock'n'roll salvation. Marvel as you listen to these gorgeous collection of songs. Not only do they evoke an emotional impluse, but, collectively, they also represent a rock mindset that doesn't date.
The album kicks off with the rock humdinger "Mad", followed by the lush mid-tempo power ballad, "Afraid." Make no mistake, on "Arena", Rundgren makes no concessions. This is a guitar rock album, simplified, potent and direct.
Third track in, TR hits the nail on the head with "Mercenary", a song that sounds like it could have stepped out of RUSH's "Moving Pictures" album. "How do you like me now?," screams Todd. No doubt, Geddy Lee and Alex Lifeson fans will love it.
Are you just lookin' for some "Tush", or is that that the same riff TR's executing in the song "Gun"? The latter starts off all retro sixties electric guitar and then if flash forwards to Ted Nugent's "Cat Scratch Fever" with Utopia backing vocals. This is a bluesy guitar rockin' track that blasts Hendrix and Gary Moore. "This is my rifle and this is my gun. This is for fighting and this is for fun."
When you think there's no stopping the harder edged rock riffs, Rundgren, takes two steps back and introduces one of the best rock ballads of his career. In "Weakenss" he epitomises the human experience. The song starts with a lazy Hendrix guitar riff that sounds it was just ripped out of Electric Ladyland. Todd comes on with a bluesy, gutsy vocal, and literally sings his heart out. Shades of "The Last Ride" from the "Todd" album, and you suddenly find yourself in some kind of post hippy psychedelic acid flashback.
"Are you ready to rumble?" So, asks Todd in the AC/DC electrified song "Strike". Raise your fist in the air. FM radio, smoking dope in your best friend's kitchen, getting so drunk that you can't even remember your name or your home phone number. Remember that scene in Cameron Crowe's movie "Almost Famous", when the guitarist from the band "Stillwater" jumped off the roof of the house, into the swimming pool?
"Pissin" sounds like it was performed by a bar band straight out of David Lynch's "Blue Velvet", and then gradually morphs into some southern fried slide guitar anthem. Perfect for driving down Ventura Highway with the top down, drinking a beer with the car radio blasting.
"Today" begins with a shimmering keyboard intro, sneaks up and subjects you to a masterpiece in pop perfection. It's also quite possibly the only song on the new album that sounds like a distant relative to 2004's exquisite "Liars" album.
As you dig deeper into the album, the song "Courage" rears its head, and suddenly, you find yourself thrown back into Side 1 of "Faithful" where acoustic and electric guitar interweave into a hypnotic flurry of stunning melodic hooks, enhanced with beautiful vocals and glorious harmonies. This is Rundgren's shining moment; the key song that establishes the man as one of the greatest singer/songwriters of our time.
The song that illustrates Rundgren's genius as the ultimate songsmith is celebrated in the thumping, grunge electro guitar rocker, "Mountaintop". Here, Rundgren borrows the riff from Norman Greenbaum's "Spirit In The Sky", and then turns it into a radio active guitar anthem, featuring one of the catchiest choruses you're likley to hear this year.
"Arena" is Todd Rundgren's masterclass in pop perfection. This is the Wizard's gripping return to the guitar rock album. It's a remarkable achievement.
In 1974, Lou Reed flew to Sydney to perform two sold out concerts. As part of the trip, Lou was forced to endure a ridiculous press conference where he was cross-examined by a group of Australian news reporters.
The interview is done in a style reminiscent to the Warhol school of deadpan "show-no-emotion" answers. Lou turns the tables on the redneck Australian journalists, and comes off cooler than Marlon Brando in a scene straight out of the "The Wild One."
Reporter: "Could I put it bluntly... parden the question, but are you a transvestite or a homosexual?"
I was fortunate to attend the 4664 Nelson Mandela concert in London's Hyde Park on Friday June 27th.
The low points of the concert included Amy Winehouse, the Sugarbabes and Leona Lewis. And why was Gerri Spice standing beside Nelson Mandela when he made his speach?
The highlight of the show was totally unexpected, and went to the former Sudanese child soldier turned rapper, Emmanuel Jal. He blew the 50,000 strong crowd down, with a lovely introduction by none other than Peter Gabriel, who proclaimed him as “having the potential of a young Bob Marley.”
Jal's Mandela performance was timely, as it dovetailed his forthcoming digital download single, 'Emma' (keep checking iTunes), released from 22nd July.
Featured on the Sudanese rapper's new album ‘Warchild’, ‘Emma’ is dedicated to the British Aid worker Emma McCune, who rescued Emmanuel Jal from a continued existence as a child soldier.
Emma adopted Emmanuel and smuggled him to Kenya to begin a new life, where he could grow up safe and get an education. A few months later Emma died in a car accident.
“I met the next artist about 3 years ago and was enormously impressed with this young man from Sudan,” said Peter Gabriel, as he introduced Emmanuel Jal at the 46664 Nelson Mandela concert.
“His brutal childhood as a 7 year old child soldier taught him to be a mindless killing machine. People expected Mandela to come out of 27 years in jail calling for revenge but he came out calling for forgiveness, compassion and collaboration.”
"This next artist came out of the horror of a brutal war, a brutal childhood with a clear voice calling out against violence, hatred and materialism. He’s gonna have a huge influence in the world way beyond his music."
"He’s still developing and exploring his musical voice, but I think you have the opportunity to see someone with the potential of a young Bob Marley… Please give an enormous welcome to the amazing Emmanuel Jal.”
But this was no ordinary hype. Not even the likes of Queen and Paul Rodgers or Amy Winehouse could compete against the killer combination of Emmanuel Jal and Peter Gabriel. Along with Simple Minds and Eddy Grant, these were the only other artists that truly displayed pure "masterclass" at the Mandela event.
It came to no surprise then when the Daily Telegraph newspaper acknowledged Emmanuel Jal's explosive contribution to the Mandela bash.
"Some of the most memorable moments at the Mandela concert were the least expected. Peter Gabriel popped up to introduce Sudanese rapper and ex-boy soldier Emmanuel Jal, whose vivid and eloquent performance suggested the arrival of a star-in-waiting." - Adam Sweeting, Daily Telegraph
“His story demands to be heard” – Mojo
“Emmanuel Jal was electric (at Mandela).” – London Evening Standard
Emmanuel Jal on tour / Summer 2008: * July 12th - Rising Styles Hiphop festival in Brighton * July 13th - Rise Festival in Finsbury Park, London * Aug 4th - 9th - Afrikadey Festival in Calgary, Canada * Aug 16th - 17th - the V Festival * Aug 22nd - the Greenbelt Festival, Cheltenham, UK
Last year Róisín Murphy released 'Overpowered', her second solo album. Murphy used to be one half of the Sheffield based electronica duo 'Moloko'.
One of the songs from Murphy's new solo album ('Let Me Know') had this wonderfully entertaining video accompanying it with the lady in question returning from a night out to her local chip shop, only to turn it into an imaginary disco (you probably have to be a little drunk).
The results are hilarious, sexy and pure knock out. The track is an elegant dancefloor stomper, while Murphy looks like a stylish Grace Kelly with a retro pillbox hat.
Last week I read a news story in one of the UK newspaper websites where Chris Martin did an interview with BBC Radio 4's 'Front Row' programme, and two minutes into the interview, Chris said something like (and I'm paraphrasing here), "I don't feel comfortable with the questions that you are asking," and walked out.
I sat there and thought to myself, 'Chris Martin guy is not playing the game. How refreshing.'
Along comes the new Coldplay album and everyone anticipates that it's gonna be a load of old cobblers (the American translation: "a pile of crap"). However, not one for name-dropping, but the god-like Brian Eno produced the album (on the liner notes he's also credited for 'Sonic landscapes'), and when you read the credit, you can't help but crack a smile.
Track one, 'Life in Technicolour' starts off all ambient keyboards, then on comes some spagetti western acoustic guitar that's heavily treated. Suddenly you begin to think, 'Wait a minute, isn't this a homage to Simple Minds' See The Lights?'
As the songs unfold, you can feel of a church-like or majestic choir or orchestral atmosphere. The liner notes say the album was recorded in a bakery, a nunnery, a magic shop and a church. It's easy to name-drop other bands like U2, Simple Minds and Pink Floyd, however, this album is more Roger Waters than Bono.
Hold up, I'm now listening to track 5, 'Lovers In Japan/Reign of Love', and it vocally does sound like vintage U2, but the electronic soundscapes are very reminscent of Simple Minds doing session work with Brian Eno. The track has a military ballad vibe to it that is rather beautiful.
This is a lush album, and yet a brave one at that for Coldplay. In the past I've never taken Coldplay seriously, although their last album 'X&Y', did stand out, particularly that Kraftwerk track, 'Talk'.
But back to the new album... Track 6, 'Yes' kicks off with some soothing strings, then wanders into Pink Floyd territory via 'Darkside of the Moon' and 'Wish You Were Here'. I swear I could hear David Gilmore playing guitar on this song. Are those violins I hear? Interesting composition.
"I used to rule world" sings Chris Martin on the stunning title track 'Viva La Vida'. This has to be the knockout track on the album. I first heard this track on the Apple advert and it blew my mind.
They come, they go, and then in walks Ladyhawke with this infectious new song entitled "Paris is Burning."
What starts off with a lyrical melodic riff reminiscent to Gary Numan's "Cars" (dig it... "Here in my car, I see nothing at all.."), Ladyhawke is seen walking down the street at night, looking sexy and punky, something like Kelly out of Girlschool meets the lead singer of Garbage.
The track kicks off in a suspect way. You think to yourself, "Not another Numan rip off," but then the track suddenly steers off into a New Disco direction, and you're thinking, this is a garage rock attitude Studio 54 disco raunch ditty that really is a lot of fun.
I've read a few things about Ladyhawke, but I haven't checked my facts, however, from what I read, I think she's from New Zealand, but is into Ultravox, Gary Numan and all the early eighties electronic new wave music. She brings it up to date and throws in her own trademark sound.
