R.E.M.’s First Demo Surfaces Online
Just two weeks after R.E.M. called it quits, the band’s original three-track demo has surfaced online, digitized from one of the only 400 copies they had made in 1981. Spin has the details. [Spin]
Sneak Peek At Def Jam: The First 25 Years
If you get one music-related oral history this month, get I Want My MTV (seriously, it’s great, and we say that knowing that former MTV execs trash-talk VH1 within). But if you get two, the forthcoming history of Def Jam Recordings looks like another winner. It’s co-written by two former employees of Rick Rubin. GQ has an excerpt detailing the rise of LL Cool J. [GQ]
Method Man Writes Sour Patch Kids Rap For Commercial
This doesn’t quite measure up to the ode to sour cream and onion that Bruno Mars wrote for PopChips, but Method Man’s rap is certainly more than just your ordinary endorsement. Still: did Raekwon turn them down? We’d have asked the Chef first if we were selling edibles. [YouTube]
Tim Armstrong Creates Punk Rock Halloween Musical Anthology Series
That’s a lot of descriptors! But the trailer has us intrigued. In the first episode, Lars Frederiksen, also of Rancid, is visited by the devil. We’re hoping this turns out to be something halfway between American Idiot and Justin Timberlake’sSouthland Tales routine (set to The Killers). [VEVO]
We’re all practically dying of anticipation for the Thursday premiere of Beyoncé’s “Countdown” video (if you haven’t seen the 30-second preview yet, click here), but in the meantime, we’ve got some other Bey-related video for you?a clip from tonight’s episode of Glee. No, really! After a couple of Broadway-centric episodes, the show is returning to the pop arena, re-purposing Beyoncé’s Diplo-produced anthem into an election song. Fittingly, it’s sung by Heather Morris’s cheerleader character Brittany, since, prior to joining Glee, Morris was one of Beyoncé’s backup dancers.
We’re not saying that this version measures up to the original, exactly. But as far as Glee goes, we’re into this new direction. Some things about the show will never change (count the buzzwords in the intro phrase “I tweeted about Britt’s flash-mob pep rally in the gym, and we’re all showing up to support her with girl power”!) but this sequence shows a gleeful disregard for spatial and costume continuity, dropping an odd sort-of homage to American Beauty (with Chris Colfer’s Kurt as the Kevin Spacey character) in the middle of a completely over-the-top sequence that would make Kenny Ortega proud. In other words, this is sheer spectacle. We can’t really argue with that. Read more…
Perhaps the most anticipated collaboration from the now chart-topping(!) Duets II was Tony Bennett & Lady Gaga‘s rendition of “The Lady Is A Tramp.” To begin with, Gaga is as monocultural as they come these days. Plus, as Bennett told us, “she has the same gift as Ella Fitzgerald.” Then none other than Gay Taleseprofiled the duet for The New Yorker.
With the album in stores, naturally a video for the lead-off track has followed. Gaga is no less showy?that’s her nature?but her performance is in sync, not in competition, with Bennett’s. The duo riff on the lyrics, very much in a vocal jazz pop tradition. The least surprising change: a shout-out to songwriters Rodgers & Hart replaces one to Walter Winchell. Even if the redoubtable columnist had a 2011 equivalent (Nicki Finke plus Perez Hilton?) we doubt committed anti-bullying campaigner Gaga would sing his praises.
She’s also a smart fit for a vocal partner in this musical-theater tradition?so much so that the song seems well-chosen, until you realize how many others would have worked just as well (except perhaps for the titular pun). For all her outré accoutrements, Gaga fits snugly into this tradition, as someone seriously committed to her art yet mercifully unconcerned with Baby Boomer-born ideas of pop “authenticity.” It’s no wonder that Tony Bennett “gets” her. Read more…
Sting appeared on The Late Show With David Letterman yesterday, ostensibly to promote his three-CD, one-DVD best-of box set Sting: 25 Years, but just as much to continue celebrating his birthday (he turned 60 on Sunday). How else to explain his song selection? Radiohead’s set may have had a co-introduction by Michael Stipe?who popped up beside Jimmy Fallon almost as though the Late Night host hadn’t known he’d be there?but only Sting would play a song that he recorded in 1993 as the theme to a film named for a Grace Jones song that Sting himself had written in 1981. That’s right: Sting played “Demolition Man”?which isn’t even on any of the CDs in the box set (though it is performed during the Irving Plaza concert on the DVD). You have to respect that the guy could have played any of his singles, or a new song, or basically whatever he wanted, and he picked the theme song to a sci-fi satire starring Sylvester Stallone and Wesley Snipes.
Beyoncé Reveals “Countdown” Sneak Peek
Ready for a new Beyoncé video? (Is the answer ever not yes?) MTV’s Buzzworthy blog has the first 30 seconds of the video for “Countdown,” which premieres on Thursday. It’s simple yet ultra-stylized: sixties-chic by way of Sesame Street. Random fact: director Adria Petty is the daughter of Tom Petty. [MTV Buzzworthy]
Last night, T.I. joined Taylor Swift onstage at Atlanta’s Phillips Arena for a rendition of his own “Live Your Life,” with the country-pop singer providing Rihanna’s hook. That duet (above) was merely the cherry atop a huge weekend for the until-recently incarcerated rapper. Friday night, he released “I’m Flexin’,” his first post-prison single, featuring (and produced by) Big K.R.I.T., then went straight to Club Esso for a “Welcome Home” celebration that doubled as a BET Hip Hop Awards pre-party. After that ceremony, which will premiere on BET at 8PM ET on Tuesday, October 11, taped on Saturday, T.I. co-hosted an after-party with Diddy, and even served as a mediator when his co-host responded poorly to an attendee’s taunts (the guest bragged about specifically not drinking C?roc, for which Diddy is a spokesman).
The rapper’s appearance at Swift’s Sunday night show, then, was the end of a very long weekend. T.I. has always been a hard-working MC, but he seems doubly determined to put in work after his recent prison stay. We’re looking forward to looking behind the scenes of this period when his reality show starts airing next year. Read more…
Last week, we celebrated the 20th anniversary of A Tribe Called Quest’s seminal album, The Low End Theory, and after spending quality time with the LP, it became clear that many artists may have snagged sonic gems from the trendsetting hip-hop quartet over the years. If you’re a fan of rap music, you already know that sampling and re-working existing songs is commonplace in the creative process; similar to contemporary art’s idea of the “readymade,” producers will lift elements from one song and add them to a new canvas to re-envision their use. But what happens when the same thing is done with lyrics?
One little-known fact: Lil’ Wayne’s“A Milli” is a slowed-down sample of one of Phife’s lines from a remix of “I Left My Wallet in El Segundo” off Tribe’s first album, 1990′s Peoples’ Instinctive Travels and the Paths of Rhythm. Sometimes referred to as swagger-jacking, a rapper re-purposing the bars of artists before him or her can in other circumstances be seen as a salute-beckoning sign of respect. And in Tribe’s case, it should be! In addition to sitting down with ATCQ for their first joint interview since 1998, we also got to chat individually with in-and-out, behind-the-scenes group member Jarobi White to scoop his brains for memories on the group’s incredible second album. In honor of its Album-Versary, we present you with Jarobi’s exclusive interview clips, and the Top 5 Recycled Lines From The Low End Theory.
DeGraw kicked off the performance with a deadpan introduction: “My ex-girlfriend has nothing to do with this song. I don’t think about her at all. I’m totally unaffected.” Then he and his guitarist (his only accompanist) launched into a killer rendition of what else but his single “Not Over You.” By the time of the taping, DeGraw probably was over the object of the song, but he can sure sing like he’s not. That, plus his charm, his chops, and his musical sensibilities, are why we’re fans here.
When Madonna announced plans for a new album in spring 2012 while on a press junket for her film W.E. at the Venice Film Festival, she said that she hoped to have a first single ready for February or March. If the latest rumor is true, that timeline is about to contract significantly: SBNation.com is reporting that Madonna will perform at the Super Bowl XLVI halftime show on February 5, 2012.
We doubt that a Madonna performance is set in stone, considering that Madonna was in negotiations to perform at two past Super Bowl halftime shows?XXXIII (in 1998) and XXXV (in 2000)?but in the former case, the deal fell through, and in the latter, Madonna reportedly backed out when the timeline became impossible. It’s likely, though, that Madonna and the NFL are in talks. A “Madonna source” told Gossip Cop, “It looks promising,” and the NFL spokesperson SBNation contacted declined to comment. This year’s Super Bowl will be held at Lucas Oil Stadium in Indianapolis and televised on NBC.
TMZ reports this morning that they have seen a recently-discovered “five-minute sex tape showing Tupac receiving oral sex.” Allegedly the five-minute tape documents a 1991 house party featuring “a bunch of groupies,” and during the sex act, “an unreleased song of Tupac’s is playing in the background, as Tupac is singing along and dancing, wiggling his hips. And it gets even better,” the gossip site reports:
As the woman services Tupac, who is holding a cocktail in one hand and a blunt in another, Money B from Digital Underground walks over to him. Tupac puts his cocktail arm around Money B, continues singing and dancing … and the woman never stops.
We tend to be skeptical of these types of rumors, in absence of evidence available, but we have to admit this story has a significant ring of truth to it. After all, five years later Tupac would make an X-rated music video (with a censored cut for television, of course) for “How Do U Want It.” What we’re more curious about, in this case, is the twenty-year journey the tape has taken before reaching someone who, TMZ reports, “is making plans to release it.” Did the tape get mixed into a bunch of old VHS tapes and sold at a garage sale by a relative of a Digital Underground member? Was it submitted to Death Row Records thanks to its inclusion of an unreleased song, and then copied by an unscrupulous intern or interloper? The world may never know. We welcome your theories, questions, and “Humpty Dance” puns in the comments.