try this: taylor swift (speak now) album review

I'm naive about things sometimes. One of those things is that Taylor Swift is legit. I still think it's true. The country-pop megastar is now 20, but somehow still singing about fantastic romantic stories and fairy tales. Maybe she hasn't been truly jaded yet, and her cynical side will come out on some other album. But there is a tiny taste of her Alanis Morissette side on Speak Now, her latest album. And it's not bad. Swift wrote each song on the album without a co-writer. Can't hate on that.

The first track and the first single "Mine" is the epitome of Swift's style, a true country-pop mix with a cute story. There's dual harmony in all the right places, with an addictive chorus and words that flow just right. Just a bit more mature than the pretty pretty princess-y "Love Story," it's a radio-friendly best of both worlds, debuting at #3 on the Hot 100 and at #26 on the country charts.

The next track is "Sparks Fly," and is straight-up boring. The worst line: "I see sparks fly whenever you smile." Also: "I'm captivated by you baby like a fireworks show." Really, Taylor? Cmon now. From the way it's been advertised, it seems as though this will be a single, and it's a shame. There are other songs that are better and less juvenile, but I guess she's got to connect with her preteen audience somehow. Still, a dud of a second track, especially compared to "Mine."

"Back To December" is an intensely personal ballad, with a powerful triplet-laced chorus. These are lyrics that I would write but basically never share with anyone. Swift sounds great on this one too, like she really means it, especially on the line "Turns out freedom ain't nothin but missing you..." The orchestra kicks in full effect during the bridge, and it really pays off. It's a girly, sad song about regret, but I like it.

"Speak Now" is another teenage fantasy, of running in during a wedding in-progress and declaring love for the groom. There's a catchy hook in the steady shuffle beat, and the lyrics serve their purpose, but nothing too special about this one. Swift tries to fit a few too many words into the bars, with no real rhyming scheme. It's just kinda random.

"Dear John" is where it gets really good. It sounds like a bonus, blues-tinted track off of John Mayer's Continuum-- maybe cause this song is about his general shadiness. This ballad is swept with an air of maturity that showcases Swift's growing talent. The harmony on the chorus is perfect, and the wailing electric guitars and high organs complement the melancholy lyrics. "Don't you think 19 is too young to be played be your dark twisted games when I loved you so?" There is another line about fireworks in this track. Didn't we just hear that in another song? Well, in any case, this 7-minute song really is impressive, and I'm a fan.

The next track is "Mean," by far the most country song on the album. Swift's twang magically comes out of nowhere, and so does the banjo and fiddle. This song is great for what it is; simplistic, catchy, and cute. The chorus won't get out of your head. "Someday I'll be livin in a big old city, and all you're ever gonna be is mean." Basically a bullying song. Looks like this will also be a single, and will be big on the country airwaves. Yee-haw!

"The Story of Us" is about the Jonas bro that ditched her, and it actually sounds kinda Disney, kinda Miley Cyrus-y. It's got synths and lots of electric feel to it, and I like the fast pace. The chorus gets more addictive as the song goes on. I feel like this one will grow on me. "I'd tell you I miss you but I don't know how/I've never heard silence quite this loud."

"Never Grow Up" is a sleepy, acoustic, country ballad that is a nice contrast to the last song. It's practical, simple and beautiful, advice to someone younger, but unfortunately the advice is that there is nothing good about getting older. It's a little negative for Swift. But still a nice song.

Next up is "Enchanted," which immediately makes me think of Swift's fairytale songs. It kind of is another song about meeting some dude outside at night, at her door, or something like that. Don't get me wrong, the orchestra and guitars on the bridge are great, but it's all just a bit repetitive of the previous songs both on Speak Now and Fearless. The highlight is the outro, with the Owl City-y(?) computerized voice saying "Please don't be in love with someone else/Please don't have somebody waiting on you."

"Better Than Revenge" is where her inner Alanis comes out in full force. It's about some chick that stole some guy from her. And she's mad. "She's an actress/But she's better known for the things that she does on the mattress." I like this song, although sometimes Swift gets dangerously close to sounding like Avril Lavigne, who is generally awful. But I dig the little angst. Everyone's felt like this at one point.

The ode to Kanye, "Innocent," is a pretty good ballad, and is placed well on the album. It's basically someone 12 years younger than him forgiving him for being an egocentric crazy. There is nothing country about this song. Actually, there's nothing really special about this one, as we've already heard a few similar ballads before. But it's another step in Swift trying to showcase her maturity in songwriting.

"Haunted" starts out very dramatic, with everything from violins to bells and guitars, sounding like a Metallica intro at times. The lyrics are brutally honest on this one, and there is something very Evanescence about the whole thing. Again, nothing country at all, but Swift sounds great on it. She's in the denial stage: "I know you're not gone, you can't be gone." I really love this track.

Another longer song, the six-minute "Last Kiss" is another "I remember blah blah" song. The lyrics are again pretty personal: "How you'd kiss me when I was in the middle of saying something/There's not a day that I don't miss those rude interruptions." Aww. Cmon. Okay okay, so it's beyond sappy but you gotta love it. This song is kinda rough; a slow, swaying dedication to someone who is gone. Definitely not something you would have heard on her previous albums.

The final track "Long Live" is inconclusive and a little unimaginative. Nothing new here. "I had the time of my life fighting dragons with you." I was a little disappointed by this, as I expected a more epic ending. One track too many, sorry bout it.

I like this new direction that Swift is going. Experimenting with some new sounds and genres, and putting her entire personal life out for everyone to purchase in musical form. The lyrics are generally deeper, and so is the instrumentation. The one thing that is too noticeable is the repetitiveness of the structure and lyrics. But besides that, definitely a great album, with poor choices for singles in my opinion. I don't think it's too much of a departure from Fearless, but just enough of one to create something different. So, maybe I'm not naive after all. Maybe Taylor is, in fact, legit. I still think she should keep weeding out those over-the-top Romeo and Juliet type songs, slowly but surely, because her audience won't buy it for much longer. But it's all pretty harmless.

austin city limits 2010: coachella's little brother

ACL was the perfect excuse to visit my friends in Austin-- besides, I'm kind of into music festivals. Even though I already saw Muse, LCD Soundsystem, Vampire Weekend live this year, I wasn't going to pass up the opportunity to see them again. At $185, the 3-day pass is a bargain when you consider all the bands to see. The weather was a perfect 80 degrees all weekend.

On Friday, we rolled up Downtown and took the free shuttle to Zilker Park.The park was more crowded than I thought it would be. I guess I pictured more people coming in and out because the park was in a city, but you can't really walk anywhere Downtown too easily from Zilker. Miike Snow had a huge crowd, so we listened to him and headed over to hear Pat Green. I was surprised that Pat was the only country music at ACL, considering it's Texas and all. I kinda wish there would have been more. It was great, with the sun shining and people dancing. Good times. Beach House and Spoon were next, along with my first taste of the amazing Mighty Cone. The food at ACL is pretty rad because it's mostly all local vendors. The Mighty Cone is a warm tortilla, with chicken tenders inside, and this ridiculous chipotle sauce and coleslaw on top. It was awesome. We saw Vampire Weekend and the Strokes, who were great but couldn't get the crowd going. The first night of ACL was dunzo.

Saturday, the MSU vs U of M game was on, so of course we had to watch that before heading to ACL. We were all in a great mood heading to the festival, but the shuttle lines were out of controllll. We finally got in, and LCD was PLAYING already and I was spazzing out trying to get all the way to their stage. Too bad it was a mob inside Zilker on Saturday night. It was by far the most busy night, and I told my friends I'd just see them later and left. I ran as fast as I could through the crowds, stepping over couples and blankets and people, making my way inside as James Murphy held up his signature capacitor mic, playing "I Can Change." He played a couple songs off the new album, but the crowd really got going during "Us V Them." It was a great show. I had to walk off during "Yeah" because it was getting dark, and I'd never find my people again. I finally found them in the disturbing crowd for deadmau5 at another stage. I got there just as he began, and it.was.INTENSE. Deadmau5 spun with an LED mousehead on, inside a crazy lit up Rubix cube. When he finished his set, we got to Muse as fast as we could.

Muse began, of course, with "Uprising." They had the same set as Coachella, with red lights and words on the huge screen behind them. Muse was extra awesome. "Undisclosed Desires" is SUCH a good song.

Sunday, we didn't mean to sleep in but, it happened. Yeasayer, Edward Sharpe, Flaming Lips, Norah Jones, and The Eagles made it a chill day. Norah Jones didn't play "Don't Know Why" and I was pretty outraged. But The Eagles KILLED it. All the old people seemed to come JUST for them, and they played a 90 minute set with all the classic, plus a "Boys of Summer" cover to top it off. I was surprised how awesome they were, and it was a good end to ACL.

I couldn't help it-- all weekend, I was silently comparing Coachella with ACL in my head. And even though some of the lineup overlapped in both festivals, there were some differences that couldn't go unnoticed.

ACL loves chairs, blankets, and giant flags. People were legit camping out in one spot all day instead of moving around. To mark their group, people would carry 20 foot tall flags with giant stuff hanging off of them, blocking views of the stage.

ACL sells single-day tickets. This was especially apparent during The Eagles. The result? Three days of crowds with varying enthusiasm. The more excited the crowd, the better the festival.

ACL loves kids. I was half-napping in the grass waiting for a band, when all of a sudden I felt a little kick from the blanket next to me. I look down, and oh yeah, it was an INFANT. Between the babies, young children and tweens, it was a bit aggravating when you're at a music festival generally targeted towards adults.

ACL has a lack of electronic and hip hop acts. Personally, I'd just like to see more diversity in the lineup.

ACL ends sharply at 10pm. Late into the night is when Coachella gets the most beautiful and awesome.

ACL has a transportation problem. Getting TO the fest is not an issue. Leaving the fest is a MESS. The lines for taxis and shuttles are out of hand, and by them time you get Downtown, you're just ready for bed. At midnight.

ACL is 99.9% white. I dunno, it's just kinda boring.

The bottom line is that ACL is an event, while Coachella is an experience. The heat. Camping. Making friends with neighbors. The mist tent. The light sculptures. And while the skyline of Austin is wonderful at night, nothing is the same as being in a sea of people under the clear, starlit desert sky. So yeah ACL, I'll probably see you next year. But make sure you know your place as the official "little brother" of Coachella.

concert review: meat loaf, hang cool tour, los angeles

Meat, I'm sorry for the harsh review I gave you of your latest album. Cause the concert I saw you at was beyond anything I could have expected.

I went solo to Gibson Ampitheatre to see Michael Lee Aday at a strange point in his career. He's been criticized of losing his voice, his showmanship, and his strength. He was very vocal about his opinion of the critics during the show. But even at age 62, all three of those are still very much intact. I was young in a crowd of old people, to say the least-- so, I walked from my original seat all the way up to the front row. At least those people were standing up!

The setlist was: Hey Patootie (from Rocky Horror Picture Show), Break It, Bat Out of Hell, Peace On Earth, Living On The Outside, Los Angeloser, Took The Words Right Out of My Mouth, Song of Madness, Animal, Rock And Roll Dreams Come Through, I'd Do Anything For Love, Two Out of Three Ain't Bad, Paradise By the Dashboard Light, and All Revved Up With No Place To Go.

It'd be impossible to comment on everything, but I saw it all-- the crazy eyes, the red handkerchief, the shaky hands, the gum chewing, and a '77-esque Meat Loaf sweating like a madman on stage. He yelled in the sax player's ear to play like he meant it. He brought a dull LA crowd to its feet. There was nothing dull about the 2.5 hours he was on stage, alongside the legendary Patti Russo, and a piano player so talented that I don't think even Meat could believe it. He even busted out an American flag guitar with "MEAT" in rhinestones on the strap, jamming along during the final song.

He and Patti have been doing this act on stage for years and years, and luckily for us, he has acknowledged his age-- no more full-on making out on stage during Paradise. That'd be disturbing. But they still have an amazing theatrical presence together, with interactions that are heartfelt and convincing.

The song that had the most energy was Bat Out Of Hell, his third song of the night. He was screaming into that microphone like he was going to keel over right then and there. A huge bat came out of the background with big red eyes. For the most part, he was on tempo-- something that he's had some issues with live. I didn't hear any lyrics that were incorrect. He also sounded on key, but his vocal volume was pretty low compared to the roaring guitars around him. My favorite song was Rock and Roll Dreams Come Through-- Meat and the backup singers sounded absolutely amazing.

After a lackluster VH1 Storytellers album, and hearing that even Jim Steinman himself saying Meat's voice is gone, I was kind of worried about seeing him live. The guy is old, though, and I was running out of time. But I was so impressed with how much fun he was having, and the wild energetic feeling about him. I'd see him live again in a second, and especially with this classic setlist, I recommend that you do too.

Pictures are bad quality, but I managed to get a few on my Blackberry:

try this: christina aguilera (bionic) review

First it was pure Total Request Live bubblegum. Then, dirty pop. Then back to the roaring twenties. Now, Christina Aguilera is hoping that the futuristic sound of her newest album, Bionic, will bring her a comeback.

When it comes to Aguilera's voice and versatility, I’ve always been impressed with her. Bionic is her first studio album in 4 years, and she has been working on it for quite a while, with The Neptunes, Sia, Le Tigre, M.I.A., and Ladytron to help deliver an eclectic sound. When I heard some sample tracks, I felt like when I listened to *NSYNC’s “Dirty Pop” for the first time back in the day—-kind of confused, but still interested. After a few listens, I got used to it. The album isn’t as cohesive as Stripped, but as usual, Aguilera is trying to reinvent herself. And with constant comparisons to reigning pop queen Lady Gaga, she’s got to do something to stand out.

The title track “Bionic” has some not-so inventive lyrics (“Bionic/So damn bionic/Hit you like a rocket”) but it is addicting. It kind of sounds like a mix between M.I.A. and Gwen Stefani, but more electric. I love the spelling out of “X-T-I-N-A.” “Not Myself Tonight” is the first single, and it’s a radio-friendly, Neptunes-sounding hit. The chorus especially gets pretty ridiculous, and there’s gonna be some great remixes of this one. “Woohoo” is the second single, and it’s nothing too special. Featuring Nicki Minaj, it gets super repetitive, and the rapper almost outshines Aguilera. “Elastic Love” is a hot mess, and Aguilera’s vocals are way underplayed. It sounds like some random filler track off Britney’s Blackout. People seem to love it though, so maybe it's just me. “Desnudate” is kind of awesome; it sounds like she’s having fun on this one. It’s a hard hitting bass line with a Spanish/reggaeton influence, and the only thing the chorus says is “Get naked for me.” Wow.

“Glam” is totally Madonna-ed out. Aguilera herself has compared this song to “Vogue.” I dunno. There’s too many “snap” breaks for me, and it’s a little one-dimensional. “Prima Donna” gets a little more pop, and it’s a great track. Her vocals are a beast, and the familiar sound of Lil Jon takes it to a club level.

"Sex For Breakfast" is the beginning of the slower part of the album. It gets a little R&B. It's actually a very sweet song, and her voice sounds amazing. The midtempo mood continues into the piano-driven "Lift Me Up," and she kills it. One of the best tracks on the album for sure. "All I Need" is also beautiful. Co-written by Sia, an Australian jazz-influenced singer, it has winding melodies and bright instruments to complement the lyrics dedicated to Aguilera's son. The next two tracks are also written with Sia, and Aguilera's sweet-sounding voice continues through the honest "I Am" and the sad "You Lost Me." The tracks are bluesy, orchestral and soft, continually showcasing Aguilera's vocals. I'm thinking I should check out what else Sia is involved with, because I love the sound she's created for these songs.

Smash cut to: "I Hate Boys," a cute, quick anthem that throws us back into hard-hitting pop. The female empowerment continues with "My Girls," which doesn't have much going for it. "I'm not cocky/I just love myself, bitch" is how "Vanity" begins, and it comes out of nowhere with a rad electric beat. The lyrics are pretty funny. She belts out one last run, and ends the album reminding everybody "Let us not forget/Who owns the throne."

...But does she? The slower songs on Bionic are what essentially sustains the album. They are unfortunately hidden near the end. Sure, the fast-paced, FutureSex/LoveSound-ing tracks are entertaining and danceable, but it's not her sweet spot. I feel like she should have ended the 19-track album at "You Lost Me." Aguilera’s summer tour with Leona Lewis has already been postponed until 2011—not a good sign. She’s got to compete with the Rihanna/Ke$ha/Gaga fan base. With Aguilera’s long breaks in between albums, plus her mostly staying out of the media (fyi Xtina, even bad press is still press), it has not put her in the best place. What she does have is an unmistakable singing talent and a decade-long career to back her up. I'm not sure if she owns any thrones, but all in all, Bionic is fun, satisfying, and worth a listen.

try this: meat loaf (hang cool teddy bear) review

Meat Loaf's Bat Out Of Hell is easily one of the greatest albums of all time. Jim Steinman, the songwriting genius who brought us so many of Meat's albums, has said that he stopped writing for him because his voice is gone. All I can say is that Meat is definitely hurting without Steinman, which is no surprise to anyone. Hang Cool Teddy Bear is Meat's fourth studio album without any Steinman tracks. The falling out of the duo also had to do with ongoing legal and financial disputes. On this album, Meat called Rob Cavallo to the table, the producer of Green Day's American Idiot and many other successful pop/rock albums. The problem is, Meat's sound has basically been chopped from an operatic experience into a radio-friendly pop mess. The 13 songs on Hang Cool Teddy Bear are supposed to be a wounded soldier's vision of his future lives. To supplement the album, the special edition includes some amazing (and some not so amazing) live renditions of some of his other songs.

The first track "Peace On Earth" is all over the place. Not gonna lie, it’s just not good. It already sounds under-produced. “Living On The Outside” seems to depend a lot on the backup singers. The effortless sound of Meat’s voice has slowly disappeared with age, but his vocals are still doable-- which isn’t shown on “Los Angeloser.” It has a hint of the humor Meat is known for on tracks like “Paradise,” except…there are turntable sound effects? Product placement mentions? Horrible speaking parts that belong in a rap song? A chord progression that sounds like it was done by a random pop producer (oh wait it was)? Meat! Where are the epic guitar solos and the rock opera passion? I’m starting to panic at this point. Oh, PS, this is the first single off the album. Why??? I get that you’re trying to make your music more mainstream-2010, but geez. Anyways...

“If I Can’t Have You” has MORE of the horrible speaking parts, which I’m still confused by. At least there is some semblance of a solo. It builds at the end with a little duet between Meat and a female vocalist; which, so far, is the highlight of the album. “If I can’t have you/I don’t wanna be me” just…pales in comparison to the words of Meat’s classic tracks. “Love Is Not Real” has a nice riff and some killer solos, but again, kinda weak vocals and lyrics. “Next time you stab me in the back/You’d better do it to my face.” Righttt. “Like A Rose” sounds like a Beastie Boys track, and seems to be about a groupie. “She’ll kick you when you’re low/And f--k you when she’s done/The bitch is like a rose” …wow. But hey, the chorus is catchy. It’s got a little Jack Black in there too, which is cool. “Song Of Madness” is a bit slower—still not a ballad. There hasn’t been one yet. Steve Vai is amazing on guitar, though. “Did You Ever Love Somebody” makes me wish that I didn’t just wish for a ballad. Yawn city. “California Isn’t Big Enough” is surprisingly good, but the lyrics are TMI, man. "Running Away From Me" and "Let's Be In Love" can be skipped without regret.

"If It Rains" seems to capture Meat pretty well, and it's a refreshing song at this point in the album. "Elvis in Vegas" is the one track that credits Desmond Child, and you can hear it from the very first piano note. He wrote a few great tracks on Bat Out Of Hell III. This song finally gets back to epic rock, and I really wish that good old Desmond would have helped out more on this album. They saved the best for last on this one.

This has all been pretty harsh, but it's only because I love Meat Loaf and want him to return to awesomeness. I love watching his old performances, with him sweating and singing wildly on stage. I would still love to see him sing live. But without Steinman's emotionally-driven songs, he just cannot fully shine. So Meat, please try to reconcile with Steinman (or at least Child) for one more album. There's got to be enough money somewhere to buy him. After all, you sold out to AT&T for that commercial a few years back..."Paradise By The GoPhone Light"? Brutal.

try this: melissa etheridge (fearless love) review

Melissa Etheridge knows what's up. She's got incredible songwriting skills and just rocks in general. The 90s was her heyday, releasing singles like "I Want To Come Over" "Come To My Window," and my personal favorite "I'm The Only One" (that opening guitar riff is sick). But the 48-year-old multiplatinum artist is 10 albums deep, and still not slowing down. Naturally, I was excited to hear some new material from her. She's simultaneously made media headlines with the recent news that she is separating from her partner, whom she married in 2003. Convenient timing for publicity's sake? Eh, whatever. Who doesn't do that nowadays?

"Fearless Love" is the first single off of the album of the same name. This is powerful stuff. Etheridge compliments her songs with her unique, semi-raspy voice, and the "I am what I am/I am what I am afraid of" already defines the album a minute into the song. Track one is quite an act to follow. Another single, "The Wanting of You," has a pleasant guitar riff that weaves through the song, and as the song builds, Etheridge's voice has never sounded better.

She slows it down a bit in "Company," a chill mid-tempo track about loneliness. I expected "Miss California" to be a semi-sarcastic track about the beauty queen's homophobic tendencies-- and it just might be. "Miss California/What did I do wrong?" Either way, the blues-heavy song is ridiculously awesome, and again shows off the depth of Etheridge's voice. "Drag Me Away" is probably about her bout with cancer: "Did you think that I would simply give them my last breath/Well honey you got me wrong/I'd never leave you for death." Good stuff.

"Indiana" is a country-sounding story that goes piano-heavy; it reminds me of something that Matchbox 20 would do. It's also a single, but probably my least favorite of them. "Nervous" is a fun blues jam. The chorus on "Heaven on Earth" is one of my favorites. "We Are The Ones" is about diversity, and refreshes the sound of the album with some hand drums and citar. "Only Love" is a slow, dreamy track. The sporadic bluesy-build on the bridge is pretty amazing. "To Be Loved" is a heart-wrenching power ballad that leads into the acoustic "Gently We Row," a beautiful folk finale.

This album just sounds great. It is produced and arranged tightly, and the guitar solos are flawless. Etheridge's voice has the same passion and intensity as it did back in the 90s. That's what I was most surprised about. I mean, Meat Loaf just doesn't sound the same now as he did back in the Bat Out Of Hell days. Maybe it's just me, but I feel like Etheridge's voice has gotten better with time. This chick is like the female Springsteen. And with lyrics like "I'm the only one who'd walk across a fire for you," how can you go wrong, really. So umm, hey Melissa, now that you're separated, call me? Haha, just kidding. Actually wait-- yeah. This album might just be that good...

coachella 2010: the recap

Last year, I only got a taste. This year, I wanted much more—and really had no choice after the promoter did away with single-day Coachella tickets. I bought my 3-day pass in January and anxiously awaited April 16. After missing out on a sold-out car camping ticket, we reserved a spot in an offsite place (Lake Cahuilla) and hit the road to Indio on Thursday night.

After hanging out with some of our neighbors, we got into our tents and got a few hours of sleep before heading to breakfast and getting some tailgating supplies. After a few beers, the sun was already boiling and we made the walk into the polo grounds. On Friday, we saw Sleigh Bells, Yeasayer, She & Him, Passion Pit, Them Crooked Vultures, LCD Soundsystem, Vampire Weekend, and Jay-Z. I wanted to get over to the Sahara to see Benny Benassi and deadmau5 but it just couldn’t happen. Sleigh Bells was pretty fun, although disturbingly loud. She & Him was really relaxing at the outdoor stage, and Zooey Deschanel was amazing. Passion Pit was one of my favorites as well. We moved in pretty close to the main stage for LCD Soundsystem, and they were ridiculous – although closing on “New York, I Love You, But You're Bringing Me Down” was a bit of a downer. Dancing to Vampire Weekend was tons of fun, but nothing compared to the energy of Jay-Z and surprise guest Beyonce. They closed out the first night with an impressive display and with almost every single he’s ever released. Beyonce killed the chorus on Jay’s “Forever Young” cover!

Day 2 was supposed to start out with RX Bandits, but we missed it while tailgating. I also missed Gossip because we went back to the car to tailgate some more! Saturday was the hottest day and also the day that I had to make the most lineup sacrifice – again, had to miss two Sahara tent acts (David Guetta and Kaskade), but it is what it is. We saw Girls who were pretty cool, but my day was chill until Coheed & Cambria. “Welcome Home” was definitely amazing, but they were a bit lacking live. Next up was Faith No More – Mike Patton’s band was reuniting for the festival after years of not playing together. Little did I know that this is the same guy in Lovage AND Handsome Boy Modeling School – who knew. Anyways they were great, but the crowd wasn’t into it. This wasn’t the case for Muse, who completely blew everybody away. They played more and talked less than a lot of bands, and their light show was out of control. We waited for Tiesto to come on next, and a load of ravers moved in around us. Tiesto stood alone amongst a giant screen display, smiling and spinning, and the energy was insane. The confetti and streamer bursts looked incredible against the lights in the sky, and the constant trance beats were how Saturday night came to an end.

Sunday I was bummed I missed Kevin Devine, but there you go. We chilled out to Owen Pallet and Deerhunter, hitting up the mist tent in between. Sunday’s sun felt the worst of all, and my legs were shot. Some of us found shade and just people watched for a little while. The $5 ice cream was the best I ever had. De La Soul put on an incredible show at the main stage, and the crowd was into it. Sunny Day Real Estate was kind of blah. Jonsi from Sigur Ros put on an amazing show, and the crowd got larger as people waited for Thom Yorke. For Phoenix, we didn’t see much because we went on a journey to the Sahara tent, but Thom Yorke really impressed me. The crowd was out of hand. His live take on his solo album The Eraser sounded much better than listening to the actual album. The sound was way more full, and his voice was dead on. We left Thom early to go get a good spot at the Gorillaz set. There were so many people. About halfway through we had to leave the crowd, but the rest of the night, we were ecstatic!

Coachella didn’t disappoint. As usual, there were mostly awesome people there, with only a few jerks or extremely strung out people. Our camping place was perfect. Jay-Z, She & Him, LCD Soundsystem, Muse, Tiesto, Jonsi, Thom Yorke, and Gorillaz were my favorites. Now, I guess I will return to reality and bask in the afterglow. Sigh. I already miss the constant sound of bass in my ears.

Here’s to COACHELLA 2011 and beyond.

try this: coheed and cambria (year of the black rainbow) review

The first song I heard by Coheed and Cambria was “Wake Up,” a slow, melancholy, acoustically driven ballad. You can imagine my surprise when I went to listen to their other stuff. I’m not a metal fan, but bands like C&C have pushed the boundaries of my musical tastes. I guess that’s why they’re classified as progressive rock. In a world full of Green Days and Weezers and Fall Out Boys (who are all great in their own right), it’s still refreshing to hear rock that goes a little harder and a little longer.

When I heard that C&C’s albums are all based on a comic book storyline written by frontman Claudio Sanchez, I was surprised that this boundary doesn’t limit the band to write only in one specific way. I haven’t read the books, but with C&C’s latest album Year of the Black Rainbow, Sanchez released a novel of the same name, which is the prequel to the stories. The stories are called The Amory Wars, and each C&C album released is actually a chapter in Sanchez’s science-fiction concept. As a result, the song lyrics are focused, yet not totally specific to the story. I think it’s insanely genius to have an idea so powerful that you need multiple creative outlets for it. I kinda want to read the stories so I can interpret the lyrics in a new way, guessing which character is which, and diving deeper into their inner monologues. Year of the Black Rainbow has been released just in time for their return to the desert music festival Coachella, which I will be at in 3 days. :)

An ominous intro leads into “The Broken,” a powerful first track and a great first song release. The next song “Guns of Summer” is a flurry of palm mutes and effect pedals that drown out the lyrics. It’s too much. I can’t even imagine what this drummer looks like playing on this one though. It’s crazy. The highlight of the album and the first single is “Here We Are Juggernaut.” (“This is not your playground/it’s my heart.”) On “Far,” Sanchez croons “No matter the distance/No matter how far.” Nope, that’s not a quote from a Backstreet Boys album. This one is a little slower and has a bit of an electronic beat. It gets kinda dull about halfway through, even though they toss in an arena-rockish solo. “This Shattered Symphony” has a ton of minor key madness that was a little offputting a first, but the song grew on me quickly. Not much else is worth mentioning until “The Black Rainbow,” a 7 minute finale that climaxes in wailing guitars, screams, and chaos. It abruptly ends, and fades out with an outro that’s as haunting as the intro.

While Year of the Black Rainbow isn’t exactly a step back from the sound of C&C, it isn’t a step forward. The album seems like it is lacking in production, at least compared to their previous albums. There is no standout track like “Welcome Home” to fully round out the epic-ness of the prequel, instead leaving it as a flat introduction to The Amory Wars saga, and the other C&C albums. Maybe the album just needs Sanchez’s novel to compliment it, but that’s a review for another day.

try this: justin bieber (my world 2.0) review

Yeah, don't judge me. I tried to avoid reviewing this album, and I'm not sure why I even listened...but here we are. The Bieber fever. A 16-year-old from Canada, he has a very young career, but has already caused mass shopping mall hysteria, and an insane tween girl following. The secret to his swagger is that he's a cute kid who can sing who seems humble enough in public. Basically, he makes it seem like any chick out there could be his girlfriend, and so it keeps the hope alive for the fans. Usher helped discover him and probably taught him a few things. Strangely, Bieber's debut album (LP) My World only had 7 songs on it, but due to the popularity of his single "One Time," they had to release something asap. The follow up, My World 2.0, is a 10 song record that pulls out the big names (Bryan Cox, Ludacris, Sean Kingston). It not only debuted at #1, but sold more records in the following week -- a feat not accomplished since The Beatles. Geez.

The lead single "Baby" features Ludacris, and has an amazingly catchy chorus and beat (with a little help from The-Dream). "Somebody To Love" has a nice uptempo, electronic feel: "I need somebody to love/I don't need nothing else/I promise girl I swear.../Is she out there?" This songwriting genius totally hooks the girls in. I can hear them thinking "that could be me!" already. No wonder that this is the second single.

"Stuck In The Moment," "U Smile," can be classified as pop throw-up...maple syrup mixed with gummi bears and Fun Dip. Pass. "Runaway Love" comes off as pretty boring. "Overboard" features some 14-year old Def Jam chick that sadly sounds exactly like her duet partner. It kinda picks up with some nice strings thrown in, but meh.

The mid-tempo "Never Let U Go" has a good vocal effort by Bieber. "Eenie Meenie" featuring Sean Kingston is rad, though repetitive. "Shorty is a eenie meenie miney mo lover..." Yeah, the lyrics need help. I wish there was a back-and-forth bridge with both guys kinda dueling. Oh well. I'm a fan of the beat for "Up," probably because it sounds like something straight from a The-Dream record. The final track "That Should Be Me" is another highlight. Definitely the main ballad of the album, with cool drummer-boy snares and a guitar solo thrown in.

My World 2.0 has some formulaic songs that are written very plainly, but most songs have refreshing key changes and bridges that are unexpected. Combine that with the undeniably catchy singles, and Bieber's magnetic force continues to grow. His sophomore effort peaks at the beginning, but gets better again near the end. Homeboy's voice sounds like a 14-year old girl, but I feel like that will change -- along with the sappy lyrical content of his songs -- after another year in the biz. The future of the Biebs entity will be interesting.

actors attempting to sing

Lindsay Lohan has had a semi-okay music career thus far, selling 3 million albums worldwide. Her single "Bossy" was underrated and never had an album to accompany it. Like most singing actresses, she utilizes an electronic-heavy pop genre to mask her flaws. Pretty standard. A new song "Stuck" has been leaked (listen here), and sadly it isn't as cool as I was hoping. The beat is definitely addicting, but on the chorus it sounds like she is vocally reaching for "stuck, stuck stuck" -- and never gets all the way up there. The song's a little out of her range. Lindsay claims she doesn't know how the song got leaked...pleassse. It's a great distraction from the hot mess her life has become.

Gossip Girl star Leighton Meester has been dabbling in music for a little while now, but her song "Your Love Is a Drug" is just fun. It's super-short, and has got a summer-y, simple feeling to it (listen here). She has had a few songs with guest stars like Robin Thicke and Lil Wayne, but since her debut album (Love Is A Drug) is supposed to be released this year, she needs to prove that she can step it up solo. Her voice is actually smooth and comfortable, and it will be interesting to see how the album comes out. It will likely be delayed, though, in news that Meester is now filming a new feature, The Oranges.

Frankie Muniz, that guy from Malcolm In The Middle and the Agent Cody Banks movies, has disappeared from acting -- first to become a race car driver (true story), and now to become a drummer for some band in Phoenix. Random. Apparently, Muniz is BFF with Hanson, and Zac Hanson taught him how to play the drums. Good times. Unfortunately, Muniz's band You Hang Up is straight-up mediocre.

Twilight teen sensation Robert Pattinson is even talking about venturing into music. Since he is totally set for life, I'd advise him to stick to what he knows.

try this: the rocket summer (of men and angels)

The Rocket Summer’s Of Men and Angels just came out, and I’ve been loving this band’s sound ever since I heard the bright, emo-tastic Hello Good Friend. Bryce Avary is a one-man wonder, playing all of the instruments himself while recording. This allows him to truly get the sound he wants and envisions. He released the You Gotta Believe EP to give a taste of the new material when his first full album in 3 years was delayed. Bryce’s voice seems more mature and a little lower on this album. Maybe it’s something about piano rock, or the optimism that radiates from most of his songs, or the energy of his live shows…but TRS is just a good time all around.

First off, 15 songs is a pretty good number for an album; having only 10 or 11 songs that make the cut isn’t unusual these days. The leadoff track “Roses” shows off his drum talent, and the sound seems tighter and fuller than on his previous albums. “You Gotta Believe” is the feel-good single. The soul in Avary’s voice is unmistakable, and everything from the guitar solo to the Michael Jackson-like quick breaths makes this an awesome song. But it’s not quite as awesome as “Hills and Valleys,” which has an infectious hook with amazing piano. The lyrics are sweet, simple, and happy; a dedication to touring and the ups and downs of life on the road. Probably my favorite moment on the album is when it all kicks in on “drove out to California…” The hand claps come in and it’s all over. I absolutely love it. Ok I’m done…but it’s SO good. Sorry.

Known for often getting spiritual on some songs, “I Want Something To Live For” tunes into a deeper theme of life and death, while “Of Men and Angels” is a track about Bryce’s relationship with God and the conflicts of fame. “Walls” is another single, with a beautiful piano rhythm that opens up into orchestra-accented rock. A reoccurring topic for TRS, Bryce digs into the corporate music industry on “Nothing Matters.” “Japanese Exchange Student” also dives into his experience being on the brink of fame, saying that it’s all about who you know and that he feels out of place. “Tara, I’m Terrible” is a short dedication to Avary’s wife, who goes on the road with him wherever he goes. The acoustic sound is a nice break, but doesn’t have the same power as his previous acoustic songs like “That’s So You” or “Goodbye Waves and Driveways.” A few other weaker links are “Pull Myself Together (Don’t Hate Me),” “I Need a Break…,” and “Let You Go.” They’re not filler by any means, but nothing to write home about. “This Is a Refuge” is a powerful wake-up song, although it’s titled like something that Dashboard Confessional would make. “Light” as a final track sadly doesn’t compare to the soul of “So, In This Hour…” on Do You Feel, but it is a strong, spiritual finale that fades out with an acoustic “I will trust that it’s not the end, but a great beginning...”

Rock-n-roll count-offs, “whoas” and “ohs,” multi-level harmony, deep personal lyrics, big choruses, great simple solos, and endless energy makes this an amazing album. It is different than Hello Good Friend and Do You Feel, but not in a bad way. He’s getting a bit further away from any genre of “emo.” Bryce is getting older, so his subject matter also matures—and so does his talent. Why hasn’t The Rocket Summer totally blown up into top 40 radio play? As he puts it, “I know it’s not too sexy that I’m singing about the blessings that we get…” And I’m pretty sure he likes it that way.

Listen to Of Men and Angels free on myspace.com >>>

try this: nick jonas & the administration (who i am)

I've never heard a Jonas Brothers song in my life. But I guess one of them put out an album with another band. Nick Jonas said he wanted it to be kind of like Bruce Springsteen and the E Street Band. The Disney-fied teen has found a good sound with this album. Nothing really compares to the Boss, but I see where he's going with that comparison. Apparently, the Jonas Brothers group was initially supposed to be just Nick, solo. While I'm not a giant fan of his voice, this kid is 17 and cut this album in 8 days. I gotta say, he has lots of promise to grow as a songwriter. This fact made me pretty happy, as I wasn't expecting it.

Rose Garden - Sounds very much like a John Mayer song, with the wah pedaled-riffs and all. I do really like this one. Nick sounds like he's got to try a little bit harder than Mayer, but that's cause he probably does.

Who I Am - Man, more John Mayer-y stuff, but a little more pop structured. Still loving the vibe. Nick keeps it simple: "I want someone to love me, for who I am / I want someone to need me, is that so bad?" Well, that's how I felt when I was 17 too.

Olive & An Arrow - Super blues-y. Nick sounds older than his age on this one. A little falsetto goin on. Who is on guitar? They are rocking out.

Conspiracy Theory - Damn, Nick. Go for it. All-out hair band screams on this one.

In The End - Let's slow it down a bit. This ballad is a bit lackluster lyric-wise.

Last Time Around - Super catchy song in a usual filler spot.

Tonight - Cue teenage girls screaming. A slower, sentimental song that moves along well, but is definitely more pop than the rest of the songs.

State of Emergency - This is a song about how Nick has his pick of any chick on the planet. Pretty rad. At least he knows it. His voice has a great range in this one, and the main riff is addicting.

Vesper's Goodbye - Kinda boring. Kinda short. Kinda ok.

Stronger (Back On The Ground) - The background singers make this song a little more epic. Not strong lyrically, but a good closing track.

I'm glad that this shows what someone can do once they're freed from their teen pop ties. This album is labeled in the pop genre, but I'd classify it as (camp) rock. Rock out, Nick. I'm officially pleasantly surprised.

try this: heidi montag (superficial)

Here it is—two EPs and many terrible leaked songs later-- a masterpiece three years in the making, from Pratt Productions. People who wake up one day and randomly think they can sing amuse me. The Hills star’s aptly named Superficial album debut released as digital-only (surprise surprise) this week. With the producers Montag was able to hire (it apparently cost $2 million for her to make this independently) she’s had some decent-sounding songs. So obviously I couldn’t wait to dissect these 12 tracks, which are almost all the same 3:30 length, and all sound very similar to each other. It’s produced very heavily. As usual, Montag’s voice has just the right number of layers and autotune to sound halfway tolerable. Oh, and it’s got a parental advisory label on the cover.

Look How I’m Doin -- …What. This chick is literally rapping on track one, to a heavy offbeat with “Umbrella”-like “ay, ay, ays” in the background. I love it. I hate it. There’s a little bit of “Beep” “ha-ha-has” in the chorus, right before Heidi is singing “you shoulda put a ring on me.” The original thought on this album is overwhelming.

Turn Ya Head -- Heidi claims on this song that she’s “the bitch that you don’t want to miss.” I think it’s supposed to be a club song. It’s got a good beat and an interesting bridge but nothing else is really going for it.

Fanatic -- The second single, apparently. I literally laughed when I heard a T-Pain-ish “Heidiii” in the first second. Good for you, lady. Go for it. Why not. This song gets kinda good at the chorus, I won’t lie. But, not single-worthy. Not even for this album.

Superficial -- The lead single. Whatever I love it. I wrote about it before; this is just a good pop song. The lyrics are absolutely horrible, but what are you gonna do. Heidi “keeps it new-new” on this song. I guess that’s a thing.

More Is More -- think I like it. This is mostly awful, but I could see someone making a fun remix of it. “It’s f--king chaos in here” is the hook. I’m sadly conflicted.

One More Drink -- Alright Montag, we get it. Another song about people looking at you in the club. This romantic gesture of “one more drink and I think that I’ll be in love” shows how selective Heidi is with guys. I can picture all the other girls from The Hills gathering around and listening to this, and just laughing hysterically. Overall, not a memorable track.

Twisted -- Cheesy synths dominate this one, and I can’t take her shout-singing on the chorus. The filler on a mediocre album is…less than mediocre. I was waiting for it to end.

Hey Boy -- A memorable beat and chorus, but everything else is weak.

My Parade -- This is pretty much exactly “If U Seek Amy” but way worse. Some weird synth cymbals and snare drums are used, and it sounds really cheap for a $2 million dollar album.

Blackout -- Sounds like a sickening ode to Spencer to me. This one is kind of good, but I feel like there’s something missing instrumentally.

I’ll Do It -- Gross, but I still like it. David Morales, why do you have to do this to me! With your fun pop beats and untalented singers… I think this is supposed to be a single. I hope not.

Love It Or Leave It -- Heidi’s low vocals are almost worse than the high ones. This is bad. I’ll choose to leave it.

Lyrical Highlights:

“Watch me with a better hotter man, and I’m gonna let him hit this.”

“You’re so twisted-- like an actor in character, I don’t know how I missed it.”

“Don’t act like you can pay my bills, cause I know your broke ass can’t even pay attention.”

“I’m an important lady, when I show up they pay me.”

Basically, this girl can’t sing. You can just hear it in every heavily-edited inflection. At least she didn’t try to throw in some syrupy ballad or something like that. Her producers know what she can get away with—which is anything that doesn’t show off her voice talent. Still, I don’t know who the hell will purchase this digital album. There's no way she will make her money back; it’s just a novelty for her to get more attention. This girl is literally delusional, comparing Superficial to Thriller, saying it will "make an impact in pop history." She doesn’t have any star power to become anything close to even a Britney. I’d be surprised if she even ever performed live again. I guess stranger things have happened; technology is an amazing thing. For Heidi to fake being a musician, it ain’t that easy…but it ain’t so hard.

"For me, I have a different appreciation, a different understanding, and a different love of my music and for my album than any other artist possibly could."

...really, Heidi? Really???

Related Posts:

• love/hate: heidi montag
  

try this: ke$ha (animal)

I knew when I saw the song titles and cover for Ke$ha’s album that she was going for the whole pop-trash angle. Sort of like a Lady Gaga thing, but more electro and dirty. And let me tell you, her debut album Animal is…kind of rad. It’s so close to being a disaster, but it’s so close to genius. Max Martin is a master at his craft of making pop stars, and he had to have Ke$ha after hearing her on the chorus of “Right Round” by Flo-Rida (which was basically the best part of the song). Ke$ha’s single "TiK ToK" has been a party anthem and a number one Billboard hit, but will it be a one-hit wonder?

Animal begins with the words “maybe I need some rehab” – which pretty much sets the tone for 14 tracks of semi-skanky, electronically accented, valley-girl inflected songs. Ke$ha does the talking/semi rap thing a little bit, but also is a very pop-friendly singer with an unmistakable tone. The lyrics are about—well, parties. Lots of them. She also ventures into hot guys, heartbreak, getting trashed, hangovers, and how she sometimes feels bad for being a hot mess.

“Take It Off” samples the melody of The Streets of Cairo (“there’s a place in France where the ladies love to dance…”). The song makes you feel dirtier than Christina Aguilera in 2007, but also all sorts of happy at the same time. It’s got single written all over it. Ke$ha gets a little Katy Perry-ish on “Kiss N Tell,” with an admittedly infectious hook and bouncy video-game noises. I like any song that blatantly says “you should have kept it in your pants.” And who is this “Stephen” guy? First Taylor Swift, now this chick. In any case, she attempts to get his attention in this song that borders on annoying, but I like it anyways. “Blah Blah Blah” is mostly a less cool-sounding "TiK ToK" in which she wants a guy to stop talking.

At the halfway point of Animal, it goes downhill. “Hungover” sounds like a boring version of Beyonce’s “Halo.” I wish “Party At A Rich Dude’s House” was as good as the song’s title, and “Backstabber” and “Blind” serve their purpose as filler. “Dinosaur” is a surprisingly hilarious song about an old guy that keeps hitting on Ke$ha and her friends. The 80’s elements take it up a notch, and songs like these are what this album is all about. “Dancing With Tears In My Eyes” is okay, but reaches for a sad seriousness that doesn’t hit. It picks up with a fun, electronic-heavy ode to “Boots and Boys”-- but at this point Ke$ha, we kinda get it. The last track “Animal” is a less fun “My Life Would Suck Without You.”

So grab the first five tracks, maybe throw in “Boots and Boys,” and have yourself a party. This chick knows what she’s doing, but she’s no Gaga. Then again, I thought she’d be a one-hit wonder too.

try this: lil wayne (rebirth)

Rap and rock are two musical genres formed by the misunderstood; you’d think they were meant to join forces. I always appreciate when artists try to differentiate themselves to keep their sound from going stale, but with Wayne’s “singing,” Rebirth is honestly straight-up weird. Many reviews for the leaked album compare it to a Limp Bizkit-esque venture gone wrong, but that’s not the case. Incidentally, this is not the worst album ever, so let’s get that out of the way right now.

Wayne announced his plans to release a rock album following the Grammy-winning success of Tha Carter III. The effort was delayed from a release date of April 7, 2009 to February 1, 2010. Numerous leaked and mixtape tracks have been all over the internet this year, and as usual there was never a lack of guest appearances by Wayne on the radio and across the charts. The buzz of Rebirth spread after reports that Weezy was working on the album with Fall Out Boy, Lenny Kravitz and other rock staples. The first single “Prom Queen” was debuted from a live concert video, with Mr. Carter even trying out the guitar himself (although I don’t think he was plugged in). It emerged as a high-energy, eclectic, spastic, all-around mismatched track that would be a template for the forthcoming album. The empty lyrics left loyal listeners confused, as Weezy’s words are normally brilliantly combined, even while rapping about less serious topics.

I love Wayne’s ability to give a nonchalant Southern flow for a few bars, break it up with his signature giggle, and then kick back in again with a furious flurry of metaphors, perfectly placed stutters, and his insistences that he is the greatest rapper alive. He can take virtually any song and beat it to the ground when he raps. With his singing, no matter how auto-tuned it is (and it’s supposed to be), there is no comparison to the energy he brings rapping. On Rebirth, Wayne tries to make up for this by utilizing a form of yell-singing, and it just doesn’t work. On the few tracks where he raps – sans autotune – it’s really refreshing in contrast to the rest of the album. The female guest stars from his Young Money label help some tracks that would otherwise drown in Wayne’s robotic shouts. The lyrics on the album also don't compare to his other works, including mixtapes. Here’s a breakdown by track:

American Star – Uninventive guitar licks and boring lyrics “Born and raised in the USA // Where my president is B-L-A-C-K” make this a less than impressive leadoff track.

Prom Queen – It’s a single, but it isn’t catchy. Even if somebody else sang the chorus, it would remain an all-over-the-place song with lame riffs.

Ground Zero – Finally, some great flow in the verses—that unfortunately turns into a terrible chorus and chord progression full of Weezy shouting something.

Da Da Da – I think this is supposed to be a single. The beat is head-bouncing, and I like the palm-muted guitar accents -- too bad the lyrics and singing are nearly intolerable. Wayne busts out the first non autotuned rapping on the album, but when it stops and goes to some weird robo-tune level, you’re better off hitting the next track button.

Paradice – One of the better songs. There’s no real shouting on this one, and it’s got a good guitar hook. It follows a simple rock format of Verse/Chorus/Verse/Chorus/Bridge/Rap Bridge/Chorus. Take one guess what the best part of the song is.

Get A Life – Bright, bouncy guitars rock out to Wayne yelling “f--k you, get a life.” And that’s about it…not a fan.

On Fire – Synth 80s rock is sampled for this one, but with the 808s in the background, it sounds more like Wayne should sound. It could do without the screaming guitars every two seconds, but it’s a solid song with a good rap verse. This could be a single, but I’d be surprised if the radio doesn’t cut out the unnecessary guitar solo.

Drop The World – Much hyped collaboration with Eminem. It’s okay. When Eminem comes in, his voice settles into the guitars perfectly. His angry tone is suited to it, and his verse slowly builds with aggressiveness to become one of the highlights of the entire album.

Runnin – A chill guitar riff, and Wayne kind of rapping – this is a good thing. When the chorus comes, it’s Shanell – also a good thing. She takes over the singing on this one, and as a result, it’s not bad, although a bit dull overall.

One Way Trip – I like this one, again because Wayne raps and Kevin Rudolf is great on the chorus. Might be my favorite on the album. Travis Barker’s on the drums.

Knockout – Sounds like a pop punk disaster. Nicki Minaj can’t even save this one. The voices don’t complement the music and vice-versa. This is the point where you start wondering when this album will be over.

The Price Is Wrong – Just…no. It’s a mess. No comment. I can’t.

This isn’t like Limp Bizkit or Crazy Town, where they know that they’re rockers with semi-catchy choruses who can sort of rap. When Jay-Z made an album with Linkin Park, Jay-Z stuck to rap. When Eminem tried to sing on his song "Hailie's Song", he even made an “I can’t sing” disclaimer. Perhaps one of the better tracks on Rebirth should have just been a filler track on an upcoming album, because this rock star experiment has officially gone awry. It’s simply 12 tracks of one hot mess after another. Rebirth will probably change when it officially releases in February 2010. Wayne’s got two months to figure out what to do with the album, then he’ll be heading to jail for about a year on a weapons charge. With his insane level of musical output, Lil Wayne fans aren’t the patient type. So, I kinda want to forget that this album ever happened, and I want a mixtape from jail to remind me that he’s still one of the best rappers alive. ASAP. Until then, at least we’ve got No Ceilings…

try this: hanson (stand up stand up ep)

A few years back, my dad played a song for me and said “guess who sings this?” It was a really good rock song with a deep-voiced, throaty singer; it had a great melody and combination of sounds. I was pretty much floored when he said "Hanson” (the song was “Watch Over Me”). My mind flashed to images of the “MMMBop” video and the long-haired, high-pitched, smiley pre-teen pop idols. But many people don’t realize that Hanson hasn't slowed down since.

When “MMMBop” was released in 1996 and became their first major hit, the youngest member Zac was only 11 years old. Now 24, 26, and 29, the three brothers Zac, Taylor, and Issac have grown musically and lyrically as well. The really impressive thing to me is that they have always written their own songs and played their own instruments, ever since the beginning.

Their label Island Def Jam dropped them in a messy split in 2001, saying their songs weren’t marketable to their audience. The label refused over 80 songs. The Hanson brothers formed their own independent label 3CG Records, in which Underneath and The Walk were released. Underneath debuted at #25 on the Billboard 200 in 2004, making it one of the most successful independent releases of all time. The Walk was a heavy album in comparison; it was more drastic to further showcase their independence as artists. I saw Hanson play a small acoustic show at Michigan State University in 2005. They played acoustic versions of new songs and a few older ones, and seemed like confident, cool guys, who seem comfortable with where their career has taken them.

Now that I can safely say I’m a Hanson fan, I was naturally stoked when I heard they’re going to release a new album in mid-2010. They released the Stand Up, Stand Up EP a few weeks ago, including 4 live acoustic versions of songs on their upcoming album, along with 1 studio version song. The EP has simple progessions, lots of harmonies, and addictive melodies—pretty much standard Hanson. But their sound has matured even further since The Walk.

“These Walls”
Some happy chords, light organ, and heavy piano make me want to hear this song with drums.

“Carry You There”
Watch It Here (Taylor’s got a ‘stache, Zac’s still sporting a ponytail, and Issac is clearly a grown man.)
The harmonies are ridiculous on this...it just shows how long they’ve been playing together and hearing each other. I love the acapella repeats of “I’ll carry you there” at the end. They’re seamless.

“Use Me Up”
This song’s very different from the rest of the EP. Zac sings on this one, sadly singing “Use me up // Cause no one ever does.” Damn, Zac Hanson. A little emo these days are we? It still sounds great but the studio version should be better.

“Waiting For This”
…Cut to bright piano and drums. This super-upbeat song reminds me of the sound of The Rocket Summer (one of my favorites), right down to the “singalong” parts. I loved this one.

“World's on Fire”
This is the studio version, and the lyrics gave the Stand Up, Stand Up EP its name. Drums are heavy and contract with the high-note guitar and piano leads. It’s a little redundant overall, but the harmony doesn’t disappoint.

Give this EP a try, and you too may just become a Hanson fan. No shame is necessary.

love/hate: paris hilton

Being one of the most famous-for-being-famous socialites of the decade, Paris Hilton woke up one day and decided that she could sing. Well, it looks like homegirl is returning to the studio -- she even claims she wrote all the songs for her upcoming album herself. Paris founded Heiress Records in 2006 (a subsidiary of Warner Bros.) to record her first effort Paris, but was soon dropped—and it looks like nobody wants to record her sophomore album. Paris actually peaked at #6 on the Billboard 200, although overall sales were poor. The single "Stars Are Blind" was a great summer song-- it got lots of MTV rotation, and topped many charts worldwide. Yeahhh…I was as shocked as you were. So of course when that happened, I had to go and listen to every song she ever recorded. And they weren’t bad.

Paris had the help of mega-producer Scott Storch to create a dance/hip-hop/Kylie Minogue-sounding album—but the best part are the remixes. They cover up the vocals; but hey, it’s still kinda her voice under all the drums and bass. The lyrics are brutally honest, detailing her rough life as an heiress looking for love:

”Since I'm already screwed
Here's a message to you
My heart's wide open
I'm just not getting through to the lover in you
Yet I'm still hoping
That tonight, tonight, you're gonna turn down the lights
And give me a little more room just to prove it to you
What do I gotta do?”

Here’s the thing. This girl was born into a hotel empire and knew she never had to work a day in her life, yet she has anyways. So why not add a little singing to her TV shows, modeling career, perfume line, clothing line, a DOG clothing line, purse line, shoe line, cell phone games, sex tape DVD sales, public appearances, acting “career,” books, and even political stints. Paris sings simple, energetic dance/pop songs, and that’s just what they’re meant to be.

Let’s not forget the wise words she has told us live by: "Dress cute wherever you go, life is too short to blend in.” With prose like that, I can’t wait to hear the lyrics she’s written on her next album. In fact, some of the leaked songs are a preview of what we’re in for. On “Platinum Blonde,” she says “Oh peroxide, do your work on me.” On “Girl Tax” she croons “My heart beats for the P-R-A-D-A.”

Good times.

The Guilty Pleasures:

To be honest, I LOVE the "Screwed" and "Nothing in this World" remixes. I may or may not know all the words.