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Category: News

music-news-from-breakups-to-the-lastest-buzz

  • Separated at Birth? Recent Singles by Alicia Keys and OneRepublic

    Both Alicia Keys and singer-songwriter Ryan Tedder of the band OneRepublic have faced accusations that, well, if their songs were toilet paper, they could be labeled as containing at least 35% post-consumer recycled materials. This spring, Kelly Clarkson called Tedder out on the more-than-passing-resemblance between her 2009 hit single “Already Gone” and “Halo” by Beyonce, both Tedder originals. Meanwhile, our good friend Money Mike has noted here and elsewhere the Force MD’s impression Keys pulls off on “That’s How Strong My Love Is”, a highlight of her latest (and best yet) record The Element of Freedom. But in the case of a couple of recent singles, it seems that Tedder and Keys have independently arrived at roughly the same song, roughly simultaneously. Though Keys’s song was released and charted modestly as a single last year while OneRepublic’s is only just now starting to scale European charts and isn’t yet receiving any U.S. airplay, the albums the songs are taken from appeared within weeks of each other last fall. Neither artist could fairly accuse the other of even accidental plagiarism. Both are great songs, but it’s hard for me, when I’m singing along with one, not to sing the words and melodies of the other over it. I’d love to hear Alicia Keys co-fronting OneRepublic with Ryan Tedder on a mash-up of these songs.

    Alicia Keys “Doesn’t Mean Anything”

    OneRepublic “Marchin’ On”

  • He Wants You! He Wants You! He Wants You To Know He Still Exists!

    Like the National Biscuit Company and Kentucky Fried Chicken before them, the Young Men’s Christian Association, heretofore known as the YMCA, has adopted the popular abbreviation of their official corporate identity as their official official corporate identity. The group will now simply be known as the Y. This change, of course, has serious ramifications for disco lovers and wedding reception attendees around the world. If YMCA (the organization) is now to be known as just “The Y”, whatever will become of “Y.M.C.A.” (the Village People song). I mean, “It’s fun to stay at the Y”? What about those three remaining syllables in the chorus? What are we supposed to sing there? What dorky dance moves are we supposed to do now? And most importantly, what about the children?

    A mock-up of the revised cover art for the Village People’s 1978 hit single, produced prior to Victor Willis’s statement.

    Thank heavens for Victor “Hot Cop” Willis, the group’s original lead singer, who took time out of his busy day to ISSUE. A. STATEMENT. reassuring the confused masses that the name of the song will not change thereby averting pop-cultural panic on a grand scale. What’s that I hear? Oh, that must be the collective sigh of relief heaved by the executives at Casablanca Records knowing that they would not have to put the 1978 album Cruisin’ back in print in order to correct the title of the group’s most (in)famous hit single. (Or maybe it was the collective sigh of relief from the Y’s Board of Directors that after more than 30 years of trying to distance the organization and distinguish its mission from the homoerotic double-entendre offered up in the song’s lyrics, they’ve finally stumbled on a tactic that has a small chance of actually working.)

    In related news, The Escape Club have confirmed that they will not be changing the lyrics to their 1988 hit “Wild Wild West” in order to reflect the prevailing wisdom that we are no longer heading for the 90s or, in fact, living in the 80s. Also, a representative from the James Brown estate issued a statement earlier today that the title of the Godfather of Soul’s 1985 single “Living in America” will remain the same despite the fact that Brown is, y’know, dead.

    {Personal note to Mr. Willis: Dude! I love Village People, okay? Especially Victor Willis-fronted Village People. I mean that. In totally unironic ways. When people ask me what my Top 10 favorite albums of all time are, Macho Man is there right between Pet Sounds and Doolittle (and the 1977 self-titled debut is probably in my Top 20). And when people ask me who my Top 10 favorite frontmen are – dude, you’re there, right between Freddie Mercury and Prince. I mean that! Okay? So, speaking as fan: don’t do this. It makes your legacy look like a bigger joke than most people already regard it as. It hurts. Deal? Thanks, man.}

  • The American Idol Tour Is Getting Cut Short. Is This Bad News?

    In what might be further proof of the faltering of the American Idol franchise, Billboard.com reported in a brief post yesterday that the American Idol summer tour, which features Season 9’s top 10 contestants including this year’s winner Lee DeWyze and shoulda-been winner Crystal Bowersox, will be coming to an early close at the end of August. But while I certainly sympathize with the show’s performers, I have to think this is a good thing – for the performers as well as their audiences. Although by its very definition, the American Idol concert tour should feel current, it has always struck me as a weirdly anachronistic concept, an ugly ghost of the recording industry’s past haunting the summer tour schedules each year. Like the travelling road shows of the 50s and 60s (famously sent up via the “Play-Tone Galaxy of Stars” tour in Tom Hanks’ wonderful 1996 movie That Thing You Do!), it always seemed more about advancing the Idol brand then promoting any of the individual artists.

    Especially as the franchise has maneuvered away from the by-the-numbers big-vocals pop performance template it began with, gradually culminating in this last, much-unloved season’s full-on embrace of “artist” values – varied and often idiosyncratic vocal styles, varied and often idiosyncratic stage personae, singers as both songwriters and (multi-)instrumentalists – the American Idol summer tour has begun to seem out of touch with its own brand. Moreover, as the show has started to find more and more artists who’ve already had their foot in (and slammed by) the music industry’s door, there’s an even greater disparity among its finalists’ in terms of level of experience and/or naivete. Even despite the relative compatibilities of their styles (compared to previous seasons’ first and second finishers), why, but for their common appearance on a hit TV show, should someone like Crystal Bowersox ever have to share a bill with a singer like Lee DeWyze? Or vice versa? (I don’t mean that as a diss to either.) In the real world, there’s no way David Cook would ever co-headline a tour with David Archuleta. I mean, c’mon. The sheer diversity of the show’s contestants has turned what used to be a pretty straightforward pop showcase into an increasingly hodge-podgy (in terms of both stage prowess and style) travelling version of a talent show for which the winner has already been declared, thereby limiting and cheapening what each of the performers can do, reducing their act to a least-common-denominator-ready instant replay of the season’s greatest hits and misses.

    That said, a far more palatable (and possibly far more profitable) alternative to the annual Idol tour is already presenting itself. This summer, last year’s runner up Adam Lambert is currently on tour with fellow Season 8 finalist Allison Iraheta. Not only does it offer Lambert, clearly the more seasoned and exciting performer, the showcase he clearly deserves while giving Iraheta a platform (and a sympathetic audience – surely more of Iraheta’s AI constituents gravitated toward Lambert than Season 8 winner Kris Allen in the final tallies) on which to grow as both an artist and a live performer. Maybe the venues they’re playing are smaller than the Idol tours, but I imagine that after spending nearly half a year watching these singers from the comforts of their living rooms, audiences would both crave and appreciate the intimacy that smaller venues might afford. Seriously, how many people really come to see all 10 artists?

    So. Note to American Idol producers. Ditch the “Top 10” road show. Instead of one big tour, why not criss-cross the country with three or four smaller tours with two or three artists on each bill. For every Adam, an Allison; for every Kris Allen, a Danny Gokey. It will better serve the artist. It could very well better serve the brand as well. The Idol tour might only hit any given concert market once or twice in the summer. With multiple tours, they could hit the same market half a dozen times. And there really may be folks who want to see all 10 artists bad enough to buy tickets every time one of the many AI tours comes to town. Just sayin’.