Daily Archives: September 8, 2017

See Fifth Harmony Go Glam in Surprise 'Deliver' Video

Fifth Harmony dropped their surprise new video “Deliver” Friday, the latest visual from the now-quartet’s self-titled album.

“Surprise, Harmonizers! We wanted to DELIVER something special as a thank you for your incredible support,” Fifth Harmony tweeted to fans before the David Camarena-directed video’s premiere.

“Deliver” sees the four Fifth Harmony members in full-on glam mode as they wear matching black gowns, gloves and assorted diamond jewelry to perform the single like girl groups of decades’ past.

The new video follows previous Fifth Harmony visuals for “Down,” “He Like That” and “Angel.” The album opened up at Number Four on the Billboard 200 following its August 25th release, matching the group’s peak with 2016’s 7/27, their final album with ex-member Camila Cabello.

Fifth Harmony also performed “Down” and “Angel” at the 2017 MTV Video Music Awards, one of the best moments from this year’s event.

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Stax Records Gathers Classic Hits for 'Soulsville U.S.A.' Set

The biggest hits from the legendary Stax Records – including classics from Otis Redding, Sam & Dave, the Staple Singers and Isaac Hayes – will feature on the upcoming three-disc set Soulsville U.S.A.: A Celebration of Stax, the latest installment of Stax’s yearlong celebration of its 60th anniversary.

Soulsville U.S.A. carries 60 songs culled from the Stax catalog from the early Sixties to the mid Seventies, including Redding’s “Try a Little Tenderness’ and “(Sittin’ On) The Dock Of The Bay,” Sam & Dave’s “Soul Man” and “Hold On! I’m Comin’,” Booker T. & the MG’s “Green Onions” and many more.

Iconic tracks from Carla Thomas (“B-A-B-Y”), William Bell (“You Don’t Miss Your Water”), Albert King (“Born Under a Bad Sign”) and Hayes (“Theme From Shaft,” “Walk On By”) and cuts from both the Mar-Kays and the Bar-Kays are also included on the 3CD set, which arrives September 22nd.

The set also features updated liner notes by journalist Jeff Slate, who penned Stax 50: A 50th Anniversary Celebration.

Stax previously announced plans to release a box set dedicated to Isaac Hayes’ tenure at the legendary label.

Soulsville U.S.A.: A Celebration of Stax Track List

Disc 1

1. The Veltones – “Fool In Love”
2. Carla Thomas – “Gee Whiz”
3. The Mar-Keys – “Last Night”
4. William Bell – “You Don’t Miss Your Water”
5. Booker T. & the MG’s – “Green Onions”
6. Rufus Thomas – “Walking The Dog”
7. Wendy Rene – “After Laughter (Comes Tears)”
8. Otis Redding – “I’ve Been Loving You Too Long (To Stop Now)”
9. The Astors – “Candy”
10. Sam & Dave – “You Don’t Know Like I Know”
11. The Mad Lads – “Don’t Have To Shop Around”
12. Carla Thomas – “Let Me Be Good To You”
13. Mable John – “Your Good Thing (Is About To End)”
14. Eddie Floyd – “Knock On Wood”
15. Sam & Dave – “Hold On! I’m Comin'”
16. Otis Redding – “Try A Little Tenderness”
17. Carla Thomas – “B-A-B-Y”
18. Booker T. & the MG’s – “Hip Hug-Her”
19. The Bar-Kays – “Soul Finger”
20. Otis & Carla – “Tramp”

Disc 2

1. Albert King – “Born Under A Bad Sign”
2. Sam & Dave – “Soul Man”
3. Otis Redding – “(Sittin’ On) The Dock Of The Bay”
4. Eddie Floyd – “Big Bird”
5. Ollie & The Nightingales – “I Got A Sure Thing”
6. Booker T. & the MG’s – “Soul Limbo”
7. Linda Lyndell – “What A Man”
8. Judy Clay & William Bell – “Private Number”
9. Eddie Floyd – “I’ve Never Found A Girl (To Love Me Like You Do)”
10. The Staple Singers – “The Weight”
11. Johnnie Taylor – “Who’s Making Love”
12. Carla Thomas – “I Like What You’re Doing (To Me)”
13. William Bell – “I Forgot To Be Your Love”
14. Booker T. & the MG’s – “Time Is Tight”
15. Rufus Thomas – “Do The Funky Chicken”
16. The Emotions – “So I Can Love You”
17. Isaac Hayes – “Walk On By”
18. Johnnie Taylor & Carla Thomas – “Just Keep On Loving Me”
19. The Staple Singers – “Heavy Makes You Happy (Sha-Na-Boom Boom)”
20. Rufus Thomas – “(Do The) Push And Pull (Part. 1)”

Disc 3

1. Jean Knight – “Mr. Big Stuff”
2. Johnnie Taylor – “Jody’s Got Your Girl And Gone”
3. Isaac Hayes – “Never Can Say Goodbye”
4. The Dramatics – “Whatcha See Is Whatcha Get”
5. The Staple Singers – “Respect Yourself”
6. Isaac Hayes – “Theme From Shaft”
7. The Bar-Kays – “Son Of Shaft”
8. Little Milton – “That’s What Love Will Make You Do”
9. The Soul Children – “Hearsay”
10. The Dramatics – “In The Rain”
11. Isaac Hayes – “Do Your Thing”
12. Frederick Knight – “I’ve Been Lonely For So Long”
13. The Staple Singers – “I’ll Take You There”
14. Mel & Tim – “Starting All Over Again”
15. Temprees – “Dedicated To The One I Love”
16. The Dramatics – “Hey You! Get Off My Mountain”
17. Johnnie Taylor – “Cheaper To Keep Her”
18. The Staple Singers – “If You’re Ready (Come Go With Me)”
19. The Soul Children – “I’ll Be The Other Woman”
20. Shirley Brown – “Woman To Woman”

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Watch Revealing First Trailer for 'Eric Clapton: Life in 12 Bars'

Showtime has unveiled the first trailer for Eric Clapton: Life in 12 Bars, the documentary about the guitar god that is premiering this weekend at the Toronto International Film Festival.

The preview opens with blues legend B.B. King praising his friend Clapton before it unfurls just some of the unseen archival footage and photographs from throughout the guitarist’s life, from childhood and Cream to “Layla” and his solo career.

“I knew that I was different, but I didn’t know why,” Clapton says in voiceover before some of his peers discuss how he “revolutionized” guitar playing.

Life in 12 Bars will also dig into the darker patches of Clapton’s life, including his drug and alcohol addictions and the tragic death of his four-year-old son Conor in 1991.

Director Lili Fini Zanuck was given “extensive personal archive of classic performance clips, on- and off-stage footage, iconic photos, concert posters, handwritten letters, drawings and personal diary entries,” producers previously revealed.

Eric Clapton: Life in 12 Bars, one of Rolling Stone‘s 30 Movies We Can’t Wait to See at the Toronto International Film Festival, will premiere February 10th, 2018 on Showtime.

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Watch Young Thug, Carnage's Blood-Soaked 'Homie' Video

Young Thug and Carnage announced a joint EP titled Young Martha with a bloody, Shining-inspired video for their new single, “Homie.” Meek Mill is featured on the incinerating new song as well.

The video begins with twin girls in matching dresses, holding hands while playing piano. The show then reveals that the young girls are on the ceiling, while Young Thug is sitting across a table from a gluttonous man yelling at the staff and presumably the rapper. The staff sharpens their knives before eventually descending upon the man to murder him, leaving him hanging from the chandelier as blood surrounds the lighting structure.

Young Martha will be released on September 22nd. Young Thug released the solo project Beautiful Thugger Girls — a follow-up to 2016’s acclaimed Jeffery — earlier this year, and the trap/EDM DJ and producer’s last project was 2015’s Papi Gordo. The rapper has made several guest appearances on singles this year, including “Bankroll” by Diplo, Justin Bieber and Rich the Kid as well as Calvin Harris’ “Heatstroke” featuring Ariana Grande and Pharrell Williams.

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Dave Grohl Recalls Foo Fighters Backing 'Nervous' Mick Jagger on 'SNL'

When Dave Grohl stopped by Metallica drummer Lars Ulrich‘s Beats 1 radio show, It’s Electric! recently, he told the story of how Foo Fighters became Mick Jagger’s backing band on Saturday Night Live in 2012.

As Grohl explained on the episode – airing in two parts this Sunday at 6 p.m. EST and Thursday, September 14th at 2 p.m. EST – it began with a phone call from SNL producer Lorne Michaels. “He said, ‘Well, look, I’m working on the season finale and the host is going to be Mick Jagger.’ And I’m like, ‘Oh, my God, that’s amazing.’ He goes ‘Yeah, he’s nervous about it. He’s never hosted before. And so this is his first time.'”

Grohl wanted to help but realized he had a gig the same night as the broadcast, and his manager told him he wasn’t allowed to cancel the show. So they took a helicopter. “We soundchecked or whatever, flew over, did a two-and-a-half­–hour gig and flew back and jammed with them,” he said. “And then since it was the season finale, they were having a party out in that square with the ice rink right next door or whatever and they’re like, ‘Would [Foo Fighters drummer Taylor Hawkins’ cover band] Chevy Metal play the party?’ So we’re like, ‘Yeah.’

“We said to Mick, ‘Hey, would you wanna come up and maybe do “Bitch” with us?'” he continued. “And he was like, ‘Yeah, we’ll see how it feels.’ And then the party starts and we see him and we’re like, ‘Pleeeease, Mick Jagger,’ and he came up and did ‘Bitch’ and it was amazing. He was so on it and the audience was like, ‘Oh, my God,’ and we just go straight into ‘Miss You’ to make sure he doesn’t leave the stage and it was nuts because you don’t realize how Mick – he’s super cool. He’s a great guy.”

Ulrich and Grohl also talked about the Foo Fighters frontman’s stint in Them Crooked Vultures, Grohl meeting Lemmy Kilmister, his run-in with Liam Gallagher and swapped stories about Paul McCartney.

Grohl recalled how they recorded “Cut Me Some Slack” with the former Beatle for Grohl’s Sound City film soundtrack. It went so smoothly that Grohl remarked to McCartney, “Why can’t it always be this easy?” “And he said, ‘Uh, it is,'” Grohl said. “And I was just like, ‘Dude. For you, Paul McCartney.”

Ulrich’s encounter with the former Beatle was less “easy.” He was at an event where Bono and the Edge were playing, and there was an empty drum kit and bass onstage. “I’m like, ‘This is my chance to drum in U2 with Bono and the Edge,'” he recalled. “And I start building up the courage. I’m standing at the back hoping nobody will see me, and I’m going to start walking up and right as I start this other guy is five feet ahead of me and walks up, and I can’t see who it is. And then he goes up and sits behind the drum kit up there, and it’s Paul McCartney. I say, ‘Wait a minute. I’m supposed to play drums in U2. That was my shot!’ Then I ran screaming out of there and haven’t been back since.

“But [McCartney] is a great drummer,” he continued. “He had a great pocket. It was super cool. They did a couple of songs and it was Bono, the Edge and McCartney on drums it was crazy. It was so cool because there was no phones allowed … and it was just something that existed in the people’s minds that were there.”

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The Edge to Replace Instruments for Musicians Affected by Hurricane Harvey

The Edge announced he is raising funds to replace the instruments lost by musicians impacted Hurricane Harvey. The U2 guitarist began his charity Music Rising, in 2005 after Hurricane Katrina.

“You might recall that Edge – when Hurricane Katrina did its damage to New Orleans and destroyed the lives of so many musicians there – he put together Music Rising,” The Edge’s U2 bandmate, Bono, said in an interview with Boston radio station Mix 104.1. “And it was a really clever way of getting the musicians of the area some instruments so they could continue to live.”

Though exact plans for the recovery effort haven’t solidified just yet, Bono noted that “Edge has been in discussions now to do the same [work] in Houston. And you know, we have private ways that we will respond, but publicly that’s what we’re doing.”

Donations for those affected by Harvey can be made on the Music Rising website.

A number of celebrities, including Beyonce, George Clooney, Oprah and Jamie Foxx are set to participate in a telethon to help raise funds for hurricane relief airing live Tuesday, September 12th at 8 p.m. ET on ABC, CBS, CMT, Fox and NBC. It will also stream live on Facebook, YouTube and Twitter.

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Selena Gomez Releases Powerful Statement Defending DACA After Trump's Decision

Selena Gomez posted a firm statement Friday via Instagram in support of the DACA and against President Trump’s recent decision to end it.

“My definition of dreamer is someone that thinks big and believes anything is possible,” her statement reads. “The wonderful people being threatened by the unfortunate reversal of DACA are exactly that. Please call The White House, your local member of Congress and state Senators to let your voice be heard to defend DACA! You can find out how to reach out to your representatives here.”

A post shared by Selena Gomez (@selenagomez) on Sep 8, 2017 at 9:39am PDT

Gomez also provided a link to USA.gov so that people can find out how to reach out to their representatives.

The singer was recently featured on the cover of Time magazine for her huge following on social media; she was the first user to reach 100 million Instagram followers last September, and she currently has 126 million.

Though she took a brief 90-day break from social media in 2016, she returned last November in full force, with her focus largely shifted toward the professional versus the more personal.

“I can’t imagine what it would be like to grow up with [social media],” she told Time. “It’s already difficult to get up every day and just feel good about yourself without seeing the highlights of everyone else’s life. That’s why I like being vulnerable with my fans on social media. I like that they’ve seen my mistakes. I try to use that as a way to connect with them. That’s all I can do. I hope that they know that strength doesn’t mean that you have to put on a facade. Strength is being vulnerable.”

On Tuesday, President Trump announced via his attorney general that he had decided to rescind the Deferred Action for Childhood Arrivals program, or DACA, which provides protection to young people who were brought to the United States before age 16, and allows them to live, work and go to school without fear of being deported.

“Congress, get ready to do your job – DACA!” he tweeted Tuesday, turning over the responsibility of carrying out his commands to Congress.

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Watch Lena Dunham Dance in Mas Ysa's 'Untitled' Short Film

Lena Dunham shows off her dancing skills in Mas Ysa’s short film to accompany his Untitled EP, which was also released today. Dan Shapiro directed the visuals.

The 15-minute video features distinct scenes for each of the five songs on the EP. It begins with a baby and continues to a woman driving down a road while holding a dog. Dunham shows up for “Face,” where she is seen on a couch and mouthing along to the lyrics. As the track picks up, she gets out of her seat and bounces around the living room with abandon and all alone before adjusting some figurines on the mantle above the fireplace.

The Girls creator has taken forays into the music world before. On an episode of Late Night With Seth Meyers, she helped out Sia during a performance of “Chandelier” by re-enacting Maddie Ziegler’s famous music video dance in Sia’s signature blonde wig. More recently, Dunham directed the opulent music video for “Don’t Take the Money” by her boyfriend Jack Antonoff’s band Bleachers.

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50th Anniversary Flashback: The Rolling Stones in Rolling Stone

In late 1967, Mick Jagger stopped at a newsstand and saw a new magazine whose name made him do a double take. “Quite surprised, really,” he joked in an interview about Rolling Stone with the Rock and Roll Hall of Fame. “Didn’t know we had a magazine at that time, but you never know.”

The name of the magazine was a nod not just to the Rolling Stones but also to Muddy Waters’ “Rollin’ Stone” and Bob Dylan’s “Like a Rolling Stone,” as well as the aphorism “a rolling stone gathers no moss.” But one of the Stones’ lawyers, clearly not as amused as Jagger, sent a cease-and-desist letter to founder and editor Jann S. Wenner, accusing the magazine of copyright violation. Wenner never considered changing the name. “We said, ‘Show us some evidence the group wants us to stop,'” he remembers. “We never heard back.”

It was an odd start to an association between the band and the magazine that would endure for decades. 
For 50 years, Rolling Stone has intensely covered “the World’s Greatest
 Rock & Roll Band.” Its writers would 
watch the Stones rehearse and record, 
spend months on the road chronicling 
extravagant tours, engage in moments 
of verbal jousting, and conduct interviews that probed the group’s music 
and its sometimes fragile internal dynamic. “We were contemporaries and simpatico,” Wenner says. “They embodied the spirit of what we believed in, and we wholeheartedly supported them.” The Stones wound up on the cover of Rolling Stone 30 times. In turn, the magazine became a place for the bandmates to explain themselves and their songs, and, sometimes, send messages to one another.

For Wenner, who first saw the group in concert at California’s San Jose Civic Auditorium in 1965, the Stones were a revelatory experience. “They were the spirit of rock & roll and rebellion,” says Wenner. “They were tough and loud. You were just mesmerized.” From the start, the Stones were equally intrigued by a magazine that sought to honor and examine rock & roll’s history and cultural significance. “For a genre of music to be taken seriously, there are several things that have to happen,” Jagger said. “One of them is that there has to be a body of criticism by educated writers. They can write about the genre and thus give it some sort of gravitas and history. It was the beginnings of a historical context, and Rolling Stone and Jann Wenner started that. Rolling Stone helped bring rock & roll forward as more of an intellectual art form than just an ephemeral one.”


The relationship between the band and the magazine had its share of give-and-take. Writing about 1967’s Their Satanic Majesties Request, critic Jon Landau said the Stones were suffering from “an identity crisis of the first order.” In response to the review, Charlie Watts sent a handwritten letter saying, “The rest of us will I’m sure try for the next one.” (The magazine printed the entire letter.) 

In 1968, Wenner flew to Los Angeles to watch Jagger mix Beggars Banquet, and wrote a definitive cover story previewing the new album and, with it, the Stones’ move back to tough, bluesy rock & roll. That same year, Jagger sat with Jonathan Cott for the first of many cover-story interviews, talking about the band’s early days, records, and the blues. In 1969, Jagger and Wenner announced they would together be launching a British edition of Rolling Stone, which lasted less than a year. “Mick went off to make Ned Kelly, so no one was in charge and we shut it down, but it was fun for a while,” says Wenner.


Yet Jagger was infuriated by Rolling Stone‘s take-no-prisoners reporting of the tragic Altamont Speedway concert in December 1969, which partly put the blame on the Stones’ organization for the deaths and chaos at the show. “Rightly or wrongly, we no longer trust you to quote us fully or in context,” Jagger wrote in a telegram to Wenner in February 1970. Recalls Wenner, “Mick felt it was unfair, but we did what we as journalists had to do, and I thought Mick would understand. And as the years passed, he did.”

Whenever the band would hit the road for one of its extensive tours, Rolling Stone was there to cover the around-the-clock rock & roll carnival. “We covered their tours as if they were presidential campaigns,” says Wenner. “If the tour was four months long, we’d assign someone to travel with them for four months. No one does that anymore. No one would allow it anymore.”

In 1971, writer Robert Greenfield spent time with Keith Richards and the band in the South of France while they were making Exile on Main Street. The result was a 10,000-word interview, the most in-depth Richards had ever done. Greenfield later spent more than a month on the road with the Stones in 1972, flying on the band’s private plane and watching Richards toss back tequila sunrises for breakfast (and toss a TV out a hotel window). “When you got off the plane there were eight or 10 limos waiting to take you to the hotel,” Greenfield recalls. “They were like an invading army. Everybody who read Rolling Stone wanted to know what had happened in the two weeks since the last issue.”

Keeping up with the Stones wasn’t easy. In 1981, Kurt Loder watched as Richards unscrewed the top of a shark’s-tooth necklace and poured out lines of coke that, to Loder, resembled “ground diamonds.” Loder partook and soon blacked out. When he awoke, he was somehow onstage during rehearsals and picked up one of Richards’ guitars. “I dropped it to the floor,” he says. “Then I had to be led away by somebody to surely become a figure of mockery in Rolling Stones circles from that point on.”

Yet the bond between the Stones and the magazine never eroded. Jagger and Richards continued to give revelatory interviews that reflected their individual personalities. Richards was open to discussing anything, including his issues with Jagger’s solo career (and what he called Jagger’s “jerk-off band”). Jagger was usually more guarded. Asked by Mikal Gilmore about Richards’ biting 2010 memoir, Life, Jagger respectfully declined to discuss it. “In his unwillingness to talk about it, it was plain that he was genuinely offended by it,” says Gilmore. “But Jagger feels that caution is the better part of dignity.” 

At certain moments – like when Richards cracked “Mick is welcome, I’m sure he’ll turn up” to writer Patrick Doyle in 2011 when discussing rehearsals for a possible tour – it felt as if Jagger and Richards were speaking to each other by way of the magazine. “They knew the other person was reading it,” says Wenner.

Jagger generally has little patience for lengthy interviews, but he made one big exception for the magazine in 1994. “No one had ever really done a long interview with him,” Wenner says. “I said, ‘As a matter of history, we should do this.’ He agreed to it instantly.”

Conducted over the course of nearly a year, in several cities, the 20,000-word conversation, in a December 1995 issue, remains the most wide-ranging overview Jagger has given, touching on the creation of some of the Stones’ biggest songs, his thoughts on Richards’ drug problems (“I’ve never really talked to Keith about this stuff”), the Beatles, Altamont and his business savvy. “It was a good interview,” Jagger said. “We covered a lot of ground. I always teased Jann that he was the richest journalist that I’d ever interviewed [with]. Wherever I was, he would turn up in his plane and basically keep the engine running while he did the interview for an hour and get back on it again.”

By the time writer Brian Hiatt sat with the band in late 2016 for the magazine’s most recent cover story, it was clear Jagger and Richards had come to a détente. “I love the man,” Richards said. “That doesn’t mean I can’t get pissed off occasionally. … It’s amazing we’re both alive. I celebrate Mick’s life. He’s always five months older than me!” Hiatt and Jagger bonded over their mutual love of blues harmonica, which made Hiatt realize a key to connecting with Jagger in interviews: “People have trouble acting normal around him, so the more relaxed you are, the better off you are.”

AtWenner’s urging, Jagger took part in the Rock and Roll Hall of Fame25th-anniversary concerts in New York in 2009, joining U2 and the Black EyedPeas for a fiery version of “Gimme Shelter” that Wenner calls “agreat highlight” of the connection between magazine and band. “They’vetraveled the same long road we’ve traveled,” says Wenner. “Now we’reall grown adults, still firing away.” Jagger, for one, agreed: “Youknow, we’ve been living alongside each other for all this time, and it’s arather wonderful thing that we’ve both been going, and keep on going, for solong.”

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Review: Tori Amos Processes our Trump-Era Trauma on 'Native Invader'

Few artists are as deft as Tori Amos at writingabout the ways people process pain. In these times of national trauma, then, anew LP from her feels uniquely urgent. Amos confronts the Trump era mosteffectively with “Broken Arrow” and “Up the Creek,” darklyfunky protests against white supremacy and climate ignorance. Elsewhere, sherolls through psychedelia (“Wildwood”), chilled-out trip-hop (“Wings”)and her trademark passionate piano ballads (“Bang,” “Mary’s Eyes”),scattering political allusions like seed pearls. It adds up to one of the mostpurposeful full-length statements in her quarter-century career. 

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