Daily Archives: October 12, 2017

Hear Pink, Eminem Get 'Revenge' on Cheater on Bubbly New Song

Pink recruited Eminem for “Revenge,” a new song off the singer’s newly issued seventh LP, Beautiful Trauma.

Seemingly channeling Eminem’s Slim Shady LP, producers Max Martin and Shellback couch dark lyrics about revenge on a cheating ex under a bubbly musical bed that wouldn’t be out of place next to the rapper’s 1999 hit “My Name Is.”

“So when you’re driving to his house and you pass me while I’m driving a hearse,” Eminem sings. “Just remember: you cheated on me first. You’re a whore. You’re a whore. This is war.”

“I know that it won’t fix a thing / A song like this that I could sing for you,” Pink sings. “All the feels you make me do /
A nightmare fucking coming true / I wish I was a lawyer, I would sue you.”

Pink told U.K. morning show Lorraine on Tuesday that she initiated the collaboration after writing a fan “love letter” to the acclaimed rapper. “I reached out to him in this case,” she said. “I love him. I’ve always loved him. I think he’s a lyrical genius.” 

“I had written this song. I had went to the studio and drank a lot of wine, I wrote ‘Revenge,'” she continued. “And then, I went home and drank more wine because that’s what you do when you’ve already drank a lot of wine – you think more wine is a good idea. And I wrote him an email, and I said, ‘I love you. I’ve always loved you. I’ve loved you since you gave me your autograph at the 2001 MTV Music Video Awards. I love that you always work with the same people.’ I just wrote this love letter, and he just wrote back, ‘OK.'”

Pink also marked her album release by staring in the Apple Music short film On the Record: P!nk – Beautiful Trauma. She will promote the LP on a massive North American tour launching in March 2018.

Eminem drew headlines on Tuesday with his visceral, anti-Trump freestyle during the BET Hip Hop Awards. The rapper bashed the president on a wide range of issues, including his administration’s handling of immigration, national tragedies, white supremacy, NFL protests and gun control.

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Review: Bruce Springsteen's Broadway Show Is an Intimate Triumph

A little over four minutes into Bruce’s Springsteen‘s Broadway show, he stops playing the opening song, “Growin’ Up,” and speaks to the crowd, his voice entirely unamplified. “I have never held an honest job in my entire life,” he says in a near-shout. “I’ve never worked nine to five. I’ve never done any hard labor, and yet is all that I’ve written about.”

With last year’s myth-shattering, deeply evocative memoir Born to Run, Springsteen introduced readers to the real, vulnerable, complex human being behind his larger-than-life persona. Springsteen on Broadway, at the 975-seat Walter Kerr theater, is in many ways a live version of the book, even if reports that he’d be “reading” from it aren’t quite right: Most of the extensive spoken-word segments are brand new or heavily altered from the book versions. It’s clear from the beginning that this is nothing like a typical latter-day Springsteen concert, where set lists can vary wildly from night to night and Bruce often has little to say between songs. There’s no room for his usual athleticism here – Springsteen just shuffles a few feet between a piano on stage left and a microphone at center stage. The intensity is, instead, emotional, as Springsteen digs hard into the bedrock of his life story, and ours: childhood, religion, work, death. The performance is hard to categorize. It’s not a concert; not a typical one-man-show; certainly not a Broadway musical. But it is one of the most compelling and profound shows by a rock musician in recent memory.

The skills it takes to stage this show didn’t spring out of nowhere. In the Seventies and early Eighties, Springsteen would often tell mesmerizing, carefully crafted stories onstage, pausing songs for as long as 10 minutes to do so. In 1990, he played his first full-length solo acoustic shows at the Shrine Auditorium in Los Angeles, debuting radically stripped-down renditions of his songs, plus personal revelations (he told the crowd he’d been in therapy) – those two shows were among his most sought-after bootlegs for years afterwards. Springsteen went on to pursue this side of his art with two solo acoustic tours, in support of 1995’s The Ghost of Tom Joad and 2005’s Devils and Dust.

His past acoustic shows largely eschewed his biggest hits, however, while the Broadway show uses them to tell his story. “Thunder Road” takes on a new life when he introduces it with an account of the night he and some friends left his hometown of Freehold, New Jersey, for Asbury Park, loading up the few things he owned into a flatbed truck and taking off down the highway. “The ocean breezes of the shore were calling to me,” he says, in a passage similar to one in his book. “I lay back and watched the tree branches rush above me and above them the stars scrolling in the night sky and I remember I felt absolutely wonderful.”

The same is true for the “The Promised Land,” paired with a story of driving across America with his first manager in a crazed three-day stretch to make a New Year’s Eve gig near San Francisco in 1969. He walks away from the mic for the entire last verse, giving the audience an unforgettable gift: Bruce Springsteen, singing directly to them, nothing in between.

Overall, the show’s inherent lack of spontaneity will be a little jarring for those that have followed Bruce for decades, especially when it becomes clear he’s reading much of his dialogue from a large teleprompter suspended above the audience. But there’s an incredible power to sitting so close from him while he strums a guitar or noodles around on the piano and tells his life story in rich detail, down to the green felt of his first guitar case when he was a kid. Each segment is designed for maximum emotional impact, and time and time again he reflects on his own mortality.

There’s no intermission, but the show is divided roughly into two parts. The first traces his life from early childhood through his days leading bar bands in Asbury Park, New Jersey. “My Hometown” brings forth an ode to his hometown of Freehold, while “My Father’s House” and the rarity “The Wish” (a sweet song about his mother, debuted at those 1990 acoustic shows) offer him a chance to speak about both of his parents in loving but clear-eyed detail. About halfway through, Springsteen abandons a strictly chronological structure, and turns to a more thematic approach. A mournful version of “Born in the U.S.A.” gives him a chance to state, once more, that the much-misunderstood smash is a “protest song, a G.I. blues.” He moves over to the piano for “Tenth Avenue Freeze-Out” to speak about his E Street bandmates, giving special attention to his bond with the late Clarence Clemons. “I still carry the story the Big Man whispered in my ear and the Big Man in my heart every night when I walk onstage,” he says. “Clarence was elemental, a force of nature in my life.”

Patti Scialfa comes out of the wings to lock voices with her husband on “Brilliant Disguise” and “Tougher Than the Rest,” preceded by the story of the 1984 night they met at the Stone Pony. He even plays a little bit of the song he saw her perform that evening. “She got onstage and sang the Exciters’ ‘Tell Him,'” says Bruce. “The first line she sang was ‘I know something about love.’ She does.”

Springsteen has said that he’s uninterested in addressing Trump in song, but he couldn’t have left the stage without bringing up the current state of America. “Today we’re dealing with young men in torch-light parades calling on the ugliest ghosts of our past,” he says. “And suddenly your neighbors and countrymen look like complete strangers to you. Martin Luther King said the arc of the moral universe is long, but it bends towards justice. I think that’s true. I believe that it is true. I believe that what we’re seeing now is just a bad chapter in the ongoing battle for the soul of the nation.”

He follows it with “The Rising” and “Long Walk Home,” two songs written in the George W. Bush era, though the latter tune’s themes of an America drifting far from its ideals resonates in disturbing ways today. The mood lightens with “Dancing in the Dark” (“In hard times,” Springsteen says, “put on your dancing shoes”), “Land of Hope and Dreams” and the finale of “Born to Run,” in a return to the solo arrangement he used on the Tunnel of Love Express Tour back in 1988.

Some of Springsteen’s more impatient hardcore fans may grumble that he hasn’t released an album of new material in five years (2014’s “High Hopes” consisted mostly of songs written in the previous decade). Springsteen on Broadway is a fresh, powerful artistic achievement in its own right – a man who’s a couple of years away from his 70th birthday confronting his past and putting it all into a new and unique context. But it’s still hard not to hope that a great new album is next, and that there are still plenty of chapters left to write in this singular life story.

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See Gucci Mane Enjoy Good Life in New 'Members Only' Video

Gucci Mane has unveiled his new “Members Only” video, which appears on and precedes the release of his upcoming album, Mr. Davis.

Directed by Be El Be, the visuals are filmed “somewhere in Ireland,” as stated at the beginning of the clip. As with the laid-back beats and vibe of the song, the video finds the rapper chilling out and enjoying the spoils of the good life in a scenic setting. He’s seen driving around in a golf cart, teeing off on the green, being chauffeured in a vintage car, enjoying a jog in front of a stately mansion and hitting the members only club.

“This for killers only,” he raps on the hook. “Yeah, this for the homies/ Drug dealers only/ Yeah, this members only.”

The 17-song Mr. Davis will be released on Friday via GUWOP Enterprises/Atlantic. It includes collaborations with Nicki Minaj (“Make Love“), The Weeknd, Big Sean, Schoolboy Q, A$AP Rocky, Migos, Ty Dolla $ign, Monica, Chris Brown, Young Dolph and Rico Love. Last month, Gucci Mane released a new memoir, The Autobiography of Gucci Mane, which was partially penned during his two-year stint prison stint.

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Sprint Center Celebrates 10th Anniversary with Unprecedented Financial & Programming Success

Sprint Center: A Gift To Kansas CityKANSAS CITY, Mo., Oct. 12, 2017 /PRNewswire/ — Sprint Center, Kansas City’s award winning downtown arena, celebrates ten years of operation by logging the most successful programming and financial year in venue history. In addition, Kansas City’s downtown landmark shared two significant…


Listen to Exclusive Tom Petty Interviews

The latest episode of our Rolling Stone Music Now podcast pays tribute to the life and music of Tom Petty, who died October 2nd. It features unheard interview audio with the artist himself, plus a clip of Heartbreakers guitarist Mike Campbell and a live interview with Petty biographer Warren Zanes. Listen and subscribe to the podcast on iTunes, Spotify or check it out below.

Here, a few highlights:

In a 2010 interview with Rolling Stone Music Now host Brian Hiatt, Petty talks about making his album Mojo – and details his optimism about the future. “As time goes by, you seem to weed out the things that were making your life hard,” Petty says, before explaining his determination to keep recording and touring as long as possible: “Oh, I intend to hit it. I’m not going anywhere.”

In a 2015 interview with Andy Greene, we hear Petty explain – in remarks that went viral again in the wake of his death – why he regretting using the Confederate flag onstage in the ‘80s (tied to a character in the song “Rebels.”) “One night someone threw a flag onstage,” Petty recalls. “I said, ‘Look, this was to illustrate a character…. I would prefer it if no would would ever bring a Confederate flag to our show.”

In Greene’s interview with Mike Campbell, the guitarist reminisces about his years of collaboration with Petty. “Tom had, and still has a knack, for writing simple things that people can relate to,” Campbell says. “He has an affinity for finding a simple lyric a simple melody that’s instantly identifiable to a lot of people.” He also addressed the band’s relationship to punk and new wave: “The best quote I remember from that era is someone asked Tom, are you punk? He said, ‘Call me a punk and I’ll cut ya!'”

Biographer Warren Zanes talks about his book, Petty: The Biography, and why Petty was ultimately underrated. “I’d like to think that we’re at the beginning of a larger reassessment,” says Zanes. “The real testament.. is that Bob Dylan, Carl Perkins, Del Shannon… all knocked on his door. He had so many singles, so many hits that it kept the critics from backing him the way he should’ve been backed.”

Listen and subscribe to Rolling Stone Music Now on iTunes or Spotify and tune in Fridays at 1 p.m. ET to hear the show broadcast live on Sirius XM’s Volume, channel 106.

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Watch Tash Sultana's Hypnotic Live Set

Australian loop pedal maestro Tash Sultana patiently assembles psychedelic symphonies in this exclusive Rolling Stone video. The emerging Melbourne singer-songwriter performs two shapeshifting singles from her 2016 EP, Notion – both of which showcase her dynamic guitar and vocal skills.

Sultana opens with “Jungle,” layering a four-chord chug with an octave-dropped bass effect, bluesy wah-wah, rhythm pad percussion and hypnotic glossolalia. Before the seven-minute mark, she cranks out a distorted solo.

“Notion” similarly opens with a sparse guitar figure but blooms into a display of looped guitar-and-vocals wizardry. Throughout, Sultana gestures her hand throughout the air, as if conducting an invisible orchestra; in select moments, she smiles to herself, as if laughing at an inside joke no one else can hear.

Sultana launched her career as a busker in Melbourne, earning buzz from her viral YouTube videos. After releasing Notion last September, she performed throughout Australia, New Zealand, the U.K. and Europe. She is currently touring the U.S. until late October, with her next show scheduled for the 14th at the Austin City Limits Music Festival.

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Review: Great Indie Talkers Kurt Vile and Courtney Barnett Have Conversational Collabo

Here are two great indie-rock songwriters getting together to spool out autumnal guitar prettiness and converse about life, art and whatever. As collaborators, they’re a perfect match: Kurt Vile is a master of zoned-out fingerpicking and droll longhaired jive; Courtney Barnett is a Dylanesque image ninja who can turn everyday stuff like making ramen noodles into rich, personal meditations. The idea of a Kurt and a Courtney making a record has a darkly funny resonance but the Nineties fantasy-rock pairing they really evoke is Stephen Malkmus and Liz Phair, the languid guitar surgeon and the causally incisive lyrical realist.

Onthe dappled “Over Everything,” they trade lines about songwritingstrategies and tinnitus over beautifully bent riffs, and whistle and whoo-hootheir way through the relaxed country rock of “Blue Cheese,” whichshouts out a weed dealer named Tina and free-form radio hero Tom Scharpling.The pair do a song by Barnett’s partner, Jen Cloher (the Crazy Horse-stylealoneness anthem “Fear Is Like a Forest”), and tenderly duet on Belly’s1993 deep cut “Untogether.” Most endearing is “ContinentalBreakfast,” a jangle-folk ode to their friendship; Vile sings about weirdshit he’s been thinking and walks he’s been taking, and Barnett chimes in, “I’mfeelin’ inferior on the interior.” It’s like buddies at the bar, ora 2 a.m. text thread. They make each other feel better. 

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Pitbull And Norwegian Cruise Line Celebrate Norwegian Escape's Arrival To NYC In Spring 2018

Norwegian Escape's Godfather and international music star, Pitbull, made a special appearance with Norwegian Cruise Line President and Chief Executive Officer Andy Stuart at PHD Rooftop Lounge at Dream Downtown in New York to celebrate the cruise ship Norwegian Escape coming to homeport in the Big Apple in Spring 2018. The afternoon kicked off with guests enjoying delicious bites from Norwegian Escape's culinary outposts, sipping on cocktails crafted from Pitbull's very own vodka, Voli, and sampling a selection of Michael Mondavi Family Wines. Guests were able to "walk the plank" in a virtual reality segment of the largest ropes course at sea and pose for sharable photos with the ship's celebrity Godfather Mr. Worldwide. The exclusive afternoon was topped off with an electrifying performance from For the Record: The Brat Pack™, one of Norwegian Escape's award-winning Broadway-style shows. Norwegian Cruise Line President and CEO Andy Stuart and Pitbull took to the mic to say a few words to the guest and toast to the beautiful ship, Norwegian Escape, as well as discuss their joint support for Hurricane relief efforts in the Caribbean.NEW YORK, Oct. 12, 2017 /PRNewswire/ — Norwegian Escape’s Godfather and international music star, Pitbull, made a special appearance with Norwegian Cruise Line President and Chief Executive Officer Andy Stuart at PHD Rooftop Lounge at Dream Downtown in New York to celebrate Norwegian…


Watch Kenny Loggins, Michael McDonald in Thundercat's 'Show You the Way'

Thundercat, Kenny Loggins and Michael McDonald reveal the healing power of a deep groove in the new video for “Show You the Way.” The track appears on Thundercat’s recent album, Drunk.

Katarzyna Sawicka and Carlos Lopez Estrada directed the clip, which actually continues the story started in Thundercat’s 2015 video for “Them Changes.” In that clip, an armless ex-samurai is relegated to life in an armchair, where he reminisces about his glory days and solemnly watches infomercials for swords he can’t use.

In the new video for “Show You the Way,” the samurai’s family encourages him to visit a center where he can receive proper treatment for his existential malaise. The dulcet, pensive and endearingly silly sounds of Thundercat, Loggins and McDonald provide the perfect soundtrack for the samurai as he gets a gross black goop knocked out of his head and learns to embrace the life (and limbs) he still has.

Thundercat released Drunk in February and has spent much of the year on the road in support of the album. He has two dates left on his North American trek, an October 13th gig at the III Points Festival in Miami and a show with Flying Lotus October 14th at Hollywood Forever in Los Angeles as part of the Red Bull Music Academy Festival

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See Guns N' Roses Duet With Pink on 'Patience'

Toward the end of Guns N’ Roses‘ performance of “Patience” last night at New York City’s Madison Square Garden, Axl Rose made an announcement. “We’re gonna try something,” he told the crowd. “We’re gonna bring a friend of ours out here – we didn’t even try this, we’re just gonna do this off the cuff.” As he sang “Just a little patience,” Pink walked out onstage looking surprised to be called out.

She hugged Rose, got into the groove and she sang the faster part at the end, “I’ve been walking the streets at night/ Just trying to get it right.” She laughed with joy as Rose held the final note of the tune and they hugged. “Right off the cuff,” Rose said with a big smile.

Later in the night, the band tweeted out their appreciation of Pink joining them, to which she wrote back, “Oh. Yeah. Whatever. No problem,” followed by a string of worried-looking emojis.

Guns N’ Roses recently kicked off a new North American leg of their Not in This Lifetime tour, which includes two more nights at Madison Square Garden. The band’s New York concert lasted a little over three hours and, in addition to songs on the band’s discography, included covers of Soundgarden’s “Black Hole Sun” and their its recently added take on Glen Campbell’s “Wichita Lineman.” The band will be on the road around the U.S. through late November.

Pink is releasing her seventh full-length, Beautiful Trauma, tomorrow.

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