Samantha Scarlette has released her new video for the song “These Violent Delights”. Check it out HERE. http://www.nataliezworld.com/search/label/News
The location has changed for the Hatsune Miku Halloween Dance Party. It will be held at the Belasco Theater in downtown LA: 1050 S Hill St, Los Angeles, CA 90015. We sold out the previous …
When you cross David Bowie’s work with a current act in the music scene, you’ll likely get something by the name of Kali Ra. They infuse David Bowie’s formula of music to create their own, …
The Roland TR-808 is one of the most distinct, influential and beloved instruments of the early Eighties, with the electronic rhythm composer used by everyone from Talking Heads and Afrika Bambaataa to Marvin Gaye and the Beastie Boys. Even Kanye West devoted an album title to the instrument’s unmistakable sound. In 2015, the story behind the landmark machine will hit theatres thanks to 808, a documentary that focuses on the Roland TR-808 and its cult following, and Rolling Stone has your first look at the film’s trailer.
The doc features interviews with many marquee drummers and artists who have utilized the machine, including Damon Albarn, Phil Collins, Diplo, New Order, Fatboy Slim, David Guetta, Jimmy Jam and Terry Lewis, Talking Heads’ Chris Frantz and Lil Jon. Talking about Bambaataa’s seminal “Planet Rock,” one of the first hits constructed out of an 808, Pharrell Williams says, “‘Planet Rock’ just did something else too. We never heard anything like that before.”
“The rhythm of an 808 has its own internal groove,” Rick Rubin says of the instrument that was the backbone of the Beastie Boys’ Licensed to Ill, while Questlove adds, “It’s the futuristic thing I ever heard. A drum inside a machine.”
The documentary also answers a question that has troubled music fans for years: Why was the Roland TR-808 discontinued so quickly at the height of its success and influence? In an exclusive interview, 808 talks to Roland founder Ikutaro “Mr. K” Kakehashi to solve the mystery.
“Making a documentary about a drum machine, a piece of electronic equipment, is an interesting challenge,” director Alexander Dunn said in a statement . “It has no voice of its own, so as a protagonist, it’s rather difficult to mold a story around. 808 has really been a journey of discovery for me. One that led myself and the team to meet over 50 musicians and artists from all around the world, hearing their personal stories about the 808 and the music they created using its iconic sounds. Those artists and musicians are the real protagonists of the film and the 808, in the hands of our contributors, would change music forever.”
808 was produced by Atlantic Films, You Know Films and Arthur Baker. An era-spanning soundtrack featuring many of the greatest hits produced by a Roland TR-808 will accompany the film.
Nearly 40 years ago, Patti Smith announced herself to music fans with the cutting, iconoclastic lyric that led off “Gloria,” the first track on her debut album, Horses: “Jesus died for somebody’s sins but not mine.” Earlier this year, the poet and singer recorded the serene, Biblically inspired lullaby “Mercy Is” for director Darren Aronofsky’s biblically huge film Noah.
“I wrote the first lines of ‘Gloria’ when I was 20,” says the silver-haired singer, who is seated in the conference room of a Times Square office building. “I recorded it some years later for Horses, but really, it was a declaration of self, not so much about Jesus. He is the vehicle, but I was declaring my existence, my right to make my own mistakes, my right to make my own choices. I was defining the type of artist that was entering the domain of rock & roll and the type of artist that I was, one who was going to make her own decisions. I’m not groomed by anyone.”
“Mercy Is” shows just how far Smith has been able to take her career. Lushly orchestrated by the Kronos Quartet, the gentle song offers hope and wariness in equal measure as Smith sings of two white doves guiding the listener to peace. The characters played by Russell Crowe (Noah) and Emma Watson (Ila) both sing the song in the film, which ends with Smith’s recording. It’s the first song Smith has ever written for a movie, and it’s an experience that has impacted her immensely. “I have a great life,” she says, smiling. “I’ve had many opportunities and many special things have happened to me, but there’s always something new. To be at this time in my life and get the opportunity to write a song for a movie – because I love the movies – it turned out beyond my expectations.”
Rolling Stone met with Smith – who recently completed her second book and is currently planning her next album and 40th anniversary Horses celebrations for 2015 – to find out how she arrived at “Mercy Is.”
What is your relationship with religion like these days?
I left organized religion at 12 or 13, because I was brought up a Jehovah’s Witness. I have a very strong biblical background. I studied the bible quite a bit when I was young and continue to study it, independent of any religion, but I still study it.
My sister is still Jehovah’s Witness. We talk all the time. I like to keep abreast of what she’s doing and what she believes in. I believe there is good in in all religions. But religion, politics and business, all of these things, have been so corrupted and so infused with power that I really don’t have interest in any of it – governments, religion, corporations. But I do have interest in the human condition.
Darren Aronofsky told Rolling Stone earlier this year that you offered to write the song. How did you meet?
I was introduced to him at a small dinner party some years ago, but then we met again at the Venice Film Festival, and he was chairing the jury. I asked him what he was doing. He told me of this project, Noah, that he’s been dreaming of since he was a boy. He mentioned he needed a lullaby for it and I just asked him if I could do it, because I love lullabies. I’ve written a few, and I felt that between my biblical knowledge and my love of lullabies, I could do it.
Is writing a lullaby easy?
It might seem like a modest little song, but it was a complicated task. I had to write a song that Methuselah, Anthony Hopkins’ character, sang to Noah’s father, and Noah’s father sang it to Noah; it was handed down. And then Noah had to sing it to this little girl who might be close to death. And I had to imagine Russell Crowe as Noah and Emma Watson’s character having to sing it to her babies, and then I had to sing it at the end. So I had a slew of responsibilities.
It sounds like a tall order.
Well, I asked for it. I went back and looked at the scriptures. I really studied Darren’s script. I’m a big follower of Russell Crowe, so I just watched a few of his movies again. I wanted to write something that he could feel in the singing of it. And it had make sense historically, some kind of biblical sense or some kind of sense of its time and its mission. The song is supposed to remember Eden and hope that the Father will come and deliver us back to Eden, the hope of a new world.
These are things I know about because of my own education: The promise of a new world is paramount in the teachings of Jehovah’s Witnesses. There was a lot that I could draw from.
Did you workshop it heavily?
Lyric writing does not come easy to me, because you have so much responsibility. When you’re writing a song, you have a real responsibility to connect with as many people as possible. And certainly I’m no Smokey Robinson. That’s for sure. Just writing, going, trying to say something with simplicity is a laborious process. But I worked very hard. I had Darren’s feedback. I made one historical error, so he corrected me.
What was your historical error?
Originally, I’d written a line like, “Two white horses, two white doves to carry you away.” And he said, “It’s beautiful, Patti, but there weren’t any horses in Noah’s time.” [Laughs] So I just changed it to, “Two white wings, two white doves.” But besides that, everything was fine.
And then I asked Lenny Kaye to help me, because Lenny and I have written lullabies or hymns together, and he wrote the second musical change in it. I even sang it to my sister; we still study the Bible together.
You recorded your version with the Kronos Quartet. Have you ever done that before?
No. I’ve never sang with a string quartet and never recorded with live strings ever. But we did it in a couple of hours. And it’s a live take. I do a lot of live recording for my albums, so that wasn’t daunting. Darren was there, and he lent his support. In some ways, once I figured out my path, I found it to be liberating. Beautiful. I felt like it was singing a delicate aria or something.
So what went through your mind when you first heard Russell Crowe sing it?
Really, I cried [laughs]. I was so moved. I was moved by this film. I was moved that Darren could bring the urgency of the present concerns or our world, the environmental concerns within the context of this film. And I am a big Russell Crowe fan. He’s one of my favorite actors. To see not only someone sing and interpret part of a song I had written but to see someone that I so greatly admire, my words coming out of his mouth, it was a moving experience. I was moved to hear Emma do it. And to sit and listen it at the end, it was exciting.
One night after busting out a Black Sabbath cover with Zac Brown, Foo Fighters continued their Late Show With David Letterman residency by paying homage to the city Dave Grohl is most associated with: Seattle.
With the Space Needle projected on a large screen behind drummer Taylor Hawkins, the Foo Fighters welcomed Seattle rock royalty, Heart’s Ann and Nancy Wilson, to the stage for a rendition of their Little Queen single “Kick It Out.” Grohl stood mostly in the background this time around, letting the Rock and Roll Hall of Fame sisters do their thing. “Good God, we should do this every night,” Letterman shouted following the performance. “Every night it’s a party.”
While Tuesday’s Late Show didn’t feature Grohl sitting on Letterman’s couch again, the late night host did accidentally set off the show’s new “Foo Signal,” which was installed because the Foo Fighters will be spending all week with Letterman in support of their upcoming HBO series Sonic Highways. Once the Foo Signal was triggered, the band came running out from backstage to see if Letterman was in desperate need of assistance, but thankfully it was just a false alarm.
If five nights of Letterman performances and the premiere of Sonic Highways isn’t enough Foo for you, HBO also announced that immediately following the series’ first episode on October 17th, the band will perform a concert at Chicago’s The Cubby Bear that will be livestreamed via HBO’s Facebook page. This performance will also feature the live debut of “Something From Nothing,” the first single from Sonic Highways. According to the Hollywood Reporter, Grohl opted to visit the Cubby Bear because the Wrigleyville club was the venue where he witnessed his first punk rock show. The opening episode of Sonic Highways will similarly focus on Chicago.
Yesterday, Florida Georgia Line released their hotly anticipated second album Anything Goes, the follow-up to their double platinum debut Here’s to the Good Times. But the new record’s rollout has been underway for weeks, with appearances on Today, The Tonight Show Starring Jimmy Fallon and even on ABC’s Nashville season premiere. On Monday, the duo’s Tyler Hubbard and Brian Kelley performed the album’s first single, “Dirt,” on Late Night With Seth Meyers and also offered a web-only performance of Anything Goes‘ title track. Check out the performance above.
During a recent interview with Rolling Stone Country, Kelley brushed aside any fears of duplicating the epic success of Here’s to the Good Times. Instead, he says, the group and its team are just anxious for fans to hear the dozen songs on Anything Goes.
“We’re not nervous; it’s just anxiousness right now to see these songs come to life. With songs like ‘Sun Daze’ and ‘Confession,’ we feel like we have a record that really represents who we are and how we’ve grown,” Kelley says. “If you listen to it from Song One to 12, it’s a journey — and hopefully you’ll listen to it all over again.”
While the summertime jam “Sun Daze” is the group’s latest single and more reflective of the FGL sound, its predecessor “Dirt” announced a more introspective side to the pair, who hope to repeat in the Best Vocal Duo category at next month’s CMA Awards. Even the band’s most vocal critics gave props to the more mature ballad. Good or bad reviews, however, Hubbard says he and Kelley soldier on, intent on entertaining fans, not critics.
“We don’t really let that affect us too much. If somebody’s not talking trash, you’re not doing something right. We use it as motivation. And there are a lot more people loving what we’re doing than don’t,” Hubbard says. “We’re just worrying about our live show and our songwriting and what we need to be focused on: selling albums and selling tickets.”
Florida Georgia Line is gearing up for the latter with last week’s announcement of their headlining Anything Goes Tour, kicking off January 15th in Toledo. In addition, they’ll also lead the bill at a massive tailgate party in Jacksonville, Florida, on Halloween, and, in November, set sail on their own sold-out cruise — the This Is How We Cruise journey — along with Thomas Rhett, the Cadillac Three and more.
(Reporting by Beville Dunkerley)
Kelly Clarkson is prepping a “Miracle on Broadway” — Nashville’s lower Broadway, that is — to benefit several local charities. The pop superstar’s December 20th show at Music City’s Bridgestone Arena will include performances by a who’s-who list of pop and country superstars: Reba, Trisha Yearwood, Garth Brooks, Ronnie Dunn, Kacey Musgraves, Paramore’s Hayley Williams, Charles Esten, Meghan Trainor and more names to be announced soon. All of the artists will sing classic holiday songs, as well as original tunes from Clarkson’s Wrapped in Red album.
All ticket proceeds will benefit the Fruition Fund of the Community Foundation of Middle Tennessee, with a portion divided between Vanderbilt’s Monroe Carell Jr. Children’s Hospital, Monroe Harding Children’s Home, Second Harvest Food Bank and Thistle Farms.
“I love my adopted hometown of Nashville with all of my heart and I am so honored to be able to give back to the community alongside some of my favorite artists and friends for my first annual Miracle on Broadway benefit concert!” Clarkson writes in a statement. “I thank all of the artists joining me, as well as the people of Nashville for making me feel so welcome over the last seven years I have called it home!”
Tickets go on sale October 18th at Livenation.com, all Ticketmaster outlets, or by calling 1-800-745-3000.
Wrapped in Red, released last year, is Clarkson’s first holiday album. The new mother has taken much of this year off but does have a song on country radio right now, “PrizeFighter” — her duet with Trisha Yearwood, which is the title track of Yearwood’s upcoming greatest hits album. A new album from Clarkson should be coming in early 2015, according to a tweet from the singer last month, in which she also hinted at a “special guest” on the project. It will be her first LP of completely original material in more than three years.
As the chaos in Ferguson, Missouri continues to rage on following the shooting death of Michael Brown, Common paid tribute to the late teenager with his powerful performance of “Kingdom” during Tuesday night’s BET Hip-Hop Awards. The rapper, backed by a full gospel choir, traded verses with Vince Staples and Jay Electronica and ended the song by calling up Brown’s parents on the stage.
“We do this for the people,” Common said toward the song’s conclusion. “Black people all around this country in America that go through the struggle. We do this for our lost soldiers, our fallen soldiers. We bring to you the parents of Mike Brown.”
As they walked onstage, Brown’s mother choked back tears behind her sunglasses. Then, as the final beat faded out, everyone in the room raised their hands for an extended moment of silence. Watch a video of the moving tribute below.
As for the evening’s award winners, Drake led all recipients with four total: Best Live Performer, Album of the Year (for 2013’s Nothing Was the Same), Best Hip-Hop Video and People’s Champ Award (the latter two secured with his clip for “Worst Behavior”). Producer DJ Mustard followed just behind with three awards (DJ of the Year, MVP of the Year and Producer of the Year). Other notable winners include YG featuring Jeezy & Rich Homie Quan’s “My Hitta” (Track of the Year), Kendrick Lamar (Lyricist of the Year) and Dr. Dre (Hustler of the Year).
While the ceremony shed plenty of light on up-and-coming rappers, singers and producers, the show also made time to look back. Rap-beatboxing legend Doug E. Fresh received the “I Am Hip-Hop Award,” which he dedicated to his recently deceased mother, while R&B artist Brandy – joined by Queen Latifah, MC Lyte and YoYo – performed the hip-hop remix of “I Wanna Be Down” to celebrate the 20th anniversary of her debut single and LP.
Neil Young is as busy as ever, promoting a new book, Special Deluxe: A Memoir of Life and Cars; an upcoming album, Storytone; and the heavily hyped Pono Music Player. Oh, and he’s also trying to help save the planet by calling for an end to fracking. The rock legend dropped by The Colbert Report on Tuesday and discussed all of the above with host Stephen Colbert, whose ultra-conservative persona (naturally) took issue with just about everything Young had to say.
“Thank you for dressing up for the occasion,” Colbert tells his guest. “Really nice of you for putting on your formal T-shirt.” From there, the two engage in a spirited and hilarious liberal-conservative dialogue – first with Colbert calling Young a “hypocrite” for writing a book about cars while claiming to care about the environment. “You’re one of these ‘Save the Earth’ guys, right?” he asks. “You got the T-shirt. Cars! There’s a lot of pollution with cars!” But Young fires back by referencing the “green” fuel source (“electricity and cellulosic ethanol”) used to power his vehicles. “You caught me right in the middle of driving a 1959 Lincoln from San Francisco to the Tar Sands in Alberta and to New York City without using one drop of gasoline,” he says.
Elsewhere, after sneaking in a cheap insult about Young’s Canadian heritage, Colbert asks if the rocker wants President Obama impeached for the country’s military involvement in Iraq. “I think we should impeach him for fracking,” he says. “It’s not in the interest of the American people. . . I am part of the free world, and he is the leader of the free world!”
As for the Pono player, Young compares his high-quality music device to the iPod – the latter of which he considers a “bargain” but at the expense of quality. “You get to have millions of songs,” he says, “but you just get a tiny little bit of each one.” “You don’t have to listen,” Young says about the Pono. “You feel the music!” (Slow clap for Colbert’s follow-up wisecrack.)
Following the interview, the duo teamed up as “Neil Young and Crazy Host” for a comedically modified performance of Young’s stunning new track “Who’s Gonna Stand Up.” In the clip below, the singer performs his environmentally conscious verses (“End fracking now; let’s save the water / and build a life for our sons and daughters”) with a straight face, while Colbert sings from the perspective of a disinterested conservative caricature. (“I know it feels good to save the Earth / but what if the dolphins attack us first?” goes one line. “Solar power is bound to fail / I say it’s time we frack the whales.”)
The Colbert Report
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Young’s involvement made this a memorable Colbert Report, but it was also important for another reason. As Colbert notes in the below clip, there are only 32 episodes of the series left, drawing a numeric parallel to the show’s origins.
“There are so many important stories out there right now: ISIS, Ukraine, Ebola,” Colbert says. “But tonight, we explore the most critical story of all: me. Back in 2005, when I started the Colbert Report, it was initially for an eight-week try-out – in other words, 32 episodes. And as of tonight, there are only 32 episodes of The Colbert Report left. Don’t worry, nation: Even though my show will be off the air, I’ll still be in here – provided that your heart has a DVR.”
Colbert vows that the final 32 will be “instant classics” full of “deep poetic thoughts, heavy-handed symbolism and massive foreshadowing,” and he drills home the point by conversing with a Grim Reaper-styled character named Grimmy.
The Colbert Report
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