Archive for June, 2009

BLACK EYED PEAS FEAT. KID CUDI - Boom Boom Pow

June 26th, 2009

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“‘Boom Boom Pow’ is not your typical first single,” says Fergie of Black Eyed Peas‘ first No. 1. “It’s basically kind of to the left. We’ve always been misfits, so it makes sense.” The single is part of a project Will.i.am conceived called The Energy Never Dies, after which the Peas named their new disc “The E.N.D.”. “It’s a diary of music that at any given time, depending on the inspiration, you can add to it,” the artist/producer/songwriter explains. Consult blackeyedpeas.com for summer European tour dates.

by Mark Emge

LILY ALLEN - F*** You

June 26th, 2009

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The UK’s most famous topless sunbather, Lily Allen claims that her song “F*** You” is “not a direct attack at anyone. It was originally written about the BNP in the UK.” Certain lyrics and the song’s MySpace working titles (”Guess Who Batman” and “GWB”) seem a pretty good match for one George Walker Bush, newly unemployed 42nd president of the United States. But a provocateur of Allen’s aptitude is not going to let something like awkward timing get in the way of the chance to launch the first F-bomb song title onto mainstream pop charts any more than she’d allow her third nipple to shame her into wearing a shirt.

by Mark Emge

FRANZ FERDINAND - Can’t Stop Feeling

June 26th, 2009

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Franz Ferdinand’s third album, “Tonight”, was inspired by the “heavy dub sound of Jamaican reggae”, according to singer Alex Kapranos, and was produced by Dan Carey, who has worked with such masters as Lee “Scratch” Perry and Mad Professor. And though the record doesn’t exactly jump into the deep end of dub, the remix collection “Blood”–available on an expanded edition of the album or on its own–gives Carey free rein to indulge his inner Space Echo, often rendering the songs unrecognizable in the process. Fittingly the tracks are all retitled; “Can’t Stop Feeling” is flipped into the sleek dance track “Die On The Floor”.

by Mark Emge

MARIAH CAREY - Obsessed

June 26th, 2009

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Since her early ’00s “Glitter”/”Charmbracelet” nadir, pop diva Mariah Carey has been enjoying quite a resurgence: her “Emancipation Of Mimi” and “E=MC²” have spun off hit after hit, and Mariah’s breasts somehow keep magically getting bigger. Time to sit back and count her blessings? Not our Mimi! “She can’t take a loss,” says one of her upcoming disc’s myriad co-producer’s, The-Dream. “It’s basically like we’re trying to make a greatest hits album” from scratch. Butterfly claims that the thinly veiled Eminem diss “Obsessed” is “one of [her] favorite songs ever, uptempo fun summer record”. You get sassy, girl!

by Mark Emge

GIRLS ALOUD - Untouchable

June 26th, 2009

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Kimberley says Girls Aloud’s fifth album, “Out Of Control”, is “a lot older sounding. The ’60s thing is quite prominent.” But Nicola claims the album features mostly ’80s electro pop. Sarah chimes in that GA “wanted to stay upbeat but try something a bit different and advanced.” While Nadine adds, “The aim from the beginning was to come up with songs that didn’t sound like anything else out there.” Kimberly continues, “We tried to up our game with this album and step outside the comfort zone.” Whatever it is, Bimbo Jones retouches the track on this radio edit.

by Mark Emge

EMINEM - 3 A.M.

June 26th, 2009

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Eminem placed himself in exile shortly after 2004’s “Encore” wound down, a seclusion initially designed as creative down-time but which soon descended into darkness fueled by yet another failed marriage to his wife Kim and the death of his best friend Proof, culminating in years of drug addiction. Em none too subtly refers to that addiction in the title of “Relapse”, his first album in five years, and “3 A.M.” is an appropriately psychotic drug-induced nightmare that makes time for a murder spree, masturbating to an episode of “Hannah Montana” and one of the album’s many, many references to Kim Kardashian’s great big ass.

by Mark Emge

CIARA - Like A Surgeon

June 26th, 2009

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Ciara’s previous hit off her “Fantasy Ride” album was the Justin Timberlake duet “Love Sex Magic”, and “Like A Surgeon” is filled with clumsy sex metaphors that make Weird Al Yankovic’s years-old Madonna parody of the same name sound witty, but she wants her fans to know she don’t play that. When last October’s issue of Vibe Magazine hit the stands, Ciara found her photo spread missing something. Namely, clothes. “I definitely want to make it clear that I was going in to do something artistic,” she complained about the photos. Ciara’s camp claims Vibe Photoshopped her in order to reveal the singer’s Goodies. Meaning that whatever the truth of the matter, she wasn’t wearing a ball gown!

by Mark Emge

PAUL CARRACK - Just 4 Tonite

June 26th, 2009

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Journeyman keyboardist Paul Carrack not only provided the voice for some of the biggest hits by Squeeze, Mike + The Mechanics and Ace, but the valuable bench player has also done session work for Roxy Music, The Smiths and The Pretenders, as well as maintaining a solo career. Did we mention his songwriting? Paul’s “Love Will Keep Us Alive” was a No. 1 from the Eagles’ first reunion, “Hell Freezes Over”. Gliding by on a mellow, soulful groove, “Just 4 Tonite” is from the slyly titled collection, “I Know That Name”.

by Mark Emge

THE LEMONHEADS - I Just Can’t Take It Anymore

June 26th, 2009

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Part-time alternative rocker/part-time Drug Buddy Evan Dando has reconvened The Lemonheads several times over the past two decades only to see it fall apart again, to the tune of upwards of 20 former members. The last time Dando pulled it together after his remarkable fall from alt. cover boy to crackhead was 2006’s self-titled disc, which sounded like the record he should have made in ‘95. The renewed sense of purpose seems to have stuck, and while The Lemonheads finish their ninth studio album, a covers disc titled “Varshons” tackles everything from Christina Aguilera to GG Allin to fellow lost soul Gram Parsons’ “I Just Can’t Take It Anymore”.

by Mark Emge

SHAGGY FEAT. GARY NESTA PINE - Fly High

June 26th, 2009

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Emerging in the early ’90s, Shaggy is the biggest crossover success in dancehall reggae. Not only did he become the genre’s most commercially potent artist, he was also more than just a typical flash in the pan, managing to sustain a career over the course of several popular albums. Perhaps in part because he wasn’t based in Jamaica (he joined his mother in Brooklyn at 18), Shaggy never really needed to have it both ways: virtually ignoring the hardcore dancehall crowd, his music was unabashedly geared toward good times, a friendly (if horny) persona, and catchy party anthems like “Fly High”.

by Mark Emge