After about a decade of somber, formless, hazy music, the guys of R.E.M have finally gotten back to hard-charging rock, the sound that garnered them millions of fans and platinum-plus sales years ago.

R.E.M gave a rousing, high-octane peformance at Merriweather Post Pavilion last night. The band is currently on the road, supporting its latest release, Accelerate, the trio's most engaging, vibrant album in a long time.

At the show, the band dipped heavily into the new CD, whose propulsive, politically charged cuts sit well alongside such driving R.E.M favorites as "Bad Day," "Ignoreland" and "Orange Crush."

Looking funereal in a black suit and tie, lead singer Michael Stipe was animated nonetheless, jumping, twitching and hip-wiggling through the nearly two-hour set. After almost 30 years of playing together, the band cranks out the jams like a well-oiled machine. Most importantly, the group has lost none of the verve and high-energy that made it one of the standout rock bands of the '80s and '90s.

Be sure to catch my full review in tomorrow's paper. In the meantime, check out this video for "Bad Day," one of R.E.M big hits.

http://www.youtube.com/watch?v=JMf7c06ZlaM

Posted by Rashod Ollison at 10:39 AM | Permalink | Comments (0)
                    

The much-buzzed-about platinum-plus Southern rapper Lil Wayne was in town last night headlining 1st Mariner Arena. It was also the same day his hotly anticipated new album, the charming but uneven Tha Carter III, hit stores.

Homeboy must have been celebrating the release too long and forgot he had a show, because more than an hour and a half passed before Wayne made it to the stage. Talk about unprofessional. The crowd, mostly under 21, was surprisingly patient, given that it was sweltering inside the arena. (I later found out that Wayne's folks had requested no air conditioning, because the cool air affects his vocals. Whatever. And I thought Kayne West was hip-hop's biggest diva.)

When the pint-sized rapper finally dragged himself onstage, he offered no apology or an explanation for his tardiness. He was a flanked by a huge entourage. It looked like a family reunion behind him. The miscellaneous people  just stood onstage  -- looking disinterested and snapping pictures of the audience on their cell phones -- while Wayne gave a half-hearted and noticeably slurred performance. What a shame. The guy is talented but clearly needs some lessons in professionalism.

http://www.youtube.com/watch?v=QTkMWCzbd_o

Posted by Rashod Ollison at 10:26 AM | Permalink | Comments (0)
                    

First things first: Sheryl Crow looks amazing. At 46, the eight-time Grammy winner has only gotten better. Her show last night at Merriweather Post Pavilion was one of the better concerts I've seen this year. There were no pyrotechnics, no over-the-top theatrics, no hip-grinding dancers. Just Crow singing her amiable, eclectic rock songs at full-throttle, and she seemed to be having a great time.

The rock-pop superstar was supported by a solid, eight-piece band. On stage, Crow and the fine musicians pumped up her greatest hits and choice cuts from Detours, her new album and one of her best releases. The CD is Crow's most politically charged set. It's also counterbalanced by deeply personal tunes centering on events in her life over the past few years: her breakup with Lance Armstrong, her bout with breast cancer, her adoption of a baby boy.

But the music and smart, revealing lyrics cliqued, and the show's energy never dipped. Be sure to catch my full review in tomorrow's paper. In the meantime, check out the video for "Love is Free," a nice cut from the Detours.

Posted by Rashod Ollison at 10:22 AM | Permalink | Comments (0)
                    

Forty years into a celebrated, highly influential recording career, Al Green could just sit back and collect the royalties from his lucrative catalog. Whenever he felt like it, he could hit the road and perform his '70s evergreens, including "Let's Stay Together," "I'm Still in Love With You" and "Love and Happiness." He doesn't need to make any new material.

But the Memphis-based legend, 62, still loves making records. And with a voice and a style that defy time and easy categorization, Green continues to deliver solid albums. On Lay It Down, his third album for Blue Note Records in stores today, he collaborates with artists (Anthony Hamilton, John Legend, Corrine Bailey Rae) who were either toddling around in diapers or not even born when Green reigned supreme on pop radio.

Ahmir "?uestlove" Thompson of the Roots is one of the CD's producers. His crisp drumming anchors the 11-track album, whose sound warmly evokes Green's Willie Mitchell-produced hits of the 1970s.

Lay It Down is well-paced with sassy, midtempo numbers and floating ballads, and all are engagingly rendered by Green. Hamilton's youthful grittiness is a great complement to Green's full-bodied silkiness on the rousing "You've Got the Love I Need." Green is beautifully laid-back on the churchy "What More Do You Want From Me." And he trades dreamily romantic verses with Rae on "Take Your Time."

Lyrically, though, none of the songs are as tightly focused as Green's greatest hits. They're not as immediate, either. But they become more ingratiating with repeated listens. Even with the different guests, the album rightfully centers on Green's greatest asset: that heavenly voice.

Check out this funky clip of Al Green on Soul Train circa 1974:

Posted by Rashod Ollison at 1:32 PM | Permalink | Comments (0)
                    

Hit modern rock band Weezer, whose latest hit is called "Pork and Beans," just launched a new channel on YouTube.  The video for the single, which can seen above, is the first of its kind featuring several YouTube “stars” – like the "Numa Numa" guy, the "Evolution of Dance" guy and "Chocolate Rain" star Tay Zonday.

Earlier this year, Weezer front man Rivers Cuomo enlisted the help of his fans to help write a song and has since made music videos like this one, called "Bridge Lyrics." Rivers’ channel and his videos push what seems to be YouTube's main intention: to bring its community of users together -- the platinum-selling rock stars, the wannabes and everybody in between. 

Posted by Rashod Ollison at 2:32 PM | Permalink | Comments (0)
                    

About six years ago, legendary gospel singer and producer Donald Lawrence worked with then up and coming gospel songwriter Jonathan Nelson. And the two would collaborate on "I am Healed."

Lawrence and the Tri-City Singers first recorded the song and in 2006 Nelson recorded it with the group Purpose.  A contemporary gospel mix with traditional choir verse, the song went on to earn Nelson Song of the Year at the 2006 Stellar Awards.

The two men will be in concert this weekend, but at different venues.

Nelson, a Baltimore native and member of Empowerment Temple, will be in concert at 6 p.m. tomorrow at Temple of Praise, 700 Southern Ave. S.E., Washington. Tickets are $15 in advance and $20 at the door. For information, go to thetempleofpraise.org or call 202-561-0100.

Lawrence will be in concert with Conductor Darin Atwater and the Soulful Symphony in "Say Amen Somebody" in two performances, tonight at the Strathmore in North Bethesda and tomorrow night at the Meyerhoff Hall on Cathedral in Baltimore. Both shows are 8 p.m. Tickets are $18-$55. Call 410-547-7328 or go to ticketmaster.com.

Continue reading "Gospel's Soulful Experience" »

Posted by Karlayne Parker at 4:16 PM | Permalink | Comments (0)
                    

The promoters behind the Paetec Music Tours presented by Merrill Lynch (formerly known as the Paetec Jazz Festival) announced the headliner for its only show in Baltimore this year.  

Multi-Grammy winner Anita Baker will headline Pier Six Pavilion on Aug. 15. Tickets, priced between $39 and $125, go on sale through Ticketmaster on May 2. Because of corporate decisions, Paetec Music Tours has been scaled down to one day in Baltimore. The company decided last year to spread the brand to other cities, including Charlotte, N.C., and Tampa, Fla. 

Baker --  who after a decade-long hiatus returned to the urban-pop scene with 2004's gold-selling My Everything -- is a much hipper choice than last year's headline acts: B.B. King, Al Green and Little Richard. Sure, they're towering legends, but their music has never had much to do with jazz.

Baker, on the other hand, has flirted with the genre since her emergence in the mid-'80s. Her smoked-honey alto has long drawn comparisons to Sarah Vaughan. Though her albums have always been ultra-slick R&B outings, the jazz overtones of Baker's style shines brighter in concert, especially now that she has become more assured onstage.

I saw her about three years ago on a bill with Maze & Frankie Beverly at 1st Mariner Arena, and Baker wore me out. Her rangy, lustrous voice filled the arena. I'm defintiely looking forward to see her again. 

ABOVE: Associated Press photo of Anita Baker

Posted by Rashod Ollison at 12:21 PM | Permalink | Comments (0)
                    

Ashlee Simpson, Jessica's lip-syncing little sister, returns with her third album, Bitttersweet World, in stores today. Like her previous two releases, the new CD is transparent and very trend-conscious.  Simpson also tweaks her persona, something she has done with each album. As suggested on Bittersweet World's cover shot, where Simpson sports a red hoody, the singer is going for a more rebellious look. Thanks to cosmetic surgery, she doesn't look as gawky as she did on the covers of her last albums. But still, everything about this moody-rebel-girl makeover reeks of artificiality.

And the same is true about the music. Simpson's colorless voice adds absolutely nothing to the admittedly catchy tracks, which recycle just about every trend heard on mainstream pop radio. You get faux punk, lightweight R&B workouts and, of course, fizzy teen-pop concoctions. Simpson bites huge chunks out of other people's styles, namely Gwen Stefani and Rihanna.

She was smart to surround herself with sought-after producers, including pop newcomer Santogold and Chad Hugo of the Neptunes. But because Simpson's voice is so lacking in character, none of the 11 songs on Bittersweet World ever takes off.  

(Photo by Evan Agostini / Associated Press)

Posted by Rashod Ollison at 12:19 PM | Permalink | Comments (9)
                    

The Smoking Gun website this week reported that the multiplatinum urban-pop star Akon has  either embellished or fabricated much of his criminal past. Tales of his criminal career, which included running a car theft ring, were largely "kontrived." Here's a detailed report.

I was among the first music critics to profile Akon before his 2004 debut, Trouble, became a smash. I remember he was soft-spoken as he talked about his criminal past. He didn't exactly boast about it the way 50 Cent did when I interviewed him. I thought maybe Akon was just shy or ashamed of his criminal record. Turns out, much of it was a fantasy, a ploy to push records. And homeboy definitely succeeded.   

(Associated Press photo)

Posted by Rashod Ollison at 2:37 PM | Permalink | Comments (1)
                    

Stellar Award winner Richard Smallwood, Tye Tribbett & G.A, Dorinda Clark-Cole of the famed Clark Sisters headline the "Total Night of Praise" concert at 1st Mariner Arena tonight. The night promises to be a mix of traditional and contemporary gospel fused with hip-hop and gospel funk.

Smallwood, a 2008 Stellar Award winner for Traditional Male (gospel vocalist), is legendary for his work and founding of the Richard Smallwood Singers. With 25 years as a gospel artist behind him, he continues to keep his music relevant for a traditional audience that enjoys gospel with a contemporary message. 

His latest work, Journey: Live in New York (released last year), includes gospel artist Kim Burrell, R&B talents Chaka Kahn and Kelly Price, and the gospel legends of The Hawkins Family.

Tribbett & GA (Greater Annointing) have won a huge fan base since their official debut in 2004 with Life (Live). His second CD, Victory Live! (2006) includes his popular song "Victory'' a proclamation song with a danceable hip-hop sound that speaks to a youthful (and young at heart) audience needing an edgy urban contemporary message.

Continue reading "Get your 'Praise' on at 1st Mariner" »

Posted by Karlayne Parker at 10:09 AM | Permalink | Comments (0)
                    

Late last week, I chatted briefly with Kathleen Edwards, the Canadian pop singer-songwriter whose new album is the critically well-received Asking For Flowers. She's currently on a national tour, promoting the CD, her first release since 2005's Back to Me. Edwards play Rams Head Tavern in Annapolis Friday night.

My first question was a pretty obvious one: Why the long wait between albums?

"It's kinda hard to record an album I didn't have any songs for," Edwards said, calling from the road en route to Toronto. "I couldn't write songs about my life if I didn't have one. Being at home helped, like cooking, spending afternoons with friends, finding this sense of normalcy."

Being domesticated for a while informed the smart, relaxed songs on Asking For Flowers. The music is still steeped in the pop-glossed roots-rock of its predecessor. The title track is a standout.

"It's a song about a really close friend of mine," Edwards says. "You can't never ask someone to buy you flowers. They have to want to give them to you. I love that idea. It's trying to explain the need of wanting to be treated with kindness and respect."

Edwards says she excited about the way the songs are taking shape on stage. She's actually looking forward to the Annapolis gig.

"What's good about the Annapolis date is that we're not going to be road-weary," the artist says. "The songs aren't carved in stone. So you don't know what's going to happen."

For more information about the show, go here.

(Photo of Kathleen Edwards by Victor Tavares)

Posted by Rashod Ollison at 5:20 PM | Permalink | Comments (0)
                    

Here's the deal: Keith Urban and Carrie Underwood are not really country stars -- at least not on their current joint national tour. On Wednesday night at a packed 1st Mariner Arena, the two sounded more like pop rockers with faint country overtones.

And that's not necessarily a bad thing. Underwood, perhaps the biggest-selling newcomer in the "country" field, opened with an amiable hourlong set that felt a bit tentative here and there. Although the former American Idol possesses powerful pipes and is an undeniable beauty, she doesn't really "own the stage." Something about Underwood -- her movements, her banter -- felt mechanical. However, she effortlessly and impressively hit all the high notes, and there were plenty. Her set evenly dipped into her two monster-selling albums: Some Hearts and the latest, Carnival Ride.

Urban was far more engaging. After all, he's a proven vet. He seemed much more relaxed and "in the moment," stalking the long catwalk that divided the audience on the arena floor. He punctuated just about every number with a showy guitar solo. Urban and his energetic five-piece band mixed unplugged versions of his greatest hits, including "I Told You So" and "Raining On Sunday," with revved-up rock takes.

Read a full review in Friday's Today section.

Above: Associated Press photo of Carrie Underwood
in a taped performance on last night's Idol Gives Back.

Posted by Rashod Ollison at 9:00 AM | Permalink | Comments (6)
                    

FROM MIDNIGHT SUN: Rapper Kanye West (left), singer/songwriter Jack Johnson industrial rock outfit Nine Inch Nails and alternative rockers the Foo Fighters and Stone Temple Pilots will headline this year's Virgin Mobile Festival, organizers announced today.

The two-day festival, now in its third year, comes to Pimlico Race Course August 9-10. 

About 74,000 people turned out for last year's festival, which featured the Police, Smashing Pumpkins, the Beastie Boys and nearly 40 other acts at Pimlico Race Course.

Posted by Tim Swift at 1:53 PM | Permalink | Comments (0)
                    

The Heart of the City, the potent rap/R&B joint tour with Mary J. Blige and Jay-Z, stopped at 1st Mariner Arena last night. The nearly three-hour show was packed with musical thrills. Both artists delivered mostly engaging sets, breezing through their greatest hits, which span more than a decade. 

Blige and Jay-Z, icons in the hip-hop community, brought some grown-up class to the youth-obsessed genre. They were backed by a titanic band, which included a 12-piece horn-and-string section. The musicians were dressed in white shirts, dark vests and ties. Chandeliers hung above the sparkly set. Nice touch.

Although Blige wasn't very interactive with the full house, she was definitely spirited. At times, though, she was overwrought. Jay-Z was his usual ultra-cool self, rapping in that nonchalant style that made him a superstar. But he was still charismatic, never aloof. He smiled more than Blige, who seemed to exhibit more swagger than Jay-Z when the two shared the stage.  

Above: Associated Press photo of Jay-Z and Mary J. Blige from Saturday's concert in Miami

Posted by Rashod Ollison at 9:46 AM | Permalink | Comments (1)
                    

CAPSULE REVIEW | The concept album, a set of songs meant to be digested as a whole, has long become a relic. In an age where more and more folks seemingly prefer their music in byte sizes, pop acts generally don't spend much time crafting albums anymore.

But the Counting Crows pay no attention to the pop conventions of the day. Five years after the rock band's last studio album, 2002's ambitious Hard Candy, the Crows return with Saturday Nights & Sunday Mornings, in stores today. The CD is packaged like a mini LP, with a gatefold and all. And the songs are supposed to flow like those on classic rock albums.

Here's the concept: Saturday nights, the first half of the 14-track album is brazen, full of surging choruses, and focuses on "sinful" tales of indulgence. Sunday mornings, the second part, is acoustic and musically sparse - the lyrics mostly centering on songs of redemption and self-reflection.  Although the concept may sound a bit contrived, the Crows seem inspired. The production, overseen by Gil Norton, is very polished in spots but largely retains an organic, live feel. Standout cuts include the "1492," "Cowboys" and "Anyone But You."

The warbling vocals of Adam Duritz, the Crows' lead singer and chief songwriter, still bristle with Van Morrison influences. And there's still a lot of lyrical navel-gazing. Saturday Nights & Sunday Mornings is unmistakenly a Counting Crows record but more tightly crafted. The raucous first half is better, the second part is less consistent.

But the combination still makes for a satisfying listen, a nice return to form.  

Posted by Rashod Ollison at 10:00 AM | Permalink | Comments (1)
                    

In case you missed it, I posted a review of Georgie James' show at the Ottobar Wednesday night on Midnight Sun.

You can check it out here. 

(Photo by Shervin Lainez) 

Posted by Sam Sessa at 4:30 PM | Permalink | Comments (0)
                    

The one and only Queen of Soul was in town last night, performing at the Meyerhoff Symphony Hall. The 90-minute show benefited the Bon Secours Foundation of Maryland. And although the cheapest seat in the house was $97, the place was full. 

Franklin delivered a decent show -- nothing thrilling, but she managed to be engaging for the most part. Halfway into her set, the notoriously aloof diva opened up a little, revealing a sly, downhome sense of humor. Musically, Franklin mostly stuck to her classic Atlantic catalog, breezing through favorites such as "Chain of Fools," "Respect" and "Think."

She was backed by a massive band that included a 10-piece horn section. The musicians sometimes overpowered her. And that isn't hard to do these days. Although Franklin's behind-the-beat phrasing is still impressive, her celebrated instrument has lost some of its power over the years. But even when she's coasting (and in concert these days she's definitely prone to just skate through vocally), Franklin is still warmly soulful.     

As we all know, and Franklin will waste no time reminding us, she is the Queen.

Above: handout photo by Matthew Jordan Smith

Posted by Rashod Ollison at 8:40 AM | Permalink | Comments (0)
                    

Posted by Tim Swift at 9:30 AM | Permalink | Comments (1)
                    

Lizz Wright -- the sultry song stylist whose new album, The Orchard, is one of the best CDs I've heard so far this year -- has canceled her Friday night show at Rams Head Tavern in Annapolis. Her publicist says she's dealing with "severe throat problems," which is unfortunate given that her national tour has just started. The show hasn't been rescheduled yet.  

But in the meantime, be sure to check out The Orchard, which was released about two weeks ago. Steeped in the blues, the CD evokes the easygoing, sun-warmed days of Wright's early life in rural Georgia. A beautiful piece of work.

Posted by Rashod Ollison at 1:25 PM | Permalink | Comments (0)