Peter Gabriel has long been a monster in the music biz, immortalizing himself with hits like "Solsbury Hill," "Sledgehammer," and "In Your Eyes".  It's the former Genesis lead singer's place in the classic rock canon that makes his most recent album so surprising: a cover album.  And among the classic rock hits he reinvents (Bowie, The Kinks, Paul Simon, Lou Reed, Neil Young), Gabriel also pays homage to the present indie scene.  The list includes Bon Iver, Regina Spektor, The Magnetic Fields, and Arcade Fire.  There's also some Radiohead in there, too - something I never thought I'd hear from Mr. Gabriel.  

"Haunted" is the first word that comes to mind listening to Scratch My Back. Heavy strings hit hopeful chords among the somber melodies.  Bowie's "Heroes" is the first track and the tune is nearly unrecognizable.  You don't even think David Bowie. Gabriel makes "Heroes" his own in a way that irrevocably changes the tone.  It evokes Nirvana's transformative effect on another Bowie classic, "The Man Who Sold the World."

When Cobain performed that song, he was just attaining a level of success.  The name of the band was beginning to spread across the lips of disaffected American youth. Peter Gabriel doesn't need to work anymore, much less make a cover album. Scratch my Back, then, is a labor of love (Kurt's was too, I know).  Lyrics drive this album, with Gabriel sticking religiously to a minimalist touch.  His minimalism is notable in Paul Simon's "The Boy in the Bubble." The infectiously poppy opening track on Simon's Graceland album is turned into a slow, emotional ballad. 

With such a personal selection of songs, it's worth noting that the more familiar songs struck stronger chords in me.  Scratch is by no stretch of the imagination an exciting album.  It is, however, very emotional. And make no mistake, although lyrics dictated flow, Peter Gabriel is a master composer. Within the careful minimalism, he creates a richly textured, evocative soundscape.  And his voice is as ghostly as his keys.

Highlights include the covers of "My Body is a Cage" (Arcade Fire), "Philadelphia" (Neil Young), and "Flume" (Bon Iver).  "Street Spirit (Fade Out)" (Radiohead) is the extreme manifestation of minimalism I was talking about, and as a result, it's disconnected. I don't know if I'd like this song if I'd never heard Radiohead, but I certainly don't feel it as is. Frankly, he sounds broken until he does something cool by suddenly kicking in  a creepy violin and Gabriel comes off like a carnie performer. But then it's back to the broken voice. The man sounds like he's dying! And then he moans, and the pain returns from before, but it's deeper now, and it's guttural and you cannot help but feel it: "Immerse your soul in love", he says.  Within the bleak world of the album, this is nothing less than a heroic battle cry.

Track list:

1. Heroes (David Bowie)
2. The Boy in the Bubble (Paul Simon)
3. Mirrorball (Elbow)
4. Flume (Bon Iver)
5. Listening Wind (Talking Heads)
6. The Power of the Heart (Lou Reed)
7. My Body Is a Cage (Arcade Fire)
8. The Book of Love (The Magnetic Fields)
9. I Think it's Going to Rain Today (Randy Newman)
10. Apres Moi (Regina Spektor)
11. Philadelphia (Neil Young)
12. Street Spirit (Fade Out) (Radiohead)

DJ/Producer Benny Benassi is premeiring his new music video "Electro Sixteen" as a follow up to the release of Benny Benassi Vs. Iggy Pop EP. Benassi, who has a love for punk subculture and raw colors, wanted to connect the fans with the music and enable them to get lost in it and dance, dance, dance. The video was created last summer with more than 15,000 photographs of Benassi's DJ set at the Electric Zoo Festival.

To bring this video to life, Hayden 5 Media snapped rapid-fire photographs of Benassi performing on stage, as well as of Ida Nash, an electro music lover and fan. Hayden 5 Media pasted together the photos to create the stop-motion editing, while the creative team at Qubic New York made the motion graphics. "We knew this would be the perfect opportunity to use the 'photo-motion' technique. There's something about Benny's music, and electro in general - that calls for the fast cutting of exciting visuals and graphics," says Todd Wasserman of Hayden 5 Media. Ezio Burani of Qubic New York, who conceptualized the video, states that "the graphic language - frenetic rhythm, burned colors, vivid visuals, are something new for electro music...We were inspired by the frenetic rhythm of Benny's music, Punk subculture and the raw colors created by Lomography. We tried to verbalize Iggy's iconic punk persona through the raw graphics in a tough, aggressive way."

The Disco Biscuits Planet Anthem

Drive By Truckers The Big To-Do

Tom McRae The Alphabet of Hurricanes

Nas And Damien Marley Distant Relatives

Neon Trees Habits

The Superions The Superions [EP]

The White Stripes Under Great White Northern Lights [Live]

The Whigs In The Dark

Gin Wigmore Holy Smoke

Peter Wolf Midnight Souvenirs

She's graced the covers and runways of such designers as St. Laurent, Dior and Pink House. She has even been featured in spreads for Playboy and Maxim Magazine. But behind this saucy Cuban's beautiful exterior, lies a serious and devoted DJ.  LA's own DJ Tatiana Alvarez is on the fast track to becoming one of the world's top DJ's. From collaborating with greats like George Centeno, Darren Ramirez, Waxworks and David Garcia to spinning for famous venues and tours like Hot Import Nights, Vanguard, Webster Hall, The Church and Stadium, Tatiana's done it all.

It is no surprise that the highly accredited Djlist.com has named Tatiana as one of the worlds top DJ's. She has found a way to blend together Tec-house with remnants of her Hispanic heritage to create something new, fresh and truly amazing. "When I produce I create all sorts of things. The best productions have been Latin inspired. I recently brought back instruments from Cuba and incorporated them. It really pushed people in the studio to be creative."

Tatiana's love for music began at a young age.  "I was around music my whole life. My Dad is from Cuba and always listened to Cuban music. My grandmother on my mom's side was a singer and always had French music playing. My uncles on both sides had studios. One was a prominent Cuban musician and had a studio in Miami we would visit. The other, in California, was a rock and roll guitarist. So we'd get to play in his studio when we visited. My earliest memories revolved around music. One of my earliest toys was a Mickey Mouse turntable. I should have known then!"

I caught up with DJ Tatiana to discuss her successful career thus far.

When did you begin DJ'ing?

TA: I started remixing songs by cutting tapes together when I was young. I had no idea what it was though. I got turntables with a friend for fun about 15 years ago. That was all kids stuff. It did not get serious until I started to play for friends who were DJ's and wanted to chill after their gigs. I was the chill music!

What was your first gig?

TA: Well my first gig was at an engagement party for a famous rock and roll guitarist and his girlfriend. It was not the most fun because all these rockers were there like Slash and they were not into DJ's at all. My first gig in my community was in Oakland at Hotel Ibiza. Feel Good Entertainment had monthly parties with huge headliners. After playing there that first time, I became part of their parties.

What was your most memorable gig and why?

TA: That's a toss up. Either last year at Coachella or in Jakarta , Indonesia at my favorite club ever called Stadium. It is opened from Friday until Monday without closing. There are three stories and the DJ booth is like an alter. Five thousand people, packed, trance-like. It is a spiritual experience.

I played my best set there ever. 4 hours and I was out of my body. It was the Birthday of a friend of mine who passed months before. As I was walking in I looked to the heavens and said, "Shawn this is for you" and it was magical. I am getting tears in my eyes answering this right now.

What was it like to tour with "Hot Import Nights?"

TA: It was interesting. I am thankful for the experience. We toured every city in the country. The fans were great and it was one of the biggest growth experiences for me. I was asked to play music I was unfamiliar with. At times I was the only DJ willing to do that, so it had its share of stress. But after doing it I knew I could do anything.

Out of your first four mix tapes, which is your favorite and why?

TA: The "Hot import Nights" was my favorite. I mixed a style very different than the other girls, to stay true to my soul. It was everywhere. I went to Best Buy, there it was. I was watching People's Choice on TV there it was. That was very cool because I was dancing around with 3 little girls when the CD cover popped up on the TV. I was on the cover of it so I felt like a rock star! They were pretty impressed. Lucky timing!

What is your favorite LA venue?

TA: I love Avalon. Also Vanguard is great. I like the big sound systems. The vibe at Medusa is really cool too.

What venue would you like to DJ at?

TA: I'd like to DJ at Sonar in Barcelona which is a festival. Venue wise probably Cocoon in Germany .    

How is DJ'ing overseas different then America?

TA: Overseas has better taste in music for sure. I mean more geared towards electronic. It's everywhere: in markets and restaurants. It's part of their life.

How has traveling affected your music?

 TA: I have traveled the whole world. Because of that have been able to hear and appreciate all sounds and incorporate them into my own music. I know what excites people and when and how to work it in.

Are there any negative stereotypes that come along with being a female DJ?

TA: So many people still think women are not as solid as men. I don't even bother to give energy to it. I love male and female DJ's. We all have different styles and tastes. Haters only diminish their own life experience. Many people think because I am an attractive woman, that I'm a diva. I carry my own bags. I stay up later and go harder than most guys. Throw down the same and have the same knowledge of the music. There are girls who can't spin, but there are guys who can't spin too. So what? They have not built a career on that. Male DJ's who aren't successful love to use the "girl card"!

If you had to choose one last song before you died, what would it be?

Well Massive Attack are my lifetime favorites. So it would definitely be one of their songs. Maybe "Angel".

Tatiana wrapped up the interview with a simple heart felt comment, "My goal is to make people happy, dance and feel good. I am for the people."

Links:

www.myspace.com/thedjtatiana

www.Twitter.com/DJTatiana

www.thedjlist.com/djs/TATIANA/

www.djtatiana.com

www.jook-music.com

www.facebook.com/Thedjtatiana

If you weren't able to get to the SXSW festival or just didn't get your fix of indie sounds, there is another festival that takes place down the road from March 20^th to 22^nd.  There are two stages in a beautiful drive-in movie theater on the side of a mountain in the Sierra Madre Oriental, located at Avenida Lázaro Cárdenas #1818 Colonia Las Torres, Monterrey, Nuevo León, Mexico.

Tickets are $30 USD for a 3-Day pass, which will have 78 bands, including headliners - No Age, Liars, Neon Indian, Andrew WK, and Washed Out. The festival includes a substantial visual art element as well, with the perimeter of the space decorated by huge original murals and projected video pieces (on the drive-in screen of course!) by such artists Stephanie Davidson, Sumi Ink Club, Jesse Spears, Katja Mater, JD Beltran and many more.

FINAL SCHEDULE

|| SATURDAY ||

:: 10:30 - LOS PLANETAS (Spain)

:: 10pm - ACID MOTHERS TEMPLE (Japan)

:: 9:30 - CHIKITA VIOLENTA (Mexico)

:: 9pm - TELEPATHE

:: 8:30 - QUIERO CLUB (Mexico)

:: 8pm - Das Racist

:: 7:30 - Lázaro Valiente (Mexico)

:: 7pm - Male Bonding (UK)

:: 6:30 - Hunx and his Punx

:: 6pm - El Resplandor (Mexico)

:: 5:30 - Wet Hair

:: 5pm - Pocahaunted

:: 4:30 - Soho Riots (Mexico)

:: 4pm - Teengirl Fantasy

:: 3:30 - Yo! Linares (Mexico)

:: 3pm - Explode Into Colors

:: 2:30 - The Coathangers

:: 2pm - Kría Brekkan - of múm / Storsveit Nix Noltes (Iceland)

:: 1:30 - Anamanguchi

:: 1pm - Coasting

:: 12.30 - Videohippos

:: 12pm - Drawlings

:: 11:30 - Adventure

:: 11am - Le Macabre Party (Mexico)

:: 1am - Aa (aka BIG A little a)

:: 1:30 - Sun Araw

:: 2am - Young Prisms

:: 2:30 - Campfires

:: 3am - Ringo Deathstarr (Texas)

|| SUNDAY ||

:: 12pm - ANDREW WK

:: 11:30 - DAN DEACON

:: 11pm - FUCKED UP (Canada)

:: 10:30 - LOS FANCY FREE (Mexico)

:: 10pm - WASHED OUT

:: 9:30 - GRANT HART --- of Hüsker Dü

:: 9pm - INDIAN JEWELRY (Texas)

:: 8:30 - Toro Y Moi

:: 8pm - Tanlines

:: 7:30 - Small Black

:: 7pm - Los Margaritos (Mexico)

:: 6:30 - Chinese Stars

:: 6pm - Banjo or Freakout! (UK)

:: 5:30 - The Wave Pictures (UK)

:: 5pm - Talk Normal

:: 4:30 - The Beets

:: 4pm - XYX (Mexico)

:: 3:30 - So Cow (Ireland)

:: 3pm - Beach Fossils

:: 2:30 - Antoine Reverb (Mexico)

:: 2pm - The Bitters (Canada)

:: 1:30 - TV Ghost

:: 1pm - Los Llamarada (Mexico)

:: 12:30 - Total Abuse (Texas)

:: 12pm - Cloud Nothings

:: 11:30 - White Ninja (Mexico)

:: 11am - Piyama Party (Mexico)

:: 10am - Modern Dance from Mexico & USA

:: Mexican dance curated Estrella Sanza (Los Llamarada)

:: US dance curated by Busy Gagnes (Telepathe)

:: Performances include:

:: Crepusculo

:: La Bruja

:: Prefiero Consumirme Que Disolverme

:: Defectos

:: El Yo y El Entorno

:: 1am - MNDR

:: 1:30 - The Mantles

:: 2am - Teeth Mountain

:: 2:30 - KIT

:: 3am - Twin Sister

:: DJ Jonathan Toubin

:: Soul Clap and Dance-Off

|| MONDAY ||

:: 12am - LIARS

:: 11:30 - NO AGE

:: 11pm - NEON INDIAN (Texas/Mexico)

:: 10:30 - Ratas del Vaticano (Mexico)

:: 10pm - THEE OH SEES

:: 9:30 - Lemonade

:: 9pm - BamBam (Mexico)

:: 8:30 - Lucky Dragons

:: 8pm - Liturgy

:: 7:30 - Jóvenes y Sexys (Venezuela)

:: 7pm - Salem

:: 6:30 - DD/MM/YYYY (Canada)

:: 6pm - Alexico (Mexico)

:: 5:30 - Best Fwends (Texas)

:: 5pm - Sandwitches

:: 4:30 - Mockinpott (Mexico)

:: 4pm - Fergus and Geronimo (Texas)

:: 3:30 - Big Troubles

:: 3pm - HEALTH (Rhinoceropolis)

:: 2:30 - Pictureplane (Rhinoceropolis)

:: 2pm - Gauntlet Hair (Rhinoceropolis)

:: 1:30 - Tearist (Rhinoceropolis)

:: 1pm - Josephine and the Mousepeople (Rhinoceropolis)

:: 12:30 - HIGH PLACES (Rhinoceropolis)

:: 12pm - Mentira Mentira (Mexico)

:: 11:30 - Sr. Amable & Mr. Racoon (Mexico)

:: 11am - Baths

:: 10am - Bilingual, Women's Drum Workshop hosted by Tom Tom Magazine

:: 1:30 - Air Waves

:: 2am - Fluffy Lumbers

:: 2:30 - Lawrence Arabia (New Zealand)

:: 3am - Teenage Cool Kids (Texas)

:: DJ Jonathan Toubin

For full information about band info, transportation, and ticket purchase, click here.

Gorillaz' third album, Plastic Beach, is the latest saga from Damon Albarn, who can also be found as the lead vocal in Blur and The Good, The Bad, and The Queen.  Plastic Beach is the follow up to the critically acclaimed Demon Days and Albarn kept the same recipe, a concept album with a ton of guest spots (maybe too many). But those seem to be the only qualities these two records share; Plastic Beach isn't nearly as poppy as it's predecessors and the commercial singles of "Feel Good Inc." and "19-2000" seem to be long gone.

The record starts with the Orchestral Intro and the soothing sounds of waves rolling up and seagulls squawking in the distance. Before you know it, you're listening to Snoop Dogg welcoming you to the world of the plastic beach and you know right from the start, this is going to be different than anything you've ever heard. "Rhinestone Eyes" is a synth heavy track with only 2D(voiced by Albarn) singing lyrics that are up for interpretation that might have some global warming implications: "With future pixels in factories far away / So call the mainland from the beach / Your heart is now washed up in bleach / The waves are rising for this time of year / And nobody knows what to do with the heat / Under sunshine pylons we'll meet while rain is falling like rhinestones from the sky."

The first single "Stylo" ft Mos Def and Bobby Womack is definitely an album highlight but once Womack crashes in out of nowhere, it almost puts the track to a dead stop and leaves you feeling completely confused as to why it's there in the first place.

The catchiest chorus belongs to "Superfast Jellyfish" on what seems to be a commercial spoof ft De La Soul. The upbeat synth and infectious chorus leads into "Empire Ants" ft. Little Dragon. This slow moving jam picks up intensity and eventually sounds like you stepped out into a 1980's disco club.

"Some Kind of Nature" features Lou Reed almost rapping, but not quite and is followed by one of the few times Damon Albarn sings by himself on "Melancholy Hill" that has his vocals over a gothic organ.

Plastic Beach has a grand theme and it feels that way when you listen to it, almost too grand for its own good. There's so many guest spots, so many different sounds that it doesn't feel as unified as the previous Gorillaz albums. But one thing is for sure, and that's when you hear a Gorillaz song, you know it's a Gorillaz song. Damon Albarn has continued to make a unique original sound with quite a few highlights but just not as many as we're used to.

Acrassicauda Only The Dead See The End Of The War

Alberta Cross Broken Side Of Time

Before Their Eyes Untouchable

Black Rebel Motorcycle Club Beat The Devil's Tattoo

Broken Bells Broken Bells

Frightened Rabbit The Winter Of Mixed Drinks

Gorillaz Plastic Beach

jj jj n3

Liars Sisterworld

Monica Still Standing

The Morning Benders Big Echo

New Young Pony Club The Optimist

Numero Group Good God! Born Again Funk

Pavement Quarantine The Past: The Best Of Pavement

Josh Rouse El Turista

Standard Fare The Novelle Beat

The Steel Wheels Red Wing

Ted Leo and the Pharmacists The Brutalist Bricks

Titus Andronicus The Monitor

James Murphy's electro gang LCD Soundsystem is finally going to give the fans what they want, a new record. Set for a May 18th release for the as-of-yet-untitled third album, Murphy stated on the bands blog, "Looks like we added another Paris gig. Oh, and something else. The fucking record is done." Murphy sent it off to be mastered by Bob Weston and by the looks of his comments; it seems to be a relief. Murphy spoke to Rolling Stone about the struggles of recording and coming up with song titles, "You ever listen to a song 40 times?" he asks. "That's why I don't write the lyrics until as close to the day I sing it as I can, so I don't get sick of them." And when it comes to the titles Murphy thinks it should be, "the most repeated, obvious phrase... because that's what people are going to say anyway!"

The three-month recording session took place at a Laurel Canyon Mansion that also had the Chili Peppers for Blood Sugar Sex Magik. The grueling recording process was broken up when Murphy wrote a score for the film Greenberg. And when he returned it's safe to say that he was a bit tired, "It was brutal after the soundtrack," he admits. "The last half of the album was brutal. It was like working on a meal when you've already burned something. I spent a lot of time on self-doubt. I had to go back and find my head again."

LCD Soundsystem has announced their upcoming tour and has mostly planned their European dates, with the exceptions of a few festivals in the States like Bonnaroo and the newly announced Camp Bisco in upstate New York.

Here is the track list for the upcoming LCD Soundsystem album:

1.     Dance Yrself Clean

2.     Drunk Girls

3.     One Touch

4.     All I want

5.     Change

6.     Hit

7.     Pow Pow

8.     Somebody's Calling Me

9.     What You Need

Folk music, which has developed since its birth in the 19^th century as traditional folklore, has been used to describe the traditions, customs and culture of the average citizen with raw, unkempt vocals and minimal instruments, usually a simple guitar or piano. Recently, folk music has gained popularity and fusion genres such as electric-folk and pop-folk have emerged, at times causing our definition of the genre to become cloudy and bereft with computerized instruments and auto-tune. Joanna Newsom is a fresh breath of air amongst a class of musicians that no longer write their own material or play their own instruments. The California-bred songstress has been classically trained in harp, guitar and piano since she was a toddler and released her first EP at the tender age of 20.

Joanna Newsom's third full-length album, Have One on Me, was recently released on February 23rd to enthusiastic reviews. In the beginning of January, her record company, Drag City slowly built anticipation for the three-part album by posting a cryptic blog that held a web link entitled, "The noose... um,  draws closer." That link led to a comic strip entitled Joanna Newsom "Have one on Me" and dated 2-23-2010. Upon further investigation and with the help of a few hints, music-lovers were pleased to find out that those clues were none other than the title and date of Newsom's newest release. In the following weeks, Drag City released a couple of singles from her promising forthcoming album, which only continued to build expectations and fueled impatience.

Needless to say, the album was well worth the wait and surpassed all of the expectations that we had for the young singer/songwriter. Newsom creates a special brand of folk with her new album, a sound that conjures images of open plains, lush orchards and rolling hills. In fact, Newsom has stated that while recording this album in Japan of 2009 she did have her home state, California, on her mind. The album, which includes an eight-minute ode entitled, "In California," promises to be what Ray Charles music served as for Georgia, a both iconic and regional anthem. Though ‘Have One on Me' was released in February, the singer's chirping voice and imaginative lyrics combined with her aptitude for guitar and piano have created what is sure to be one of the best albums of the year.

I guess it's safe to say that Jay-Z has a lot of friends in the hip-hop community. Cameos are no longer a shock when Jay-Z plays a sold out show at Madison Square Garden, but last night no one could have guessed who would stop by:

The world's most infamous criminal (well, not yet, because Lil Wayne's sentencing was postponed on the 2^nd due to a serious fire in Manhattan's Criminal Court where three people were injured). This is the second postponement of Wayne's sentencing, the first was due to an "emergency dental surgery" where he had eight root canals performed.

About 45 minutes into Young Jeezy's set (Jay-Z's tour mate), he explained Lil' Wayne's situation at the courthouse for the audience. Immediately following, the beat for "I'm Goin' In" blared from the speakers and the soon-to-be-incarcerated criminal emerged from the side of the stage to perform to a raving crowd. Soon after, Drake blessed the audience with his appearance, and the crowd almost turned into a full-scale riot.

Lil Wayne is expected to be sentenced to a one-year prison term for gun possession charges stemming from a 2007 arrest. Lil' Wayne made a statement to his fans Monday night via Twitter: "yesterday I smiled, today I smirked, tomorrow I stop ...................thanks for your thoughts and prayers, they're needed. They kant lok up my heart bekuz ya'll already have it on lok......thank u."

Hopefully he'll be attending some much needed English and grammar courses while serving his time.

Lady Gaga kicked off her huge Monster Ball: The Electro Opera in England this past week, and did I mention that it's huge? Only Gaga can battle a 30 ft. tall squid and have it somehow work into the theme of her "opera." The show, which is broken up into four acts, spans over 20 songs and 15 costume changes.

The stage and concept has been completely changed from her U.S. tour, and she has now added her new single, "Telephone" to the set list. Also, "Glitter and Grease," "Vanity," and "Brown Eyes" have taken the place of "Paper Gangsta," "Eh,Eh (Nothing Else I Can Say)," and "Fashion" for the European tour.

Here's a clip of Gaga battling the half fish half squid in Manchester's Men Arena.

Set list:

Act 1: City

-Dance In The Dark

-Glitter and Grease (unreleased track)

-Just Dance

-Beautiful Dirty Rich

-Vanity (Unreleased track)

-The Fame

Act 2: Subway

-Lovegame

-Boys Boys Boys

-Money Honey

-Telephone

-Brown Eyes

-Speechless

-So Happy I Could Die

Act 3: Forest

-Monster

-Teeth

-Alejandro

-Poker Face (Acoustic)

-Poker Face

Act 4: Monster Ball

-Paparazzi

-Bad Romance

Just when you think the Rolling Stones don't have any more classic songs to be released, they dig deep into their archives and find more! Exile on Main Street, the Rolling Stones' classic 1972 album, is set to be reissued with an additional 10 previously unheard tracks.

On May 18^th, Universal Records will be reissuing the classic record and asked the Stones if they could search for any unearthed tracks, the band was convinced they had released everything for the 1972 double album. But with some determination, the Stones found Plundered My Soul, Dancing in the Light, Following the River, and Pass The Wine, while the special re-issue includes alternate versions of album tracks Soul Survivor and Loving Cup.

Mick Jagger told Rolling Stone Magazine that he and Keith Richards tweaked some of the songs, "I added some percussion and some vocals. Keith put guitar on one or two." But mostly Mick Jagger felt that the majority should be left alone, "I really wanted to leave them pretty much as they were, I didn't want to interfere with the Bible, you know. They still had that great basement sound."

The deluxe edition will also have a documentary directed by Stephen Kijak, which follows the band in the process of making Exile on Main Street.

It's been reported that Keith Elam, better known as ‘Guru' of Gang Starr, is in a coma after suffering a heart attack and will undergo surgery today (March 1^st). DJ Premier of Gang Starr confirmed the terrible news in a Sirius radio interview.

If you don't know Gang Starr, they can easily be described, as the pioneers of combining New York swing jazz and hip-hop. The hip-hop community has regarded Gang Starr as one of the most influential rap groups in the 90's even during their ‘long pause' until 2003 when their last record The Ownerz was released. Even now, it's unclear whether Gang Starr is finished or not with both DJ Premiere and Guru giving confusing statements about the groups status. Guru on many occasions has stated that Gang Starr is done while DJ Premiere has refused to acknowledge the group's end. Recently, on twitter, Guru wrote a message asking if the fans are ready for a new Gang Starr album, so who knows?

Guru has been credited for the idea of rapping over actual live jazz and released, Jazzmatazz, Vol. 1. He would follow the release with an entire Jazzmatazz series, which included 4 volumes.

Our thoughts and prayers go to Keith Elam and his family.

Gang Starr Discography

No More Mr.Nice Guy (1989)

Step in the Arena (1991)

Daily Operation (1992)

Hard to Earn (1994)

Moment of Truth (1998)

The Ownerz (2003)

Guru Discography

 Jazzmatazz, Vol.1

Jazzmatazz, Vol.2: The New Reality

Jazzmatazz, Vol.3: Streetsoul

Jazzmatazz, Vol.4: The Hip-Hop Jazz Messenger: Back To The Future

Let the manic refreshing begin, thousands will be glued to their computer screens as they relentlessly check to see if W.A.S.T.E. has opened the ticket booth. What's W.A.S.T.E. you might ask? W.A.S.T.E. is the website that Thom Yorke and Radiohead have used to sell pre-sale tickets to a lucky few for a chance to stand in the pit and witness the rock gods up close and personal.

Thom Yorke has announced via Dead Air Space, that he will embark on a small US tour with his solo band, Atoms For Peace, which includes Chili Peppers' bass player Flea and long time producer of Radiohead and Beck, Nigel Godrich.

Mr. Yorke explained that they "had too much fun to just leave it there..." speaking of the few shows they played in England.

The tickets for the New York and Boston pre-sale go on sale sometime tomorrow, while the Chicago shows will be up on the 3^rd, and the California gigs will go on sale on the 4^th.

If you're unable to get a pre-sale ticket, the general sale starts at 10 AM from ticketmaster.com

Good luck! Well actually, I'll only wish you luck after I get my ticket.

Tour Dates

4/5 Roseland Ballroom NY, NY

4/6 Roseland Ballroom NY, NY

4/8 Citi Wang Theatre Boston, MA

4/10 Aragon Ballroom Chicago, IL

4/11 Aragon Ballroom Chicago, IL

4/14 Fox Theater Oakland, CA

4/15 Fox Theater Oakland, CA

4/17 Santa Barbara Bowl Santa Barbara, CA

4/18 Coachella Festival Indio, CA

With 2,700 to 3,500 albums released in the US every year, you would think it would be fairly easy to get an accurate assessment of music trends of that year or years to follow.

Apparently that is not the case. While it's is clear that countless country and pop labels will be scouring the earth to find the next Taylor Swift ‘hybrid' sensation to force feed into the mainstream, it's a bit harder to  ascertain what will be in and what will be out in the upcoming years.

Will the resurgence of talk boxes, vocoder's and auto tune mark music's creative peak and will music be resigned to recycle itself over and over again? How has the crippling economy affected the music industry? Will artist be more interested in being needle dropped in TV and film rather than hear the roar of a couple thousand adoring fans? All of these questions, while designed to whip you into a needless frenzy over the future of music, are still legitimate concerns being evaluated by musicians, songwriters and artist every day.  

On that depressing note, I think I may have found someone who could shine a convivial light on the music industry and your future with it.

I had the opportunity to speak with reporter, editor, and respected culture writer Lorraine Ali recently. The accomplished Lorraine Ali is a Newsweek Contributing Editor and has worked with top notch publications such as Rolling Stone, The Los Angeles Times, The New York Times, The Village Voice, and Entertainment Weekly, and interviewed some of the top names in music in her career. From 8th octave chiming Mariah Carey to connection-yearning Neil Diamond, Lorraine has seen and heard her fair share of the voice of music.

When asked about recent pop/country sensation Taylor Swift and the possibility of resurgence in the market with over-saturated cookie cutter cutouts of the 22 award winning ‘t'ween' country fantasy artist, Lorraine was a bit more understanding than I. "It's like teen pop repackaged." Furthermore; "It's essentially ‘filler' that music labels put out until something more substantial appears." Lorraine also made the observation that while Ms. Swift is being sold as a country star, she is fundamentally a pop sensation, not too dissimilar from the genre hopping Nancy Sinatra of the 1960's. Basically pop has become the duct tape to music; adhesively connecting itself to the vein of various genres' to bring otherwise nitch genres to the forefront for all to mock and eventually enjoy.

If there is an argument that Taylor Swift can be compared as a modern day Nancy Sinatra, and artist such as T-Pain, Akon, and recent sensation Ke$ha are all utilizing old tricks like vocoders, talk boxes and auto previously used by acts like Zapp and Rgoer and George Clinton and Parliament; has music reached its creative capacity? Lorraine optimistically believes not. "There is ‘ALWAYS' something out there. I mean if it touches upon an emotion or harmony in a different way, then it's new. It doesn't necessarily have to be a groundbreaking genre to consider it new." She goes on further to say, "I feel if it moves you, if it feels fresh, then it could be considered new. The revolutionary sound is out there, we just may not have heard it yet. I think MIA's sound is put together in a unique way. Coming from a war torn country, it seems she's not afraid of putting together a new sound with actual substance while also experimenting."

There used to be stories of artists complaining that their careers were hampered by labels and studios attempting to peg them into a mold they didn't want to be in, and because of that, their music suffered, blah -blah-blah. With so many technological tools at the fingertips of so many artists, could the art form of music be hampered in other ways? From self promotion on hundreds of social websites to almost immediate distribution with the help of affordable personal recording software, it seems like a win/win for both the artist and their audience.  Lorraine held her cautionary reservations about the celebration of the technological shift of the music industry. "Well this is a dual edge sword. On the one hand it's made it so much easier for people to distribute their music without being signed by a label. On the other hand, people just aren't paying for music anymore." Making digital copies of recordings and placing them on free sites allows an artist to bypass the huge label demanding percentages for packaging, distribution, and marketing and puts more control in the artist hands. On the same token, digital copies floating on the internet is like the flu, once one person has it, a whole community will end up with it. Music will be dispersed without any regulations or control or worse yet, money.

With the movement to musical technology, more and more software programs are being made available with the ability to emulate complete bands  and orchestras, precision execution of hundreds of instruments with acute accuracy, and all of this technology at the fingertip of most artist; will musician heavy genre's like Jazz and Classical become a lost art form? Lorraine Ali dutifully points out. "Logically you would think so. But I was recently speaking with the Music Institute about their current course enrollment overview. Course enrollment in classes like Instrument Mastery hasn't changed and in some instances increased. The enrollment in these courses is on par with students signing up to learn about music software." She also brushes upon the fact that while Jazz and Classical are difficult genres to expand, we could probably look forward to other genres utilizing their sound in various capacities. 

Concerned with my own nickels and pennies in today's economy, I wonder what artists have to look forward to when the numbers for last years' concert attendance have dropped another 12 percent. With concert sales steadily decreasing, and annual mediocre album sales due to piracy, it appears artists are looking to hit it big in other media outlets like TV, film, video games and various merchandise. Lorraine agrees, "If people are gonna rip off your music, make your money elsewhere. I mean the money has to come from somewhere to sustain the artist and the art. I really wish it was ‘ALL' about the music, but people have to make a living somehow." While it's a stretch to think that artists are making songs solely with the intent to place them in Geico commercials, it is however well within the realm of future possibility. I personally would look into putting music on sites like Monster.com, who knows how many hits that sites getting these days?

In a time when promoters are being forced to slash ticket prices, venues offering never before offered discounts, and fans forced to choose between seeing a show and paying rent, it appears that songwriting has yet to reflect the current climate. At some point people might get tired of hearing about the wonders of being a star, or how many stacks a rapper has, and further more the escape music used to offer from everyday life will feel so out of reach that it may in turn become resented. I mean, will the current state of the economy be eventually reflected in future songwriting? Lorraine seems optimisitc, "I sure hope so. After 9/11 I just couldn't believe that the music didn't reflect the times. I mean for the past decade music hasn't been acknowledging what's been going on. Where were the songs about the past administration? Green Day made a valiant attempt, but it's like music is being made in a bubble." Lorraine and I both agree, "It would help to restore my faith in music. It seems like music has no connection with today's reality. Where are the new songwriters, where are the new voices? Usually you can look to hip hop, artists like Mos Def and Nas who are the first to speak about politics and economic turmoil. Hip Hop has usually been a good barometer of cultural forecast. I feel it's failed along with talented songwriters who are too busy in trivial pursuits to be the voice for an audience in need." So if you happen to be an aspiring artist out there looking to find a nitch genre, there is an over complacent audience out here waiting for you to reach out and let them know you understand and you feel the same way.

Benjy Davis Project Lost Souls Like Us

Peter Gabriel Scratch My Back

Groove Armada Black Light

Jamie Cullum The Pursuit

Jamie Foxx Body

Natalie Merchant Leave Your Sleep

Mumford & Sons Sigh No More

Rogue Wave Permalight

Sharam Jay In My Blood

These New Puritans Hidden

Josh Wolf (of WHY?) Jet Lag

You won't find anything cliché about this Hip-Hop group. No flashy jewelry, expensive labels or redundant lyrics. Gran Rapids' latest "Calvin and Hobbs" inspired album titled Saturday Mourning, has stirred up quite a buzz and fan base in Seattle WA. And now the group is planning to do the same in Los Angeles.

The tracks in Saturday Mourning flow together to create a story, as if purposely placed that way. You don't have to be a strict Hip-Hop fan to enjoy the album. Like a musical buffet, Gran Rapids dips into different genres. Not to mention that their usage of live music in shows sets them apart from others.

I was lucky enough to visit their studio and chat with the boys. Their creativity was evident even upon entering the studio, as the walls were plastered w/ random images of what drummer Jared Giles explains are "Constant inspirations." From Prince and Pink Floyd, to Rubik's Cubes and robots--You can tell that group members Leach and JBattle have taken their diverse musical backgrounds and brought them together to make the originality that is Gran Rapids.

What do you expect to accomplish in Los Angeles?

Leach: We just can't wait to be known out there. We plan on moving ASAP. It's cool to be big in a local circuit, but really we're looking for some national attention.

JBattle- I am originally from California, Marino California. We'll be leaving a huge fan base back home, but I know L.A. will love what we're doing.

Los Angeles is already home to some of Hip-Hops most influential groups. What do you have to offer that is different?

Leach: Originality...We only put out music we love. We only rap about things that are real. We don't try to be anything we're not.

JBattle: A lot of groups are bland. We try our hardest not to be bland. Now-a-days Hip-Hop has become all about the beat, and the lyrics have gotten lost. We like to think we do it all. We have sick beats, off the wall lyrics and live music at every show.

What venues do you plan on visiting?

Leach: The Whiskey A GoGo" and "The Roxy."

The graphics in the album cover of Saturday Mourning are incredible. Why did you choose the "Calvin and Hobbs" theme?

Leach: A lot of it had to do with our care free attitude. We try not to take ourselves too seriously. So we went for a childhood favorite of ours in order to portray that.

Anyone who has heard of Gran Rapids before knows that the Robot Fan is the group's mascot. Why did you choose it, and where did it come from?

JBattle: Shaprece, a friend of ours, gave it to us as a present. She brought over this fan in the shape of a robot one day. It's a Japanese fan that we just recently found out is worth over $900! We're not sure why it became the mascot of the group, but we love it. We take it along with us to every show and studio recording.

You guys are very open about both of you dropping out of High School. Was that experience the inspiration for track 11, "Too Cool for School?"

Leach: This is the oldest track on the album and the only solo song we've done. It was about my overall experience in high school. Not really caring and going just to have a good time. It was a social event for me.

What advice would you give to teens who are considering dropping out of High School to peruse a career in music?

Leach: You better be good at it. Always have a Plan B.

JBattle: It's hard for me to give any advice because I hated high school. However, I will say that dropping out was a decision I made. You have to do what's right for you. Never follow in someone else's footsteps.

If you had to choose one last song before you died, what would it be?

JBattle: "Killa Season", by Camron.

Leach: "Why You Want to Treat Me So Dad," by Prince.

There are so many reasons why Gran Rapids will be successful in L.A. However, I believe group member JBattle put it best when he said, "It only took us a year in Seattle to make it, and I have infinite faith that in time we will do the same in LA."

For future venue dates and a link to purchase Gran Rapid's album Saturday Mourning log on to www.myspace.com/GranRapids

                                www.twitter.com/GranRapids

                                www.GranRapidsBlog.com

Daniel Merriweather was born in a proletarian area in Melbourne, Australia, and spent a lot of his childhood alone, traveling long distances and creating his own world with his much heightened imagination. Daniel created a passion for philosophy throughout his childhood but found himself often distracted during in teenage years and consequently dropped out of high school. However, music thankfully has always been able to guide Daniel in the right direction. Daniel started playing the violin when he was 4 years old and has been singing since he was born.

The current 28-year-old Aussie's first commercially released recording was a guest appearance on the track ‘All I want” from Australian dance at Disco Montego’s self titled album in 2002. His debut single “City Rules” became a huge success produced by Mark Ronson and featuring raps from New York’s MC Saigon. Both of Daniel’s songs later became favorites in popular Australian hot spot clubs.

In 2005, Daniel co-wrote and co-produced much of Phase’s album Talking with Force and even sang on three of the tracks including chart topping single “Catch Phrase.” Recently Daniel has been on tour promoting his new album Love and War which was released in June of 2009.

Be sure to catch Daniel when he returns in NY and performs at Webster Hall on 5/3/2010, get tickets while they're still available!

When the Black Eyed Peas put on a concert in New York, they never stop entertaining. Literally. After their concert tonight at the legendary Madison Square Garden, they will be hosting a huge after party at M2 Ultralounge.

The concert (in support of their multi-platinum #1 selling album The E.N.D.) itself will feature special guests Ludacris and LMFAO. It's also the first time since 2006 that will.i.am, apl.de.ap, Taboo and Fergie will unite for a North American tour.

The Black Eyed Peas themselves are hosting the party, which starts at 11pm at M2 Ultralounge - and some of the Peas will also be doing a DJ set during the party.

There's no RSVP required, just show up and get ready to dance!

"This Will Be Our Year" was the first OK Go song I ever listened to. It was the first track on a popular indie compilation album from 2004 entitled The Future Soundtrack of America. The compilation was chock-full of brokenhearted music, but OK Go sounded different. Their song emitted warmth, solace in love, and hope. "This Will Be Our Year" was instantly lovable and infectiously catchy.

In subsequent releases, in spite of the heartache their lyrics displayed in "OK Go" and "Oh No," the warmth and optimism remained. Just check out "Get Over It." There's anger there, sure, but the conclusion is positive. You might be alone, in a lot of pain, but this isn't forever. Get up, lift your head, and face tomorrow. OK, go. Behind these lyrics are some of the tastiest licks in all of rockdom, featuring multi-layered songs, complex keyboard and bass lines, and hooks that would make your grandmother tap her feet.

So it's 2010, and Of the Blue Colour of the Sky has been out for a month and a half, and I've listened to the album a dozen times. Each listen gets more interesting: electric guitars, xylophones, kick drums; a wonderful fusion overall, always coming back to an honest optimism.

Opening track "WTF?" is a hard scramble of lyrics, opened with distortion, in which lead singer and guitarist Damien Kulash admits he's just an animal. The chorus of the following track, "This Too Shall Pass" has two of the best lyrical hooks I've heard in a while: "Let it go, this too shall pass / You can't keep lettin' it get you down." A killer duo. Followed by a heavy "All Is Not Lost," the album opens with three five-star songs in a row. These guys are on fire, and the album is just getting started. They hit you with smatters of keyboards, they ring out timely notes, and they pluck at heart strings. OK Go challenges you, they tell you, and they reflect you. If your life is a total mess, an emo crying shame, they recognize you, and then they demand you pull your head out of your ass and OK Go, embrace the world. These guys have the talent and complexity to back it all up.

Ok Go has been compared to Weezer and Elliott Smith, but neither one fits the bill for me. The hint of sadness in their lyrics invokes the Smith comparison, but these guys have too much hope, too much fun, in their guitars to be in the same category. As for Weezer, maybe their later stuff compares with OK Go, but never too distinctly. Weezer's older, more engaging work was fun, but unpolished. This group, on the other hand, shot out of the gates like long-term professionals. If they're to be likened to anyone, OK Go is most reminiscent of Spoon. Both bands deal with heavy-hearted issues using a lighter touch, and incidentally, they've both already released killer albums this year. 

In this new release, Ok Go is on point. They're now mature, well-oiled musicians. They lost lead guitarist Andy Duncan to creative differences in the early '00s, but they're still producing. Of the Blue Colour of the Sky isn't their best - that honor goes to their self-titled debut in 2002. There isn't a track on OK Go that isn't top notch.  But Of the Blue Colour of the Sky is a strong effort. It's inviting, and at times excellent. Trust me, after hearing their junior full-length, you won't want to miss what they bring to the table senior year. "I want you so bad, I can't breathe." Now, that's love.