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FEATURED SONG: The Glass Child – “Insanity”

The Glass Child

Charlotte Eriksson of The Glass Child

This live version of The Glass Child’s “Insanity” only has 48 views as of the time  of this posting, but it’s a surprisingly solid version which incorporates the entirety of the twisty complicated arrangement in a setting which quickly proves her immense talent. Sweden native Charlotte Eriksson, who has relocated to London to professionally pursue her music,  is ready and willing to get out there and complete musically with the likes of A Fine Frenzy’s Bomb in a Birdcage or Bat For Lashes’ Two Suns. With a voice like this, who could dare refuse to listen?

With two solid EPs under her belt, most recently December’s This Is How Ghosts Are Made (which features “Insanity”), The Glass Child makes a solid case for being the most interesting indie find so far in 2012. This is pop music of the highest order, a song you’ll be hard-pressed to get out of your head once you hear it — which makes this the BEST kind of pop fans can ask for!

Beyond Lionizing the Dead: Why Whitney Houston Matters

Whitney Houston

As Americans, we tend to be a celebrity-obsessed culture. We constantly prowl for the next big thing, and when we find it we latch on with all our strength and demands for perfection. This can lead to incredible rises, but more often the resulting crash is just as precipitous. In our modern musical landscape, the booms and busts often happen quickly, but not long ago the biggest stars in the business shone so brightly that they dominated the landscape across numerous genres.

Regardless of how you look at it, Whitney Houston was one of those superstars who left a colossal imprint on the music world during her quick rise to fame. Like Michael Jackson, she paved the way for a generation of young black women to make their way in the world of popular music. While Jackson broke MTV wide open for young black men, that door had remained obstinately closed for women of the same age. Then Whitney put Houston, just 22 at the time, on the global music map, conquering radio and television to become one of the biggest star-making vehicles of all time. Rolling Stone and the Rock and Roll Hall of Fame named the album one of the 500 greatest of all time, and it launched her voice into the top echelon of great female voices.

Read this article in its entirety at at PJ Media, where I write a regular weekly column on music and popular culture.

Live-Blogging the 2012 Grammys

Grammys 2012

Will this be Adele's year, or a year of big shockers?

10:30 p.m. – And that’s a wrap! Feel free to comment the hell out of the comments section if anyone reads this, and I’ll respond through the day tomorrow!

10:25 p.m. – Sir Paul McCartney got “a little help from his friends” and is finally in his proper element. These are the best pop songs of all time for a bloody reason! He should have skipped his new song and just done this, but what a way to bring the night to an end! Beats seeing the credits roll over Adele’s final acceptance speech.

10:21 p.m. – Okay, Adele sealed it … not that anyone expected anything else.

10:20 p.m. – Album of the Year — Adele and all the others. If Foos win this would it be the upset of the decade?

10:17 p.m. – Not that I hate Paul McCartney or anything, but with this show going as long as it is, he’d better own those Beatles songs and rock this show out in the next few minutes. Because his first song did nothing for me.

10:12 p.m. – Record of the Year is won by Adele, “Rolling In The Deep” as expected. She’s now tied with the Foos, and soon to beat them with Album of the Year as well, barring an act of pure Grammy Insanity.

10:10 p.m. – Record of the Year — Adele should win this hands down.

10:10 p.m. – Proof the Grammys are out of touch with women in music. 1) They skipped over Nicki Minaj in any major awards; 2) They force fed us Chris Brown all night. Nice to see they at least gave her Roman character some room to shine on the show, though I’m sure half the audience in middle America are like “what the fuck was THAT?” I like seeing someone original, crazy and willing to showcase it taking the stage.

10:05 p.m. – I LOVE THIS SONG by Nicki Minaj!

9:57 p.m. – Nicki Minaj gets to perform but not win anything. And hey, Deadmau5 was actually pretty solid, I thought. Not that I know much about his brand of music.

9:50 p.m. – My wife Aimee: “Who gives a shit about CHRIS FUCKING BROWN?” Agreed.

9:48 p.m. – This is insane! Can’t keep your gun to yourself for more than three hours, Lil Wayne? Seriously … way to overshadow your “music,” Weezy. At least maybe you’ll get another prison book contract!

9:47 p.m. – That was the best performance of the night not done by Adele.

9:43 p.m. – Jennifer Hudson knows how to sing Whitney songs, let’s just say that right out front. I like that they kept this part vocals only. The rest of the arrangement, with the piano backdrop, kept the focus where it belonged, on the timeless song.

9:36 p.m. – I think that’ll be the new standard against which acceptance speeches like Pearl Jam’s will be judged.

9:35 p.m. – Glad they played him off, after he was so iffy about whether he even wanted the award.

9:34 p.m. – With discomfort, he has gratitude, and Justin Vernon pisses on his great opportunity to thank his fans and be grateful for those of us who buy his music and think it’s solid that he won, even if he doesn’t respect it.

9:32 p.m. – The Band Perry? Sucks. Bon Iver? Good. J Cole? Eh. Nicki? Awesome. Skrillex? Fuck that! The Grammy goes to ……. BON IVER! CALLED IT! Grammy’s biggest fuck-up of the year, is what folks are going to call this, at least all the Nicki fans!

9:30 p.m. – An hour to go! Grammy for Best New Artist … could this be an upset? Nicki Minaj SHOULD win, but I’m thinking this could be a “Grammy moment.”

9:20 p.m. – There he is! He’s still got the sound down to an art, and it’s nice to see a songwriting legend up there having gotten the chance to clean up his life rather than flaming out. It’s too bad he’s soon not going to have any memories of it all left.

9:15 p.m. – Taylor Swift introduces the tribute to Glen Campbell. Out with the old, in with the new. With the help of the Band Perry and Blake Shelton, neither of whom is relevant enough to warrant not just letting Glen sing a couple of his best songs unencumbered by Grammy trappings.

9:05 p.m. – Adele’s performance: at long last! Apparently she’s won four awards so far, not the two we’ve seen on TV … her voice is still in top form, that’s for sure! “Rolling In The Deep” is definitely the song of 2011 people will still remember in 2031. It’s also proof that the best songs are the ones with the most emotion behind the writing and performance. You can tell she’s invested in this song to the core. Same goes for the entire album 21.

9:00 p.m. – Entering hour three … we’re officially halfway there. Wow. I’ll buy an album if the money goes to the Grammy Foundation for Making Grammys Shorter and Awarding More Music On Screen. Join me!

8:57 p.m. – Best Country Album — Should go to Taylor Swift. Actually goes to Lady Antebellum. Double yawn. That album sucked!

8:53 p.m. – Katy Perry, one of the many who will lose to Adele, performs … by which I mean lipsynchs the hell out of things. Glow in the dark outfits are fine, but there was nothing about this “E.T.” performance that made me disappointed when the sound cut out. Then there was more. Yawn.

8:50 p.m. – An AWARD presented by Neil Patrick Harris: Song of the Year — four nominees + Adele. The award goes to Adele, who gets her second! Who thought “Rolling In The Deep” wouldn’t win?

8:41 p.m. – Chris Brown blowback:

8:40 p.m. – Taylor Swift may never be someone with wide non-country appeal, but I like her sound. At least she keeps things interesting, and her voice is better than she gets credit for. She brings out a banjo tonight and wins extra points from me.

8:35 p.m. – Common’s presentation of Gil Scott Heron was a nice touch — Best R&B album though: Chris Brown and R Kelly are terrible … of the five I preferred Kelly Price, but they gave it to Chris Brown. Disappointing. “Look at me now … I’m getting paper for being an asshole …” Ugh. Thank God and the Grammys for letting him “do his thang” …

8:32 p.m. – Stevie Wonder introduces Macca on the show, after busting out some “Love Me Do” on his harmonica … but man, I want to see Paul McCartney rock, not listen to this standards shit. Can’t we have a few more years of him as a pop singer and Beatle, rather than as the next Tony Bennett?

8:25 p.m. – Finally the Beach Boys show up and take over the Grammys with the real deal rather than lame cookie cutters of the real deal. “Good Vibrations” actually benefited from having Maroon 5 and Foster the People to add oomph to the layered harmonies. Maybe I was too harsh on both of those acts; they did good workmanlike covers of hard to imitate songs. But I wish there’d been more with the REAL Beach Boys.

8:20 p.m. – Wouldn’t it be nice if we didn’t have to hear Foster the People pretend to be relevant? We want the Beach Boys!

8:18 p.m. — Grammys take credit for the Beach Boys reunion. Lovely … by bringing in Ryan Secrest to then introduce Maroon 5, doing a surprisingly decent version of “Surfer Girl” which still doesn’t introduce the Beach Boys we want to hear from.

8:16 p.m. – The award goes to a garage and a tape machine! Long live rock … “the human element is most important!” DO YOUR CRAFT!

8:15 p.m. – Best Rock Performance: 1.) Coldplay isn’t rock. 2) The Decemberists aren’t rock. 3) Radiohead’s “Lotus Flower” isn’t rock. 4) Mumford isn’t rock. Give a fifth to the Foos!

8:07 p.m. – As the Grammys enter their second hour, as much as I’m enjoying it, I have to wonder why they booked three and a half hours for this, when they are only giving a handful of actual awards. So far we’re two awards in, and the score’s tied Kanye 1, Adele 1.

8:02 p.m. – No medley is complete without “Paradise,” the flat-out strongest pop song on the entire album! Hard not to do this song justice.

8:00 p.m. – Rihanna is proving why she’s the one who America wants to continue to hear more from (not that particular ex of hers who will not be named anymore on here.) And Coldplay’s not bad either … this is one of the better songs off their Mylo Xyloto album. So far the Grammy performances are definitely doing it for me for the most part!

7:46 p.m. – At least I can hear the Foos … so far, despite Adele’s best efforts, they’ll remain Grammy’s biggest winner for at least another couple hours.

7:45 p.m. – Shut up idiots! I can’t hear Jack Black talk!

7:38 p.m. – She’s a guilty pleasure, but damn it, I like Kelly Clarkson! And her new album’s nothing to sneeze at either. This performance is solid, but a bit odd coming right after Best Rap Performance gets handed out.

7:35 p.m. – The Grammy for Best Rap Performance goes to Jay Z and Kanye, so Kanye can … not show up! SUCK IT, GRAMMYS!

7:30 p.m. – I just got retweeted by Bruce VanWyngarden!

7:28 p.m. – I’m fine with turning up the music, if I can turn down Chris Brown. Weakest performance of the night so far.

7:25 p.m. — “Someone Like You” gives Adele her first award. No surprises there, it was definitely the best pop vocal performance.

7:20 p.m. – Alicia Keys is among the few today who can still do Etta James real justice. I love this performance!

7:12 p.m. – Bruno Mars’ Doo-Wops and Hooligans is better as an album than the sum of its parts, and he’s a great performer. This one gets the feet pumping and does a lot to lead credence to the idea this is going to be a celebratory night, not a mournful one.

7:05 p.m. – I had no idea the Grammys needed a host. Let the music speak for itself, do we really need a voiceover? At least in the case of Whitney’s death, I think so.

7:00 p.m. – Bruce Springsteen and the E Street Band opened the Grammys with their new single, and I stand by my opinion that the Boss could sing from the phone book and still draw a crowd into a frenzy. But “We Take Care Of Our Own” does a good job of introducing an album I suspect will be more varied than the song’s detractors would expect. Seemed a good way to get the show started.

6:54 p.m. – Should Chris Brown get a pass on his past re: Rihanna and being a spousal abuser?

6:50 p.m. – Spin’s spin on Adele’s 60 Minutes interview just went up here. My favorite quote:  “I don’t want to be some skinny mini with my tits out. And I don’t want people confusing what it is that I’m about. I just stand there and sing. And I don’t do stunts or anything. if I wanted to do all that, I don’t think I’d get away with it.”

6:10 p.m. – We’re still an hour out from the broadcast, but just keeping an eye on Twitter and Grammy.com, there’s a great deal going on that won’t make the broadcast but which is still worth noting — among the leaders being, as Jian Ghomeshi, co-creator of Q on Radio & CBC TV, notes:

Nice to see the Foos getting noticed for White Limo, which was a leader among the notable lack of solid rock albums from 2011. Too bad none of their glory is going to make it into the live broadcast.

As expected, Whitney Houston is also dominating pre-Grammy conversation. I particularly liked Eric Alper‘s take on comments by Tony Bennett, who for once was spot on:

- – - – -

I tend to badmouth the Grammys a great deal, but was thinking about it today and realized I actually haven’t “watched” the live ceremony in several years. So my wife and I are going to “take one for the team” and give this year’s proceedings a live viewing, and we’ll be posting our commentary on this page throughout! That way those of you reading here can view vicariously through us.

Early questions:

1. What will the tribute to Whitney Houston be?

2. Will this be the year of Adele, or a year of typical Grammy “surprises”?

3. Will Bon Iver translate into a “good winter” evening for Nicki Minaj in the “Best New Artist category, or will indie rock rule the day?

Drop me your thoughts in the comments section. I’ll be updating this page throughout the night, starting at 7 p.m. Central!

Remembering Whitney Houston

Remembering Whitney

Whitney Houston

Another larger than life music performer dead before her time. Whether drugs played a role in her decline or not, the music stands the test of time and shows Houston’s left a gaping hole no one’s going to be filling.

ALBUM REVIEW: Silver Tongues – “Black Kite”

Silver Tongues Black Kite

Album Review
Silver Tongues – “Black Kite” (2011, Karate Body)

Louisville’s hidden treasure Silver Tongues, and their debut album Black Kite, serve as a glorious throwback to classic rock bands, where a debut album could freely experiment by dabbling in multiple genres. Today’s bands so frequently have to hit the ball out of the park on the first try and then repeat the success or fail to gain traction in the business, but Silver Tongues seem to take pleasure in twisting listeners’ expectations. There’s nothing taken for granted, and it’s not as if the band’s taking unnecessary risks with their musical direction. They’re just willing to admit that, when a band’s getting its feet wet, sometimes there’s nothing more valuable than pushing the envelope and trying a variety of sounds. And with an independent label backing them up, it’s a safe bet they’ll get the chance to build their musical reputation on their own terms. This is the work of a band which may not find its “hit” until a third or fourth album, but give them that time to grow and the rewards will be immesurable.

Not that I’m saying their songs aren’t worthy of wide exposure, because that would be a mistake. “Wet Dawg” sounds like Kings of Leon if they actually dared to let a song speak for itself rather than burying the lead in a mess of pseudo-pop trappings. What makes it clear Silver Tongues is worth supporting is their ability to transform the song into an addictive live gem. I was lucky enough to catch the band live at Headliners in Louisville back in January and, even as a co-opening act playing before the supposed “big draw,” they immediately roped the crowd in with a live performance which showcased the music above the hype. There’s plenty of pop hook buried in there to keep the songs reverberating in your head, but that the band’s out there working the road and building these songs in a live setting as well proves they’re not happy merely letting the studio versions speak for themselves.

Speaking to the album’s quality, however, is the fact that every song plays its role in the cohesion one finds immediately appealing about Black Kite. “Warsaw” would be perfectly at home on a Coldplay album, with its frantic string backdrop, but the vocals are pure seventies classic rock, with layered harmonies and an arrangement coupled with a slow-build climax which is immediately accessable and repeatedly listenable. The album’s opener, “Highways,” has an unforgettable backdrop of organ drone and handclaps-meet-bass-drum percussion, providing a thunderous reason to immediately fall in love with what the band has to offer. And the album’s title track, “Black Kite,” and the beautifully melodic “Hope For” manage to successfully bridge the gap between bands like Mumford and Sons, with the ethereal vocals and simple acoustic arrangements, and today’s more modern pop-leaning bands where the hook comes first above all else.

The result is a nine-track album which plays well both as a coherent, well developed debut and a template for a band willing to push its exploratory envelope in pursuit of a long-term career. Black Kite came out too late in 2011 to make my list of best albums of that calendar year, but it has already won a place in my heart as one of the most interesting efforts I’ve heard during this one. I expect to hear big things from this band; like the Black Keys before them, they seem destined to build a respectable basis for long term success on their early indie records. And with the right push, they’d seem poised to have a similar mainstream breakthrough once their material has time to develop to its full potential. Put simply, Silver Tongues is a keeper, and their impressive debut has legitimate heft and staying power. You won’t want to miss it!