Well, Jennette McCurdy has finally made some public comments about her album. She has been signed to Capitol Nashville. This is exciting news, because with the backing of a major label, I'm positive Jennette will be able to reach a wide range of fans. As Jennette noted, however, this will mean a delay in releasing her record. But it seems well worth it.
Meanwhile, a potential release date has been given for Emily Osment's debut effort. I had my money down on an Autumn release, but it turns out the prospective date is March 9th, 2010! It is hard to believe that I first heard about Emily working on an album almost a year ago. And that last Christmas, I learned two songs from her album were leaked (one, "All The Way Up," is apparently set as the first single, with plans for it to premiere on Radio Disney next month, as a music video has been filmed behind it)
Well, at least if it isn't coming out until March, I'll have time to save up after buying all the other albums coming out!
Friday, July 10, 2009
Led Zeppelin Presents "Presence"
Presence is Led Zeppelin's most underrated album. It is rarely given any recognition on the radio. Its' sales were quite poor for a Zeppelin album. Its' reputation is very mixed. But, in some ways, this oft overlooked album is one of their best. It is their most unapologetic, in your face, hard rocking album. There are no acoustic ballads. No keyboards or organs. Just guitars, bass, and drums (and the occasional harmonica).
The album was made when the band was at their peak, or, in some ways, just past it. For the drugs and the lifestyles were catching up as the members were getting older. The band was the top live act, but that came to a sudden halt when Plant was in a serious car accident, that left him confined temporarily to a wheelchair. His physical condition is a great image to accompany the psychological stress and pain the band was in. It is in that condition that Page and Plant wrote the songs, and then got with Jones and Bonham to record the album (in a session that barely ran for a week, although Page made use of the time, claiming to have stayed awake for days overdubbing guitar.)
The title "Presence" refers to the bands presence on stage, the power that they possess. It turned out that stage presence was so strong, that fans flocked to the live document, "The Song Remains The Same," (recorded in '73) over "Presence."
The album opens with "Achilles' Last Stand." The song draws, musically, from the extended arrangements of "Dazed And Confused" that they had used as a centerpiece in concert. Like that song, "Achilles" is an epic. It is full of sprawling imagery and mythical references, sung over John Paul Jones galloping bass, and Jimmy's orchestra of guitars (possibly the most complicated set of guitar overdubs Page ever laid down.)
"Candy Store Rock" and "Royal Orleans" are two songs that fall short of displaying the band's force. The former is an uninspired send-up of fifties era Elvis. The latter is a rather comical retelling of John Paul Jones encounter with a transsexual, that ended in a hotel fire.
"Hots On For Nowhere" is an interesting track, but does not quite live up to its' predecessor, a 1975 jam (from where the basic melody is drawn), that has achieved much notoriety in the bootleg world.
"Nobody's Fault But Mine" and "For Your Life" are two heavy examples of the tension and pain going into the album. The arrangements are stop and go, not at all fluid, while the guitars are liquid, oozing right out of the speakers.
The last track, "Tea For One," is the band tracking their growth by essentially remaking "Since I've Been Loving You." It is a testament to the band that they not only pull it off, but even improve on the earlier song. Musically, it is a reworking, played with experience and maturity. Lyrically, it is completely original. It is a song about homesickness, the most concrete ache on this disc. Plant's conviction is stirring, as he sums up all the pain and anguish in such a personal confession. At the same time, it both a nod to Zeppelin's earlier days, as well as a take on their purest blues influences.
It is not their most accessible album. It is not nearly as varied as their other releases. Instead, it is one big theme, on statement of distress, that the band with such a "Presence" still has aches and woes. In a contradicting way, they use their force and power to show how weak and vunerable and human they can be.
The album was made when the band was at their peak, or, in some ways, just past it. For the drugs and the lifestyles were catching up as the members were getting older. The band was the top live act, but that came to a sudden halt when Plant was in a serious car accident, that left him confined temporarily to a wheelchair. His physical condition is a great image to accompany the psychological stress and pain the band was in. It is in that condition that Page and Plant wrote the songs, and then got with Jones and Bonham to record the album (in a session that barely ran for a week, although Page made use of the time, claiming to have stayed awake for days overdubbing guitar.)
The title "Presence" refers to the bands presence on stage, the power that they possess. It turned out that stage presence was so strong, that fans flocked to the live document, "The Song Remains The Same," (recorded in '73) over "Presence."
The album opens with "Achilles' Last Stand." The song draws, musically, from the extended arrangements of "Dazed And Confused" that they had used as a centerpiece in concert. Like that song, "Achilles" is an epic. It is full of sprawling imagery and mythical references, sung over John Paul Jones galloping bass, and Jimmy's orchestra of guitars (possibly the most complicated set of guitar overdubs Page ever laid down.)
"Candy Store Rock" and "Royal Orleans" are two songs that fall short of displaying the band's force. The former is an uninspired send-up of fifties era Elvis. The latter is a rather comical retelling of John Paul Jones encounter with a transsexual, that ended in a hotel fire.
"Hots On For Nowhere" is an interesting track, but does not quite live up to its' predecessor, a 1975 jam (from where the basic melody is drawn), that has achieved much notoriety in the bootleg world.
"Nobody's Fault But Mine" and "For Your Life" are two heavy examples of the tension and pain going into the album. The arrangements are stop and go, not at all fluid, while the guitars are liquid, oozing right out of the speakers.
The last track, "Tea For One," is the band tracking their growth by essentially remaking "Since I've Been Loving You." It is a testament to the band that they not only pull it off, but even improve on the earlier song. Musically, it is a reworking, played with experience and maturity. Lyrically, it is completely original. It is a song about homesickness, the most concrete ache on this disc. Plant's conviction is stirring, as he sums up all the pain and anguish in such a personal confession. At the same time, it both a nod to Zeppelin's earlier days, as well as a take on their purest blues influences.
It is not their most accessible album. It is not nearly as varied as their other releases. Instead, it is one big theme, on statement of distress, that the band with such a "Presence" still has aches and woes. In a contradicting way, they use their force and power to show how weak and vunerable and human they can be.
Hannah Montana 3 "Could Be The One"
"Hannah Montana 3" came out last Tuesday. The album is the maturest Hannah release yet. It is still a slick slice of kid-friendly pop, by Miley's eternally young alter-ego. Miley herself is the performer here, and nothing more. Her blossoming writing talents are not on display here. It is her voice that she brings, and it is in full force, displaying an increase in strength, confidence, and control, compared to prior albums. And that is important, as the songs cover a wider range than just upbeat songs about secret identities and parties like the first Hannah disc was. We have plenty of songs dealing with love, from crushes to heartbreaks, along side the party numbers.
"Don't Wanna Be Torn" is a song about how love can come with tough decisions. To her acting credit, Miley pulls this one off as though she had penned it herself. "Just A Girl" is a slow number that feels like "The Climb," but not quite as strong. It is a good number all the same, however. "Ice Cream Freeze (Let's Chill)" is a dance number in the same vein as "Hoedown Throwdown," but is considerably less catchy. "Mixed Up" sounds similar to the song "I Learned From You" musically, but otherwise stands on its own, and is a another song about growing up that Miley injects her earnestness into.
Other standout tracks are "He Could Be The One," and "I Wanna Know You." "I Wanna Know You" foregos the usual guitar arrangment that most uptempo numbers use, instead backed by a brassy keyboard, and some really nifty backing vocals. It is about a boy who has great qualities, and now the singer wants to get closer to him. It is a really cool song, but does not warrant having to versions on this album. One is a solo version, the other is a duet with David Archuleta. Both are similar, but Archuleta adds some novelty, as well as nice harmonies, and as such, the duet would have been fine without a solo version.
Another duet featured is the new "If We Were A Movie," by Hannah and Corbin Bleu (actually used in season 2.) I have nothing against it, or Corbin Bleu, but if a guest singer is available, why not just do a new song? Nothing special is added to this song by making it a duet.
Also on the album are song by Mitchell Musso, and two songs already released on the "Hannah Montana The Movie" soundtrack.
Overall, the album is a real success for Hannah Montana. Songs that draw comparisons to movie tunes usually don't fare as well, but otherwise, the album is even better than the movie soundtrack. Still, there is too much filler. "Let's Do This" is one of my favorite Hannah songs, and "Let's Get Crazy" is another enjoyable number, but both were already on the movie disc. No need for two copies. The solo version of "I Wanna Know You," and the duet with Corbin also feel extraneous. Still, if this is the kind of stuff Hannah is doing, I can only imagine how great Miley's next album will be!
"Don't Wanna Be Torn" is a song about how love can come with tough decisions. To her acting credit, Miley pulls this one off as though she had penned it herself. "Just A Girl" is a slow number that feels like "The Climb," but not quite as strong. It is a good number all the same, however. "Ice Cream Freeze (Let's Chill)" is a dance number in the same vein as "Hoedown Throwdown," but is considerably less catchy. "Mixed Up" sounds similar to the song "I Learned From You" musically, but otherwise stands on its own, and is a another song about growing up that Miley injects her earnestness into.
Other standout tracks are "He Could Be The One," and "I Wanna Know You." "I Wanna Know You" foregos the usual guitar arrangment that most uptempo numbers use, instead backed by a brassy keyboard, and some really nifty backing vocals. It is about a boy who has great qualities, and now the singer wants to get closer to him. It is a really cool song, but does not warrant having to versions on this album. One is a solo version, the other is a duet with David Archuleta. Both are similar, but Archuleta adds some novelty, as well as nice harmonies, and as such, the duet would have been fine without a solo version.
Another duet featured is the new "If We Were A Movie," by Hannah and Corbin Bleu (actually used in season 2.) I have nothing against it, or Corbin Bleu, but if a guest singer is available, why not just do a new song? Nothing special is added to this song by making it a duet.
Also on the album are song by Mitchell Musso, and two songs already released on the "Hannah Montana The Movie" soundtrack.
Overall, the album is a real success for Hannah Montana. Songs that draw comparisons to movie tunes usually don't fare as well, but otherwise, the album is even better than the movie soundtrack. Still, there is too much filler. "Let's Do This" is one of my favorite Hannah songs, and "Let's Get Crazy" is another enjoyable number, but both were already on the movie disc. No need for two copies. The solo version of "I Wanna Know You," and the duet with Corbin also feel extraneous. Still, if this is the kind of stuff Hannah is doing, I can only imagine how great Miley's next album will be!
Monday, July 6, 2009
A Quick Update (While He's Away)
So, I plan to write a full blog post to review the "Hannah Montana 3" album that comes out tomorrow. In the meantime, I'd like to just mention that Jennette McCurdy's album has not come out yet (maybe August.) Also, the Klaus Voormann album "A Sideman's Journey," has been pushed back to July 17th according to the German amazon website. The American site says the 7th, but since it is a German import, the later date seems more likely. Either way, the album is coming out very soon.
By the way, I know it doesn't come out until January, but I'm started to get excited for "The Last Song," starring Miley. I'm curious to see how Miley's acting chops hold up outside the Hannah realm. If she doesn't make it there, I heard she is a pretty good singer too ;) (speaking of which, Miley has been in the studio lately, and I wonder if she is doing songs for the movie, or just for her own release.)
By the way, I know it doesn't come out until January, but I'm started to get excited for "The Last Song," starring Miley. I'm curious to see how Miley's acting chops hold up outside the Hannah realm. If she doesn't make it there, I heard she is a pretty good singer too ;) (speaking of which, Miley has been in the studio lately, and I wonder if she is doing songs for the movie, or just for her own release.)
Friday, July 3, 2009
Brian Jones, We Hardly Knew Thee
Today, July 3rd, marks 38 years Jim Morrison died (or is he still living in Paris?), and 40 years that founding member of The Rolling Stones Brian Jones passed on. His death, found in a swimming pool, and unable to be revived, plus some conspiracy, is actually kind of boring. More interesting is his life.
With the Stones gruff image, automatically, one thinks of Jagger strutting around, or Richards doing obscene amounts of illegal substances, but Brian Jones had perhaps the roughest, most unglamorous appeal of them all. He had fathered 2 illegitimate children by his sixteenth birthday. His drug use was so crippling, that before his eventual overdose in aforementioned pool, his usage reduced his input in the band, got him fired, and inspired Jagger to pen a song called "Get A Line On You," a demo from 1969 later worked out as "Shine A Light" from "Exile On Main Street" (more of a tribute in its' final form).
Jones was heavily into the blues. He tried to write blues songs, but would never share them with the rest of the band, leading band members to speculate he either did not have any material, or if he did, it was not anything worthwhile.
Jones composing therefore is near non-existent. He is given credit on 14 songs along with the rest of the band, and also composed a soundtrack for the film "A Degree Of Murder." The soundtrack marked the first time a rock figure would score a film. That later took off, with George Harrison's "Wonderwall Music," numerous Pink Floyd scores, and countless other examples. The masters to the soundtrack are no longer in existence, nor was the soundtrack released, save for usage in the film.
Instead of composing, Jones played a huge role as a musician. His guitar was always of note on early Stones records, especially "weaving" with Keith Richards, but his talent became most obvious as the Stones (as the Beatles were doing) became more and more a "studio band." Jones would play slide guitar, mellotron, dulcimer, oboe, saxophone, and other instruments that would give songs unique sounds. However, his contributions began to dwindle by 1968.
Of course, he had been growing away from the band since fame first struck. The Stones were advised to shy away from blues covers, instead doing pop music. Jones was not satisfied with this, but went along. Relations with Keith Richards became tense (the final straw being when Jones' girlfriend left him for Keith.) And his overall insecurity led him to not want to play guitar with the band, and led him to attend sessions infrequently.
He became a road block for the band as 1968 moved along. Where as his musicianship had been adding flavor (psychedelic, eastern, bluesy, etc) before, he was now barely able to even play, and when he tried, he would only louse up sessions, and leave Richards to do all the guitar work. His inabilities led him to almost completely abandon work on "Let It Bleed" in 1969. He only contributed to 2 songs, and on one track ("Midnight Rambler") his guitar is inaudible. The Stones could no longer keep him, on any level of participation, after deciding to tour the US. His record (2 drug busts) would prevent the Stones from getting to perform in America. He was asked to leave on June 8th, 1969.
As far as the public saw it, Jones had left the band, due to a public statement. He was allowed the chance to do so, rather than admit being kicked out, by the rest of the band, willing to sacrifice the facts in order to not further bruise Jones' ego.
Jones retreated to his home (once owned by A. A. Milne, who wrote Winne The Pooh), where he spend his last month. He was reported as being very unhealthy, yet at the same time, he was also excited about starting a new band. He tapped Alexis Korner, Ian Stewart, and others, but he never made it to actually form a new band. On July 3rd, he was found in his pool, barely alive, and doctors were unable to save him.
Perhaps in a new band, he would have flourished. Maybe he had a latent talent for music that would finally come alive. Maybe he had, privately, been a great composer, only to paranoid to prove it. Maybe he one day could have returned to the Stones. So many maybes, but alas, they do no good.
Aside from his work with the Stones, Jones appeared on the Beatles "You Know My Name (Look Up The Number)", and produced an album called "Brian Jones Presents the Pipes Of Pan At Joujouka." The instruments are all played by Morrocan musicians, and are from a week long festival. Jones attended and recorded the festival, and intially, the music was too much for him. It was only reviewing the reels that led him to appreciate the music. His master mix is basically his interpretation of the recordings, and features different recordings edited together, laid atop one another, and mixed with some psychelic effects. Mick Jagger unearthed the mix after Brian died, and released it in 1971.
Also, Jones had supposedly recorded the song "Sure I Do," with the Rolling Stones, in 1963, and took the role of lead vocalist. The recording has never been heard, and may not even exist any more.
What else is there to say about Brian Jones? He was at times very private, he was very inscure, and he ultimately is left more to legend than any concrete music, save for his defining contributions to the Stones (mainly on "Between The Buttons," "Their Satanic Majesties Request," and, to the degree that he played on it, "Beggar's Banquet.")
What he could have been was destroyed by an ego and a consuming drug addiction.
With the Stones gruff image, automatically, one thinks of Jagger strutting around, or Richards doing obscene amounts of illegal substances, but Brian Jones had perhaps the roughest, most unglamorous appeal of them all. He had fathered 2 illegitimate children by his sixteenth birthday. His drug use was so crippling, that before his eventual overdose in aforementioned pool, his usage reduced his input in the band, got him fired, and inspired Jagger to pen a song called "Get A Line On You," a demo from 1969 later worked out as "Shine A Light" from "Exile On Main Street" (more of a tribute in its' final form).
Jones was heavily into the blues. He tried to write blues songs, but would never share them with the rest of the band, leading band members to speculate he either did not have any material, or if he did, it was not anything worthwhile.
Jones composing therefore is near non-existent. He is given credit on 14 songs along with the rest of the band, and also composed a soundtrack for the film "A Degree Of Murder." The soundtrack marked the first time a rock figure would score a film. That later took off, with George Harrison's "Wonderwall Music," numerous Pink Floyd scores, and countless other examples. The masters to the soundtrack are no longer in existence, nor was the soundtrack released, save for usage in the film.
Instead of composing, Jones played a huge role as a musician. His guitar was always of note on early Stones records, especially "weaving" with Keith Richards, but his talent became most obvious as the Stones (as the Beatles were doing) became more and more a "studio band." Jones would play slide guitar, mellotron, dulcimer, oboe, saxophone, and other instruments that would give songs unique sounds. However, his contributions began to dwindle by 1968.
Of course, he had been growing away from the band since fame first struck. The Stones were advised to shy away from blues covers, instead doing pop music. Jones was not satisfied with this, but went along. Relations with Keith Richards became tense (the final straw being when Jones' girlfriend left him for Keith.) And his overall insecurity led him to not want to play guitar with the band, and led him to attend sessions infrequently.
He became a road block for the band as 1968 moved along. Where as his musicianship had been adding flavor (psychedelic, eastern, bluesy, etc) before, he was now barely able to even play, and when he tried, he would only louse up sessions, and leave Richards to do all the guitar work. His inabilities led him to almost completely abandon work on "Let It Bleed" in 1969. He only contributed to 2 songs, and on one track ("Midnight Rambler") his guitar is inaudible. The Stones could no longer keep him, on any level of participation, after deciding to tour the US. His record (2 drug busts) would prevent the Stones from getting to perform in America. He was asked to leave on June 8th, 1969.
As far as the public saw it, Jones had left the band, due to a public statement. He was allowed the chance to do so, rather than admit being kicked out, by the rest of the band, willing to sacrifice the facts in order to not further bruise Jones' ego.
Jones retreated to his home (once owned by A. A. Milne, who wrote Winne The Pooh), where he spend his last month. He was reported as being very unhealthy, yet at the same time, he was also excited about starting a new band. He tapped Alexis Korner, Ian Stewart, and others, but he never made it to actually form a new band. On July 3rd, he was found in his pool, barely alive, and doctors were unable to save him.
Perhaps in a new band, he would have flourished. Maybe he had a latent talent for music that would finally come alive. Maybe he had, privately, been a great composer, only to paranoid to prove it. Maybe he one day could have returned to the Stones. So many maybes, but alas, they do no good.
Aside from his work with the Stones, Jones appeared on the Beatles "You Know My Name (Look Up The Number)", and produced an album called "Brian Jones Presents the Pipes Of Pan At Joujouka." The instruments are all played by Morrocan musicians, and are from a week long festival. Jones attended and recorded the festival, and intially, the music was too much for him. It was only reviewing the reels that led him to appreciate the music. His master mix is basically his interpretation of the recordings, and features different recordings edited together, laid atop one another, and mixed with some psychelic effects. Mick Jagger unearthed the mix after Brian died, and released it in 1971.
Also, Jones had supposedly recorded the song "Sure I Do," with the Rolling Stones, in 1963, and took the role of lead vocalist. The recording has never been heard, and may not even exist any more.
What else is there to say about Brian Jones? He was at times very private, he was very inscure, and he ultimately is left more to legend than any concrete music, save for his defining contributions to the Stones (mainly on "Between The Buttons," "Their Satanic Majesties Request," and, to the degree that he played on it, "Beggar's Banquet.")
What he could have been was destroyed by an ego and a consuming drug addiction.
Tuesday, June 30, 2009
Stepping Up On My Soapbox
Last night, in that strange twilight hour, where you're not quite awake, but not yet asleep, I had a great I idea for a blog post. I was tempted to break out the laptop, but I could only imagine the grammitical errors I would have commited at 1 am. So, that anecdote aside, here goes that idea.
Miley Cyrus photo controversies. Quite a few of them, actually. Ranging from "private" photos being posted on the net, to magazine spreads in Vanity Fair. Everytime a new controversy crops up, talk of Miley's star fading, comparisions to Britney Spears (who somehow still performs and sells records, to her credit or her manager's), and Vegas odds to who will Disney choose to replace her (1:1000 that Disney will pull out of left field and reinstate Lindsay Lohan.)
But what do these controversies really boil down to? Why are they given such publicity? The way I see it, Miley (intentionally or not) is revealing a dark id of our society. A crooked lust that wants to tear away at something, and strip it down to its' most base. The younger, the more innocent, the more we as a culture want to watch that person devolve.
I am reminded of Yoko Ono's "Cut Piece." In it, Yoko sits on the floor, in a dress, and people come and cut pieces of it away. The point is that they would keep cutting and tearing away until all that was left was a stone, and then they would want to know what is going on inside that stone. It is us who wants to see another private photo. It is not Miley's fault for that. Her actions simply show our true character. My favorite example is when you type "Miley Cyrus" into google images. Many of the pictures are from some "scandalous" set. That means that these images of her are among the ones most sought after.
What is worse is that she is worshipped for this. Miley recieves tons of popularity boosts and the like from these scandals. Truth be told, it was hearing her name on E! every other night about the Vanity Fair issue that first got me into Miley (which led to reading about her via iTunes and wikipedia, then watching her live on FNMTV, and finally watching Hannah Montana, the last step of my initiation into fandom.)
What I'm trying to say is that we should not blame Miley for these scandals. After all, in a very subverted way, we just keep asking for more. That is, until she grows up, and then there will need to be a new star to exploit.
Although Miley is not completely off the hook. Given all the history with her and other celebs, she should have some pause before posting a picture. Still, the last picture I recall of her that was overtly sexual was her showing her bra, and some poses in her underwear, which by now date back well over a year. Since then, all the photos have been unfairly attributed some sort of sexual connotation, when in fact they are as innocent as wearing a bikini at the beach. (One of the worst was when she was jogging, and her bikini was showing, and it was so overblown that Miley publicly aired her complaints to how the situation was treated.)
Well, let me try and wrap this up. Basically, Miley is a reflection of ourselves, in two ways. One, Nobody's Perfect (that was too good not to use). We make mistakes, we post pictures we might regret ever taking. That is a great lesson, because I'm sure we have all done something we are now embarrassed by and regret. Got caught cheating in school? Hurt someone's feelings? They all end the same way. Apologize, and walk away having learned not to do such things again. The other reflection is not Miley, persay, but her public image, as described by the media. That is a negative point, that she is all about sex, and slutiness, and other things, because that just shows that someone who is those things is who we want to hear about. (Like I said, that is how Miley is portrayed, and is an unfortunate perversion of who she really is.)
Well, I'm done preaching for today. So, now I recommend you look up "Miley Cyrus Tybee Island" on youtube (or other flash video site) and watch a clip of her performing a brand new song (she pretty much wrote/finished that night) in a small resturaunt. It is a cool clip, and quite rare, as Miley is not a fan of small crowds. Being able to see everybody's face makes her more nervous than just playing for an unspecified ocean of fans. But I'm sure the people there that night apreciated it.
Miley Cyrus photo controversies. Quite a few of them, actually. Ranging from "private" photos being posted on the net, to magazine spreads in Vanity Fair. Everytime a new controversy crops up, talk of Miley's star fading, comparisions to Britney Spears (who somehow still performs and sells records, to her credit or her manager's), and Vegas odds to who will Disney choose to replace her (1:1000 that Disney will pull out of left field and reinstate Lindsay Lohan.)
But what do these controversies really boil down to? Why are they given such publicity? The way I see it, Miley (intentionally or not) is revealing a dark id of our society. A crooked lust that wants to tear away at something, and strip it down to its' most base. The younger, the more innocent, the more we as a culture want to watch that person devolve.
I am reminded of Yoko Ono's "Cut Piece." In it, Yoko sits on the floor, in a dress, and people come and cut pieces of it away. The point is that they would keep cutting and tearing away until all that was left was a stone, and then they would want to know what is going on inside that stone. It is us who wants to see another private photo. It is not Miley's fault for that. Her actions simply show our true character. My favorite example is when you type "Miley Cyrus" into google images. Many of the pictures are from some "scandalous" set. That means that these images of her are among the ones most sought after.
What is worse is that she is worshipped for this. Miley recieves tons of popularity boosts and the like from these scandals. Truth be told, it was hearing her name on E! every other night about the Vanity Fair issue that first got me into Miley (which led to reading about her via iTunes and wikipedia, then watching her live on FNMTV, and finally watching Hannah Montana, the last step of my initiation into fandom.)
What I'm trying to say is that we should not blame Miley for these scandals. After all, in a very subverted way, we just keep asking for more. That is, until she grows up, and then there will need to be a new star to exploit.
Although Miley is not completely off the hook. Given all the history with her and other celebs, she should have some pause before posting a picture. Still, the last picture I recall of her that was overtly sexual was her showing her bra, and some poses in her underwear, which by now date back well over a year. Since then, all the photos have been unfairly attributed some sort of sexual connotation, when in fact they are as innocent as wearing a bikini at the beach. (One of the worst was when she was jogging, and her bikini was showing, and it was so overblown that Miley publicly aired her complaints to how the situation was treated.)
Well, let me try and wrap this up. Basically, Miley is a reflection of ourselves, in two ways. One, Nobody's Perfect (that was too good not to use). We make mistakes, we post pictures we might regret ever taking. That is a great lesson, because I'm sure we have all done something we are now embarrassed by and regret. Got caught cheating in school? Hurt someone's feelings? They all end the same way. Apologize, and walk away having learned not to do such things again. The other reflection is not Miley, persay, but her public image, as described by the media. That is a negative point, that she is all about sex, and slutiness, and other things, because that just shows that someone who is those things is who we want to hear about. (Like I said, that is how Miley is portrayed, and is an unfortunate perversion of who she really is.)
Well, I'm done preaching for today. So, now I recommend you look up "Miley Cyrus Tybee Island" on youtube (or other flash video site) and watch a clip of her performing a brand new song (she pretty much wrote/finished that night) in a small resturaunt. It is a cool clip, and quite rare, as Miley is not a fan of small crowds. Being able to see everybody's face makes her more nervous than just playing for an unspecified ocean of fans. But I'm sure the people there that night apreciated it.
Monday, June 29, 2009
Summertime, Summertime, Sum Sum Summertime
So, now that summer is here, let's take a look at the new releases you can listen to while you're at the beach, or bike riding, or massaging senior citizens (you can do that all year round!)
June 30th - Jennette McCurdy's debut album? McCurdy once stated her album could come out on the 30th, but since that is tomorrow, it seems very unlikely. No Amazon.com spot. No direct message from McCurdy (she only mentioned the 30th in interviews once or twice). Stranger things have happened, but it looks like we will have to wait a bit longer for this one.
July 3rd? - Klaus Voormann, artist/bass guitarist has spent his career as a great session man, most notably with Apple Records, where he played alongside George, John, Ringo, and was even rumored to replace Paul McCartney in a never formed Beatles-follow up band the Ladders. Now, he is releasing his first solo album, a collection of collaborations with artists like Yusuf Islam and Bonnie Bramlett (or Sheridan, as she goes by now.) Notable is "I'm In Love Again," a Fats Domino cover, with Klaus on bass, Ringo on drums, and Paul on vocals.
July 7th- Hannah Montana 3. In a strange marketing scheme, Disney will release 11 singles to promote this album. That mostly means showing Miley sing these songs live on a special concert (more on that in a moment) along with playing the song on Radio Disney. Anyway, the album is out next week, and features 14 songs, including a duet with Corbin Bleu ("If We Were A Movie," and this version is actually from season 2), and a duet with David Archuleta ("I Wanna Know You," also featured in a solo version.) Mitchel Musso has one song on the disc. "Let's Do This," and "Let's Get Crazy" are recycled from the movie soundtrack. A little dissapointing, but no biggie. The concert Miley did was a special taping, to make music videos out of, and will somehow be included on this album (probably enhanced CD).
July 21st - Demi Lovato's sophomore album, "Here We Go Again." Demi's new disc will feature John Mayer, Jon McLaughlin, and William Beckett. It is to be less of the power-pop of "Don't Forget," and closer to Demi's taste ("Don't Forget" was, in some ways, very much a mix of then beginner Demi being shown the ropes by the more experienced Jonas Brothers, whose flavor definatly comes across.) Expect there to be many foreign edition bonus tracks, itunes bonus tracks, and other things down the line for this one. Especially a track only on an Australian 7" steel vinyl, played at 12 rpm, backwards, on a Tuesday, if it is sunny, at exactly 6 o'clock, with a mouse, in a house, on a plane, near a train, I do not like green eggs and ham, I do not like them Sam I Am. Two songs were cut from the original tracklisting. They are "For The Love Of A Daughter," and "Shut Up and Love Me." (there is no Australian 7'', by the way.) All editions are set to include 2 bonus tracks already: "A Gift From A Friend", a song from an upcoming Tinkerbell movie, and "So Far So Great," the Sonny With A Chance theme song, already released on "Disney Channel Playlist."
August 4th- Wizards of Waverly Place Soundtrack. This album only features 5 songs by Selena, and oddly excludes her song "Make It Happen" from the series. And, one of those 5 songs is "Everything Is Not What It Seems", the shows theme song, already released on "Disney Channel Playlist" (wierdly still only 50 second long.) The album is filled out with other Disney artists, and features 4 different songs all titled "Magic." Selena has more output here than any other album, but it is surprisingly little.
September 9th - Beatles Remasters. 'Nuff said.
September 15th- Between My Head And The Sky. Yoko Ono is back, and she is bringing back the conceptual Plastic Ono Band! Yoko has released an EP already called "Don't Stop Me!" on itunes, which has an alternate version of a new track, a remix of another new one, a two other songs. It is great to see Yoko, and in full experimental unleashed mode.
Autumn? - Emily Osment and Selena Gomez both have debut albums currently set for a Fall release. Selena already has a place holder on Amazon.com. Emily is on a smaller label, so expect less promotion. That said, she does have a music video done (or is still working on it.) Selena already had the Demi duet from Princess Protection Program "One And The Same", and Emily had the Dadnapped song "Hero In Me", both on the album "Diseny Channel Playlist."
Then there is "Send It On." This song is part of Disney's environmental campaign, trying to raise 1 million dollars, and then offering viewers to decide what environmental projects the money should go to. This track, still unreleased, plays in the background during the TV spots, and even has a music video filmed, but also unreleased. It is an all-star recording with Miley Cyrus, Selena Gomez, Demi Lovato, and the Jonas Brothers. I would have traded the JoBros for Jimmy Page, Jack Bruce, and Ringo Starr, but that is not the point. The point is that it must have been awkward with Miley, Nick, and Selena? No, the point is that I want to know the release date.
Also in the loop are a possible new Paul McCartney album, and a box-set of outtakes and unreleased material. Ringo has hinted at a new album too.
And that leaves Miranda Cosgrove. She has stated she that is working on a new album, and once hinted at a summer release, but has been mum since, leaving me to wonder. Even Autumn releases are getting nods now, so if she doesn't speak up soon, we may not have a new album until at least late Fall/Winter.
I look forward to all of these (well, honestly, I don't have very high hopes for the Wizards soundtrack, but that is mainly due to quantity, not quality. At least there is a new Wizards movie, which the soundtrack ties into.)
June 30th - Jennette McCurdy's debut album? McCurdy once stated her album could come out on the 30th, but since that is tomorrow, it seems very unlikely. No Amazon.com spot. No direct message from McCurdy (she only mentioned the 30th in interviews once or twice). Stranger things have happened, but it looks like we will have to wait a bit longer for this one.
July 3rd? - Klaus Voormann, artist/bass guitarist has spent his career as a great session man, most notably with Apple Records, where he played alongside George, John, Ringo, and was even rumored to replace Paul McCartney in a never formed Beatles-follow up band the Ladders. Now, he is releasing his first solo album, a collection of collaborations with artists like Yusuf Islam and Bonnie Bramlett (or Sheridan, as she goes by now.) Notable is "I'm In Love Again," a Fats Domino cover, with Klaus on bass, Ringo on drums, and Paul on vocals.
July 7th- Hannah Montana 3. In a strange marketing scheme, Disney will release 11 singles to promote this album. That mostly means showing Miley sing these songs live on a special concert (more on that in a moment) along with playing the song on Radio Disney. Anyway, the album is out next week, and features 14 songs, including a duet with Corbin Bleu ("If We Were A Movie," and this version is actually from season 2), and a duet with David Archuleta ("I Wanna Know You," also featured in a solo version.) Mitchel Musso has one song on the disc. "Let's Do This," and "Let's Get Crazy" are recycled from the movie soundtrack. A little dissapointing, but no biggie. The concert Miley did was a special taping, to make music videos out of, and will somehow be included on this album (probably enhanced CD).
July 21st - Demi Lovato's sophomore album, "Here We Go Again." Demi's new disc will feature John Mayer, Jon McLaughlin, and William Beckett. It is to be less of the power-pop of "Don't Forget," and closer to Demi's taste ("Don't Forget" was, in some ways, very much a mix of then beginner Demi being shown the ropes by the more experienced Jonas Brothers, whose flavor definatly comes across.) Expect there to be many foreign edition bonus tracks, itunes bonus tracks, and other things down the line for this one. Especially a track only on an Australian 7" steel vinyl, played at 12 rpm, backwards, on a Tuesday, if it is sunny, at exactly 6 o'clock, with a mouse, in a house, on a plane, near a train, I do not like green eggs and ham, I do not like them Sam I Am. Two songs were cut from the original tracklisting. They are "For The Love Of A Daughter," and "Shut Up and Love Me." (there is no Australian 7'', by the way.) All editions are set to include 2 bonus tracks already: "A Gift From A Friend", a song from an upcoming Tinkerbell movie, and "So Far So Great," the Sonny With A Chance theme song, already released on "Disney Channel Playlist."
August 4th- Wizards of Waverly Place Soundtrack. This album only features 5 songs by Selena, and oddly excludes her song "Make It Happen" from the series. And, one of those 5 songs is "Everything Is Not What It Seems", the shows theme song, already released on "Disney Channel Playlist" (wierdly still only 50 second long.) The album is filled out with other Disney artists, and features 4 different songs all titled "Magic." Selena has more output here than any other album, but it is surprisingly little.
September 9th - Beatles Remasters. 'Nuff said.
September 15th- Between My Head And The Sky. Yoko Ono is back, and she is bringing back the conceptual Plastic Ono Band! Yoko has released an EP already called "Don't Stop Me!" on itunes, which has an alternate version of a new track, a remix of another new one, a two other songs. It is great to see Yoko, and in full experimental unleashed mode.
Autumn? - Emily Osment and Selena Gomez both have debut albums currently set for a Fall release. Selena already has a place holder on Amazon.com. Emily is on a smaller label, so expect less promotion. That said, she does have a music video done (or is still working on it.) Selena already had the Demi duet from Princess Protection Program "One And The Same", and Emily had the Dadnapped song "Hero In Me", both on the album "Diseny Channel Playlist."
Then there is "Send It On." This song is part of Disney's environmental campaign, trying to raise 1 million dollars, and then offering viewers to decide what environmental projects the money should go to. This track, still unreleased, plays in the background during the TV spots, and even has a music video filmed, but also unreleased. It is an all-star recording with Miley Cyrus, Selena Gomez, Demi Lovato, and the Jonas Brothers. I would have traded the JoBros for Jimmy Page, Jack Bruce, and Ringo Starr, but that is not the point. The point is that it must have been awkward with Miley, Nick, and Selena? No, the point is that I want to know the release date.
Also in the loop are a possible new Paul McCartney album, and a box-set of outtakes and unreleased material. Ringo has hinted at a new album too.
And that leaves Miranda Cosgrove. She has stated she that is working on a new album, and once hinted at a summer release, but has been mum since, leaving me to wonder. Even Autumn releases are getting nods now, so if she doesn't speak up soon, we may not have a new album until at least late Fall/Winter.
I look forward to all of these (well, honestly, I don't have very high hopes for the Wizards soundtrack, but that is mainly due to quantity, not quality. At least there is a new Wizards movie, which the soundtrack ties into.)
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