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Showing posts with label Grammy performance. Show all posts
Showing posts with label Grammy performance. Show all posts

Thursday, June 26, 2014

WE REMEMBER MICHAEL JACKSON - JUNE 26 2014


Michael Jackson remembered five years later: After King of Pop's death, his influence still resonates in music

Justin Timberlake, Daft Punk, Bruno Mars and Robin Thicke have clearly been influenced by late Jackson. But nothing beats the real thing, as evidenced by success of the posthumously released, 'Xscape.'

 
 
Five years after his death, Michael Jackson sounds more alive than ever.
The style he patented back in the 1970s and 1980s has staged a comeback on the pop charts in the last year, channeled through the pervasive hits of Justin Timberlake, Robin Thicke, Bruno Mars, and Daft Punk. They all reference the sumptuous, disco-era dance beats, spiraling falsetto vocals, and plush production that would have fit right in with the peak style of Jackson’s greatest solo albums: 1979’s “Off The Wall” and 1983’s “Thriller.”
On Mars’ current tour, he styles himself with the Afro, wide lapels and velvet suits fans will remember from a far younger Michael J.
 
All this stands in stark contrast to the brand of pop which dominated the scene in the year of the icon’s passing, 2009. Then, far more angular dance sounds ruled, pounding through hits like the Black Eyed Peas’ percussive “Boom Boom Pow,” or the new-wave-tinged Lady Gaga singles “Poker Face” and “Just Dance.” Those songs ranked as the No. 1, 2, and 3 hits of 2009, according to Billboard.
Less than 18 months after Jackson’s passing, his estate released his first posthumous album, “Michael.” It earned tepid reviews and no small number of accusations of exploitation.
 
 
The material wasn’t top rank but another factor in the resistance may have been that it was simply too soon.
By contrast, the “new” Jackson album, “Xscape,” released last month, has earned more respect and had greater commercial impact. It features nine never-before-released tracks, updated by top producers of today, like Rodney Jerkins and StarGate. In May, the disc opened at No. 2 on the Billboard Top 200 list, missing the top slot (snagged by the Black Keys) by just a few thousand copies. It did earn the pole position in the U.K., a feat it matched in six other European countries. “Xscape” remains in the U.S. Top Twenty, buoyed by a single “Love Never Felt So Good,” a song with special resonance.

Originally recorded at a session back in 1983, the cut sounds like a lost track from “Off the Wall,” complete with a cascading string section, a thumping disco beat and a balletic Jackson vocal. Even the modern production that updates the song can’t obscure its connection to a storied past. Tellingly, the song bolted into the U.S. Top Ten in May, earning first week digital sales of over 100,000 copies.
The success of the song made Jackson the first act in the history of Billboard’s Hot 100 chart to score Top Ten hits in five different decades, going back to the ‘70s. If you include his work with the Jackson 5 like “I Want You Back,” from December of ‘69, his streak would stretch to six decades.

No doubt the success of “Love” has had as much to do with the context of pop today as with the affection and nostalgia surrounding Jackson five years after his passing. To young audiences, “Love Never Felt So Good” could have been a new Timberlake single. That’s ironic since Jackson has served as JT’s strongest influence since his days with N’Sync.
Ultimately, that circular relationship has served the Jackson legacy well. It makes the sound he pioneered back in the day seem like the cutting edge of pop today.
email:jfarber@nydailynews.com

Wednesday, May 7, 2014

MILEY CYRUS 02 LONDON BANGERZ TOUR 2014



Miley Cyrus, O2, London, Bangerz tour debut review: It just gets odder

Courtesy of - Emily Mackay
http://www.independent.co.uk/arts-entertainment/music/reviews/miley-cyrus-the-o2-london-bangerz-tour-debut-review-it-just-gets-odder-9328546.html

The concept of “just being Miley” has certainly evolved some from the days of ‘See You Again’, Miley Cyrus’s debut single under her own name - rather than that of her Disney alter ego Hannah Montana - in whose lyrics she fretted about her lovestruck gormlessness in front of a boy.


These days, “just being Miley” involves a distinctly less PG quirkiness likely involving at least some of the following: foam fingers, assertive sexuality, hot dog steeds, kittens, cultural appropriation scandals, MDMA and yes, bloody twerking.
Being that sort of Miley saw her become 2013’s most Googled individual, narrowly missing out on TIME’s person of the year award to the Pope; everywhere she steps, a dozen thinkpieces bloom. Rather than swell her head, the bulbous, ridiculous success that ballooned up as Miley smashed Montana with her wrecking ball of nudity, drugs, sex and scandal seems only to have twisted her brain into ever more entertaining shapes.

She descends for the European debut of the Bangerz tour (delayed due to an adverse reaction to antibiotics, not, as reported by scandalhounds, an overdose - "it feels so good to be here and not lying in a hospital bed with some bitch nurse stabbing me," notes Miley sweetly) from her now-infamous tongue slide through a giant replica of her own face.
And it just gets odder. Her video backdrop, designed by Ren & Stimpy creator John Kricfalusi, and her nightmarish cast of dancing cartoon characters (Katy Perry this ain't) subtly undercuts the inevitable crotch-centricity.
Wherever you stand on sex in pop it’s harder to objectify something with a personality and a sense of humour, and Miley’s famous tongue is laughing as often as it’s lasciviously lapping. It's hard to get upset by Miley dry-humping the bonnet of a gold Hummer for the romping hip-pop of 'Love Money Party' when there's a giant Jim Henson-esque pink bird puppet sashaying past a burgeoning neon magic mushroom horror as she belts out the marvellous diva flounce of 'FU'.

And it's not just the visuals that are funny - "I look better with less clothes on anyway. Y'all should see me naked," quips Miley after a costume change malfunction leaves her minus a skirt.
She's got one hell of a voice as well, displayed best on the slow burners and ballads such as 'Adore You' and 'Wrecking Ball' but just as impressive growling through the country inflections of '4x4' or the funky, hollery 'On My Own' or covers of Arctic Monkeys' Why'd You Only Call Me When You're High' and Dolly Parton's 'Jolene' (with added C-word) among others.
There’s nothing particularly shocking here, nothing that will warp the youth  - in its own strange way it's as wholesome as Montana, and not just on adorably goody close 'Party In The USA'. What there is is something much more exciting in the long run - potential. Cyrus will change again, and she’s got wit and smarts to come up with better.
Or as the lady puts it herself, "Don't you worry bout me, I'm gonna do my thang'."