Monday, October 30, 2006

Pop Quiz: Lady Sovereign


Aidin Vaziri | She has gone from selling doughnuts at Britain's Wembley Arena to giving Jay-Z a private performance in his New York office. Now British rapper Lady Sovereign (born Louise Harman) is being hotly tipped as the future of hip-hop. The only catch is she's white, barely out of her teens and, at 5 feet 1, considerably more petite than Def Jam label mates such as LL Cool J, Nas and Ludacris. After an appearance with the Streets at the Fillmore earlier this year, Lady Sovereign now returns with her major-label debut, "Public Warning," and the single "Love Me or Hate Me." We did a little of both when we chatted with her recently.

Lady Sovereign
Q: Why don't you wear clothes that fit you?
A: Pardon?
Q: Your clothes are humongous!
A: I'm a bit skinny. No, I don't know, man. I just feel more comfortable when it's all baggy.
Q: Is it because you're too embarrassed to shop in the little girl's department?
A: Shut up! I don't know, man. The tightest I'll go is a tank top, and they don't even fit me.
Q: But what if you have a knockout body under there?
A: I do, but really little people notice.
Q: Wait, do you mean "little people" or "just a few people"?
A: No, hardly anyone notices. What am I talking about?
Q: How you wear size XXXXXL shirts.
A: Yeah, man. I wear tents. I don't know. It's just me. It's just comfortable.

Live Review: Devo, Bow Wow Wow


Devo, Seagulls and Bow Wow Wow revisit synth pop of the Reagan years: Aidin Vaziri | The last time any of the headliners -- Devo, Bow Wow Wow and A Flock of Seagulls -- bothered the charts, people were still trying to outwit Donkey Kong by jumping over flaming barrels. Accordingly, you could count on one finger all the people under 30 in the room. At the beginning of the evening, as minor New Wave footnotes Animotion and When In Rome played their lean cache of hits to a largely empty hall, there was the unfortunate whiff of an actual John Hughes high school dance. This feeling was compounded by the fact that not all the mullets and shoulder pads in the audience were meant to be ironic. Things picked up soon enough. A Flock of Seagulls front man Mike Score has traded in his once aerodynamic mane (along with most of his original bandmates) for a simple ponytail and baseball cap, and led the group through its surprisingly durable confections such as "Wishing (I Had a Photograph of You)" and "Space Age Love Song." Bow Wow Wow, meanwhile, sounded and looked as ferocious as when it first appeared on "Top of the Pops" in 1982. Opening with a cover of the Smiths' "I Started Something I Couldn't Finish," the group unfurled its trademark tribal drums and wild banshee wails. Devo closed out the night with the only set that stretched past the hour mark. Wearing its bright yellow anti-nuclear-waste protective suits and red energy-dome hats, the group updated its clinical computer hits such as "Peek-A-Boo!" and "Whip It" with metal guitars and contemporary political commentary. At one point, a man in an Osama bin Laden costume tiptoed across the stage. "You can't have Halloween without the bogeyman," said front man Mark Mothersbaugh.

Reviews: Kevin Federline, Willie Nelson


Kevin Federline 'Playing With Fire': Aidin Vaziri | If we reviewed this CD, we would have to acknowledge that Kevin Federline is a legitimate artist and not just some former backup dancer with a penchant for cigarettes and strippers who bum-lucked his way into marrying Britney Spears and making her babies. We would also have to pretend to forget all the other milquetoast rappers that came before him -- Vanilla Ice, Snow, 3rd Bass, Ugly Duckling, House of Pain -- and listen with open ears. And, finally, we would have to sit through songs like "America's Most Hated" and "Lose Control" (which inexplicably includes the lyrics "This is that hip-hop flava with a little rock 'n' roll") without losing our breakfast. There is no way any of that is going to happen.

Willie Nelson 'Songbird': Aidin Vaziri | There was a time when the idea of getting Willie Nelson into the studio with Ryan Adams would have inspired open-mouthed ecstasy. But with what seems like 17 albums between them released in just the past year, now it feels as if the label mates simply don't have anything better to do. It couldn't possibly feel more disjointed, with Adams and his band the Cardinals pressing their current fetishes -- Grateful Dead-style noodling and amplified rock 'n' roll -- upon an oddly submissive Nelson. The collaborators trample through Gram Parsons' "$1000 Wedding" and the Dead's "Stella Blue" before declaring an uneasy truce on a couple of vintage Nelson originals and a passable cover of Leonard Cohen's "Hallelujah." If they thought they were pulling a Johnny Cash, they should seriously think again.

Sunday, October 22, 2006

Review: 'Marie Antoinette Original Soundtrack'


'Marie Antoinette Original Soundtrack': Aidin Vaziri | Like most of the world, we're ready to fall over laughing when we finally get around to seeing Sofia Coppola's "Marie Antoinette." But give her credit for 1) luring reclusive My Bloody Valentine mastermind Kevin Shields back into the studio, even if it is just for a pair of wobbly Bow Wow Wow remixes, and 2) putting together an incredible two-disc soundtrack that deftly mixes New-Wave, techno, goth, baroque and punk. Seriously. The highlights come from unexpected places, such as Siouxsie & The Banshees' 1978 tribute to their favorite Chinese takeout restaurant, "Hong Kong Garden," The Strokes' still box-fresh "What Ever Happened" and New Order's most underrated moment, "Ceremony.

Pop Quiz: Paul Stanley


Aidin Vaziri | Paul Stanley might be best known as the spandex and platform boot-strapped guitarist for Kiss. But the man who co-wrote hits like "Rock and Roll All Nite" and "Detroit" shows a more sensitive side on his second solo album -- and first in 28 years -- "Live to Win." Working with an all-star cast of collaborators whose previous clients include Britney Spears, Bon Jovi and Aerosmith, the singer and occasional Broadway star delivers a set of songs that are likely to make his longtime fans cry -- by either design or default. We caught up with Stanley by phone at his Los Angeles home, where he was dividing his time between interviews and watching over his 2-week-old son.

Paul Stanley
Q: How likely is someone to see "The Starchild" on the street with a Baby Bjorn strapped to his chest, pushing a buggy?
A: Well, you know, I tell people, "You won't see me at the Viper Room, you'll see me at the diaper room."
Q: That's funny -- and gross!
A: Yeah. Life goes on. It's rockin'. My life is everything I could imagine it to be.
Q: Will you ever wear the makeup again?
A: Which makeup?
Q: I guess you've worn a lot. The makeup!
A: Of course. I'm sure Kiss will go back on tour within the next year. There's too many people who want us.

Sunday, October 15, 2006

Waiting For Diddy



His Diddiness gives glory to his greatness in S.F.: Aidin Vaziri | The lobby restaurant of the San Francisco Ritz-Carlton was draped off with dark curtains. "They never do that!" said an older man in a suit who happened to be walking by. "It must be for somebody important."

Not really. It was just that Sean "Diddy" Combs, 35, came to town on Thursday to promote his latest album, "Press Play," out next week, with a series of hit-and-run television spots and a brief roundtable interview with local journalists.

"We will only be talking about the new album," his New York press agent sternly told the gathered throng, even though no one had yet heard the disc, as she handed out fact sheets detailing talking points that included, "Diddy is named by Burger King as the KING of music and fashion."

That meant there would be no questions about his numerous name changes (we have previously known him as Puff Daddy, Puffy, P. Diddy, Sean John and Puff), clothing line, lawsuits, reality shows, acting stints, Broadway appearances, award show presentations, breakup with Jennifer Lopez, "Vote or Die" campaign, New York City marathon run, quirky YouTube broadcasts nor criminal record.

Combs arrived more than two hours late. There was some brief talk of staging a walkout among the hungry and frustrated journalists, but it seemed too cruel to deprive the artist of his lifeblood: free publicity.

"I'm the one that has the album out!" he yelled into his Bluetooth earpiece, as he arrived for the first of four television spots. "What about me?"

Wearing a brown suede jacket, crisp blue jeans and gold-framed sunglasses that were accented by a huge gold medallion around his neck and a diamond encrusted ring on his finger, he signaled that he was ready to begin talking.

Throughout the televised interviews, he kept a copy of "Press Play" in his hands, even though there was an oversized cardboard cutout of the album art placed just behind him on an easel.

Between takes, Combs furiously fired off text messages and yelled some more into the earpiece, while checking himself out in the bar mirror. A man with a necklace that featured a working miniature clipper covered in diamonds groomed his light layer of hair.

Another half hour went by like this until Combs finally entered the conference room for the roundtable interview. Each of the five journalists got to ask one question.

Mostly he bragged. "Being a leader in culture, I never stop providing entertainment," he said, citing recent commercial triumphs by proteges like Danity Kane and Cassie. "I'm just timeless."

Combs had previously mentioned that "Press Play" could be his last album. In the same breath, he said that most hip-hop stars don't really mean it when they say they are going to retire.

The album is his first in five years and appropriately is a big-budget affair featuring collaborations with the likes of Christina Aguilera, Mary J. Blige, Jamie Foxx, Pharrell and Betty Wright. The first single, "Last Night," features the rapper trading tender soul verses with singer Keyshia Cole.

"Every hip-hop artist has a dream to become an R&B singer or a professional athlete," he said. "I think I've accomplished both of those dreams. I ran a marathon and I did a duet with Keyshia Cole."

The press agent then said time was up, but Combs -- who on the official Diddy Web site labels himself "The CEO, The Entertainer, The Humanitarian, The Designer" -- granted a bonus question.

"Music is my first love, success is something I acquired," the man who is estimated to be worth $346 million said. "I would make music for free."

And just like that, he was gone.

Pop Quiz: Iron Maiden


Aidin Vaziri | There was something reassuring about seeing Iron Maiden crash the upper reaches of the album chart last month with its 14th studio release, "A Matter of Life and Death." Not only has the British heavy-metal band been around forever, but it's unlikely any other act in the top 10 could boast an album of harrowing epics like "The Reincarnation of Benjamin Breeg" that tangle with war and religion or a lead singer who moonlights as a world-class radio DJ, sword fighter and commercial airline pilot. That would be Bruce Dickinson, whom we spoke to by phone from London shortly after the album's release.

Bruce Dickinson of Iron Maiden
Q: Congratulations on turning into a pop band!
A: Well, I don't know about that. Hardly. When pop bands start doing nine-minute songs, then, hey. The last pop band that did that was Pink Floyd, I think.
Q: Yes, but you were sitting right up there with Beyoncé, Christina Aguilera and "Cheetah Girls 2."
A: The trouble is we need some decent competition. And, let's face it, anyone that names their new album after something that washes your bum is a bit strange.
Q: Huh?
A: Beyoncé. "B'Day." Bidet?
Q: How could I miss that? Thirty years later and you haven't matured a bit.
A: Not at all. I'm still completely juvenile.
Q: Is there a point when you're going to stop putting zombies and skeletons on your album covers?
A: I don't think so. Why?

Review: Paul Westerberg


Paul Westerberg 'Open Season Soundtrack': Aidin Vaziri | Paul Westerberg used to be the lead singer of the Replacements, a band that was by no exaggeration the drunkest and loudest of the entire 1980s. Most recently, he's been maintaining a solo career out of his basement, recording scratchy blues-punk albums like a destitute Bob Dylan. So who better to provide the soundtrack for an animated family film about bears, rabbits and squirrels, featuring the voice talent of Ashton Kutcher? Predictably, the "Open Season" disc is awful. But that description fits just about everything Westerberg has released in the past 15 years. The difference here is that if you can look past diarrhea like "Right to Arm Bears," you can hear some of that old mournful magic flickering on tracks like "I Belong" and "Whisper Me Luck," allaying fears that he has become as completely useless as Phil Collins and Elton John.

Live Review: The Killers


The Killers do a lot of don'ts but rock anyway: Aidin Vaziri | There are certain things you never want to see at a rock show. On Sunday, at the first of two sold-out performances at the Warfield, the Killers flaunted them all before they even played a note: handlebar mustaches, silk vests, scraggly beards, bolo ties, a gong. If someone had thrown in a naked man wearing a flowerpot on his head, it could have easily turned into a Genesis reunion concert. Clearly the Killers are from Las Vegas, where it's not enough to merely change up the sound on their second album, "Sam's Town," but absolutely necessary to have the wardrobe and stage set to go along. In the band members' minds, the pretentious arena rock of their new disc seems to go best with a look popularized by Wyatt Earp in 1876 and a junk shop backdrop reminiscent of "Sanford and Son" a century later. Having said that, the Killers still managed to put on a fantastic show. What they have going for them is the material from their 5-million-strong debut, "Hot Fuss," a delicious shuffle through the best bits of the '80s with liberal swipes at Duran Duran, New Order and the Cure. Gratefully, the set list was generous with the songs from that album -- each one seemingly a hit single -- helping to break up the yawning spells brought on by new tracks such as "Bones" and the single "When You Were Young" with a lightning bolt of glam stomp. It was proof that the Killers could sound huge without even trying or, you know, the bad facial hair.

Monday, October 09, 2006

Pop Quiz: The Killers


Aidin Vaziri | After skyrocketing out of Las Vegas with a debut album that sold 5 million copies, the Killers now want to be taken seriously. And they've grown beards to prove it. On their second outing, "Sam's Town," the Killers might still be digging for inspiration in 1984 -- but instead of mining the dramatic synth-pop of Duran Duran's "Seven and the Ragged Tiger," the quartet finds it in the blustery rock of Bruce Springsteen's "Born in the U.S.A." So far, the new old sound is getting mixed reactions, even though the single "When You Were Young" is hovering near the top of Billboard's modern-rock chart. We spoke with guitarist David Keuning on the eve of the disc's release.

David Keuning of The Killers
Q: How are you taking the backlash?
A: How much backlash is there? For Christ's sake, I don't know. I can't keep up with the backlash. Are people writing on the Net? I'm kind of out of the loop. Is there a lot of backlash, like, on the Internet?
Q: Not exclusively. Rolling Stone gave the album two stars out of something like 17.
A: Yeah, well, Rolling Stone is full of crap.
Q: Also, people on Amazon, MySpace, right here -- everyone is abuzz about your new sound.
A: And they're unsure of it?
Q: Pretty much. What do you think about it?
A: I made the album.
Q: Don't you think it sounds a little weird?
A: I honestly don't think it's that dramatic of a shift. I'm beginning to think you just can't win with a second album. I guarantee you if we stayed exactly the same we'd have people talking just as much crap, if not more. You can't make an album like "Hot Fuss" 10 times.
Q: Most of the backlash is actually directed toward the new facial hair, not so much the music.

Review: Jet


Jet 'Shine On': Aidin Vaziri | After spending most of last year on the road with Oasis, Jet confirms with its second album that it's never a good idea to spend too much time hanging around the Gallagher brothers. With "Shine On," the sloppy heavy metal riffs of the Australian band's breakthrough 3.5-million selling debut, "Get Born," are mostly chucked in favor of plodding psychedelic melodies, dreary strings and weighty songs that require far more brains than the hairy quartet has to offer. It doesn't help that producer Dave Sardy (who also happened to oversee Oasis' last album, "Don't Believe the Truth") makes everything sound as if it were recorded through cellophane, or that songs such as "Rip It Up" and "Come On Come On" rarely live up to their primal rock 'n' roll titles. Jet, they've practically turned into the Vines.

Tuesday, October 03, 2006

Live Review: John Mayer and Sheryl Crow


Lessons learned from Crow and Mayer: Aidin Vaziri | Sheryl Crow has humongous hits! Unlike Mayer, who was intent on pimping new material from his self-produced third solo album, "Continuum," released just a few days ago, Crow stuck with what everyone knew best, slow-drip MOR staples such as "Good Is Good," "My Favorite Mistake" (with a chemistry-free cameo from Mayer) and her 33-rpm version of the 45-speed, "The First Cut Is the Deepest." Love her, hate her, or just want to hit yourself over the head with a pillowcase full of pennies when you see her, she's got a couple of tunes. But throughout her sleepy, 75-minute set, Crow only managed to get people moving with a last-ditch charge through rockier material like "If It Makes You Happy," "Soak Up the Sun" and a thoroughly unexpected cover of Led Zeppelin's "Rock and Roll." By that point most people were already at the condiment counter trying to find that perfect balance of relish and mustard. Mayer, meanwhile, seemed determined to disown his biggest hits, such as "Your Body Is a Wonderland," which was either the best or worst thing about the show, depending on how you feel about bubblegum ballads that play in the background of the crying scenes on "The O.C." During his jam-laden 80-minute set, in which he constantly switched off between acoustic and electric guitars, it was hard to deny that the audience reserved most of its enthusiasm for the songs that it actually, like, knew, such as "Daughters" and "No Such Thing." If the bursts of wild applause didn't give Mayer the hint, then the stream of people walking out in the middle of his performance should have sent the message across loud and clear.

Live Review: Scissor Sisters



Scissor Sisters could stand to sharpen edges: Aidin Vaziri | Like Benny Hill and bad teeth, the Scissor Sisters are a distinctly British phenomenon. While largely ignored in the States outside big cities, the New York group's self-titled debut album sold more than 1.5 million copies in the United Kingdom, becoming that country's most popular CD in 2004. Its latest release, "Ta-Dah," easily repeated the trick last month by debuting on top of the charts over there as the itchy-scratchy disco single "I Don't Feel Like Dancin' " knocked Justin Timberlake off the singles roost. Despite a surreal live appearance last week on the ABC hit show "Dancing With The Stars," it's hard to tell if the new album has any better chance on the group's home turf. Most of the disc is cloned from the same glitter-ball DNA as the debut -- the songs are a mix 'n' match sampling of the tackier end of the 1970s, with liberal nods to the Bee Gees, Elton John, K.C. & the Sunshine Band, "The Rocky Horror Picture Show" soundtrack and, most of all, the "Muppet Show" house band, Dr. Teeth and the Electric Mayhem. It would actually do the Scissor Sisters' music a great service if they hired some cartoon characters to sing it. The San Francisco audience didn't need much persuasion. Matronic and lead singer Jake Shears moved in a blur of sequins, hand claps and wonky aerobics, splashing out ear-piercing falsettos on familiar favorites like "Take Your Mama Out" and "Laura" while working everyone into a riotously pointless fervor. But like the oddly muted title, "Ta-Dah," there's something missing from the new material. "I Don't Feel Like Dancin'," saved for the encore, is an irresistibly cheesy disco anthem that was co-written by Elton John. The rest of the songs, however, veer toward cheerless Fleetwood Mac-style light rock and empty technobluster.

Sunday, October 01, 2006

Pop Quiz: Lily Allen


Aidin Vaziri | How can you not love Lily Allen? The 21-year-old British pop singer got famous using her MySpace page (74,664 friends at last count), plays a weird mix of ska-pop and has just released a lippy, dippy four-song digital EP, "Smile." It's the ska-pop part that's holding you back, isn't it? Maybe you should see a therapist for that. Or you can just check out her music and totally change your mind. Allen's full-length debut, "Alright, Still," isn't due in the United States until next year (it's already gone to No. 2 on the British pop chart) but she's giving us a taste.

Lily Allen
Q: When was the last time you sat down in front of a TV and watched "Knight Rider" reruns?
A: I don't know. When was the last time I watched television? I think like a month ago.
Q: Don't worry. When you go on tour you'll have plenty of time alone in hotel rooms to catch up.
A: I'm really excited about coming to America just because it will be a country where I can actually understand the TV.
Q: And the hotel pornography is much better.
A: Oh my God. I'm so into German fantasy porn.
Q: Do you think it's better because you can't understand the dialogue?
A: No, actually you can understand the words because "Oh, that is good" is "Oh, das ist gut."
Q: Not too much translation required there.
A: Not at all. You wonder why they even dub it because it's American porn with German overdubs. There's just no point in it at all. "Oh, das ist gut!"
Q: You did that pretty well. If the whole music thing doesn't work out you might have something to fall back on.

Reviews: The Killers, Beck


The Killers 'Sam's Town': Aidin Vaziri | Brandon Flowers has an incredible voice. On the Killers' mega-selling first album, 2004's "Hot Fuss," he used it to pull off a faux British accent that somehow managed to all at once sound like Duran Duran's Simon Le Bon, the Cure's Robert Smith and New Order's Bernard Sumner. Now, on "When You Were Young," the introductory single to his band's sophomore release, "Sam's Town," Flowers' voice has morphed yet again, going all New Jersey in tribute to the singer's new hero, Bruce Springsteen. Could this band be from anywhere but Las Vegas, where imitation is almost as good as the real thing, if not better? Following the success of its synth pop-heavy predecessor, the group rightly sets out to re-create the ultimate arena album in "Sam's Town," drawing on influences like U2, Simple Minds and the Boss -- maybe even a bit of Meat Loaf. The band members have even grown beards for it. Seriously. Naturally, everything is done in immaculate-if-plastic Sin City-style detail, with windswept guitar solos, over-the-top choruses and lyrics that conjure thousands of flashing lights. Songs like "Bling (Confessions of a King)" and "My List" are wonderfully sanitized epics, fit for both tight-trousered hipsters and fanny pack-wearing pop tourists. But would a few songs about the anguish of buffet lines have been too much to ask?

Beck 'The Information': Aidin Vaziri | Yes, the music is great. We already know that. He's Beck. Even if he made an album that sounded like Fergie, you know he would do some crazy robot dance in the video for the first single that would be funny as hell and make the rest of the CD sound 98 percent better. Plus, "The Information" was produced by Nigel Godrich -- the man behind Radiohead's "OK Computer," Beck's "Sea Change" and, er, Band Aid 20's rap-addled remake of "Do They Know It's Christmas?" Anyway, what we're really excited about is the album cover. It's just a sheet of blank graph paper that comes with stickers of trees, clouds and lips and stuff. You can arrange it however you like, even if you want to spell out rude words or make a mountain do something naughty with Beck's backside. Not since the Stones wrote "(I Can't Get No) Satisfaction" has rock 'n' roll been so unpredictable.