Sunday, April 29, 2007

Live Review: Amy Winehouse at Popscene, 04/26/07


Winehouse may look fragile, but she's a tough act to follow: Aidin Vaziri | Nothing about Amy Winehouse's appearance prepares you for her voice. Stumbling onstage at Popscene for her first Bay Area concert Thursday, the 23-year-old British soul sensation looked a bit like Christina Aguilera after being put through a shredder.

She wore her pile of black hair in an enormous beehive that, even before she walked into the room, had unraveled so much it resembled a haystack. Dropping her bruised leather jacket to the ground, she revealed skinny arms covered with scars and tattoos of naked women. And while the members of her 10-piece backing band were decked out in impeccable Motown-style suits, Winehouse opted for a dirty white tank top with thick bra straps tumbling out the sides. A new diamond barely clung to her ring finger.

Then she started to sing.

Playing nearly all the songs from her second album and American debut, "Back to Black," Winehouse revealed a natural instrument that was gentle, aching, rich, gauzy and incredibly soulful -- especially when paired with the band's lush arrangements and sharp lyrical twists like, "They tried to make me go to rehab, I won't go go go/ I'd rather be home with Ray/ I ain't got 70 days."

Those words arrived with her breakthrough hit, "Rehab," toward the end of the hourlong set, and throughout the night she made certain she lived by them.

"The first person to get me a Jack and Coke gets a kiss on the lips," she drawled in a coarse cockney accent miles removed from the delicate voice that graces her music, part Lauryn Hill, part Sarah Vaughan. When the drink arrived -- the first of many requested from the stage -- Winehouse delivered on her promise: "You're lucky my fiance's asleep."

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Sly and the Family Stone: Still Rolling



Sly and Family, 40 Years Later: Before the meltdowns, paranoia and platinum Mohawk haircuts, Sly and the Family Stone not only invented psychedelic soul but also kicked it into orbit. To mark the San Francisco musical misfits' 40th anniversary, we asked founding member and keyboard player Rose Stone to give us a guided tour of the group's first seven studio albums, freshly remastered and reissued with bonus tracks.

A WHOLE NEW THING (1967)
Despite its innovative mix of rock and soul, Sly and the Family Stone's 1967 debut, "A Whole New Thing," failed to make much of an impact.
Download: "Underdog," "Run, Run, Run," "Trip to Your Heart."
Bonus material: Five rarities, including an instrumental version of "You Better Help Yourself" and single edits of "Underdog" and "Let Me Hear It From You."
Stone says: "We weren't disappointed with the first album. We were an integrated group, so we were different in the way we sounded and looked. We just didn't know how different. We had so much music in us (that) we just wanted to keep going. We were like, 'We have something else! Want to hear it?' "

DANCE TO THE MUSIC (1968)
Even though the group scored its first Top 10 hit with the title track, the album stalled at No. 142 on the Billboard 200.
Download: "Dance to the Music," "Higher," "Soul Clappin.' "
Bonus material: A cover of Otis Redding's "I Can't Turn You Loose" and the previously unreleased "We Love All."
Stone says: "We would go in the stores, they would be playing our song, and we wanted to shout, 'Hey, that's me!' That was a strange feeling. We were our greatest fans. We realized we were on a path, and the path just kept getting broader and broader. We didn't realize we were famous until after the fact."

LIFE (1968)
Released a mere seven months after "Dance to the Music," this release also failed to alight the charts but saw the band growing more confident in its sound and attitude.
Download: "M'Lady," "Dynamite!," "Jane Is a Groupee."
Bonus material: Previously unreleased songs "Seven More Days" and "Pressure," plus an instrumental version of "Sorrow" and single edit of "Dynamite!"
Stone says: "People were still warming up to us. When we look back at the TV shows now, we really did look strange. We were so into ourselves that we never stopped to think how we looked in public. But when you see an old clip of "The Ed Sullivan Show" and you look at the people in the audience, you really see we were a different group. We just thought everyone else looked funny." Continue reading...

Pop Quiz: Simply Red


Aidin Vaziri | With his flowing crimson curls and soulful rasp of a voice, Mick Hucknall, 46, might make for an unlikely pop star. But with Simply Red, he's sold more than 45 million albums worldwide, dated a stable of coveted women (including Catherine Zeta-Jones and Helena Christensen) and earned enough to own an 18th century estate at St. Alfio on the side of the Mount Etna volcano, where he roars around in a Ferrari and produces his own wine. Now that the man who once claimed to have slept with hundreds of women has found true love, does the group's latest album, "Stay," represent a more mature Mick?

Mick Hucknall of Simply Red
Q: Your new album has a couple of songs called "Money TV" and "The Death of the Cool." Are you trying to suggest that we live in a shallow society?
A: It's exactly what it's about. I somehow feel it more than ever, where style is so much more prevalent than substance. I wonder if Bob Dylan was starting now, whether he would even get a shot. I'm kind of jealous of the era of the '60s, when people were reaching out for something to say. They weren't copying anybody. It was for real. Now you have pathetic attempts to re-create Woodstock. Try and make something original.
Q:To answer your question, Simon Cowell already said Bob Dylan bores him to tears.
A: Who?
Q:Simon Cowell from "American Idol."
A: That's not my language, baby. I know a guy called Slimy Coward. Is that him?
Q: I think that's the guy.
A: That's the guy? Oh, well, him. He is who he is. I hear he doesn't like Bruce Springsteen either. Well, we'll see about that.
Q:You didn't seem to have a problem with all this a few years ago, when you were dating supermodels and were falling-down drunk.
A: You know what? I'm going to take that on the chin. I think that's a fair assessment, but I would say also that I was an unhappy bachelor, especially later on. The person I am with now, I split up with in 1995, and now I'm back with this person, and we're expecting our first child in June. We couldn't get over each other. I went through a series of unhappy relationships. I just got f -- up and partied and did all the things you're supposed to do when you're a bachelor and you want to go crazy. I did all that. I don't have many regrets. It's becoming a happy ending.

Review: Feist, Patrick Wolf, Joni Mitchell Tribute


Feist 'The Reminder': Aidin Vaziri | It's only a matter of time before Leslie Feist's music comes at you every time you walk into a coffee shop, turn on the television or buy a pair of shoes. Might as well submit now. The drowsy-voiced Canadian singer's third studio album offers plenty of convincing reasons to do so, starting with the deceptively simple, imponderably beautiful ballads "So Sorry" and "The Park." Better yet, try the throbbing "My Moon, My Man," which builds and builds and builds until all parties concerned are left breathless. And the one time Feist dips into cover territory is for "Sea Lion Woman," a traditional melody made popular by Nina Simone. That Feist so effortlessly pulls it off is a given -- this woman goes well with everything.

Various Artists 'A Tribute To Joni Mitchell': Aidin Vaziri | To properly fete Joni Mitchell, you have to be stupid, brave or just plain crazy. While acts such as the Counting Crows, Frank Sinatra and Claudine Longet have the first two categories covered, this tribute album makes the case for those who mostly fall into the last. It opens with an unrecognizable acid-dipped version of "Free Man in Paris" by Brooklyn indie-rock eccentric Sufjan Stevens and follows with a one-two punch of more weirdness thanks to Björk's lullaby-like reworking of "The Boho Dance" and Brazilian singer Caetano Veloso's bossa-edged treatment of "Dreamland." You expect Prince's "A Case of You" to be good, and it is. But it's also awkwardly restrained, much like Annie Lennox's icy "Ladies of the Canyon," which sounds like a Eurythmics outtake from 1983. Mitchell's native Canadian disciples Sarah McLachlan ("Blue") and k.d. lang ("Help Me") seem to follow suit with their similarly pleasant but dull offerings. Unexpectedly, it's James Taylor who manages to catch the songwriter's feather-light touch on his stripped-back version of "River," and Cassandra Wilson makes the bitter jazz of "For the Roses" sound more deceptively beautiful than ever. Emmylou Harris ("Magdalene Laundries") and Elvis Costello ("Edith and the Kingpin") manage to captivate as well, by smartly picking less familiar tunes that they make sound like their own. So, despite the promising cast, the results are mixed at best. But it's OK. If you've heard Mitchell do these songs lately, you know that she can no longer do them justice either.

Patrick Wolf 'The Magic Position': Aidin Vaziri | Here's everything you need to know about Patrick Wolf: 1) He grew up in London, 2) has bright red hair, 3) dresses like he just walked out of a Mother Goose nursery rhyme, 4) likes carousels, 5) probably likes animals, 6) is sexually "ambiguous," 7) meaning it's not really all that ambiguous, 8) has released a bunch of albums nobody's ever heard, 9) hates Mika, 10) is getting a lot of comparisons to Mika. Up to date? Good. Then we can skip straight to "The Magic Position," the brilliant title track from his latest album. The rest of the songs are fine but hardly compare to the ABC-inspired, orchestral pop rush of the opening tune that spews rainbows, handclaps and pearls of wisdom such as, "You put me in the magic position/ To live, to learn, to love in the major key."

Thursday, April 26, 2007

'The Good, The Bad and The Queen'




What Damon Albarn did next: Aidin Vaziri | Damon Albarn is used to getting all the attention. But on his latest outing, "The Good, the Bad & the Queen," the hyperactive lead singer of the British band Blur and mastermind behind platinum cartoon rock act Gorillaz, is quite happy to make room for a few qualified collaborators: former Clash bassist Paul Simonon, ex-Verve guitarist Simon Tong, Fela Kuti drummer Tony Allen and Gnarls Barkley producer Danger Mouse.

"It's quite strange, most of the time I'm in the back playing the piano," Albarn said of his role in the collective, which plays Sunday at the Grand at the Regency Center. "Personally, I'm really happy in that position. It makes the whole thing kind of laid-back."

The nameless group made its American debut last month at the South by Southwest festival in Austin, Texas, where it stretched out the album's haunted melodies and hushed-tone poems about London life into a dynamic live show. "We spent a good couple of weeks in rehearsals trying to work out what we could do with it," Simonon said. "We didn't want to repeat the whole album note for note. It needed another approach."

Albarn rebutted rumors that the Gorillaz had split up. "It's a bunch of cartoon characters," he said. "How can they split up? They are never going to get old and lose their hair. ... We're just changing the format." And shrugged off Blur reunion murmurs: "It's nice anyone gives a s -- , obviously, but I can't imagine it at the moment."

As for the crew behind "The Good, the Bad & the Queen"? Simonon, the eternal punk, said they are taking things day by day, meaning this could be the first and only time most people see these men onstage together. "We don't have a master plan," he said. "I don't really do things I don't want to do. I'll stop doing it when it stops being fun."

Monday, April 16, 2007

YouTube: Best Bay Area Music Videos... Ever!




YouTube Faves: So many videos, so little time. Whether you go to YouTube seeking information, ideas or just plain entertainment, it seems that the choices are endless. So The Chronicle asked its critics and writers to pick some videos they think are worth taking a peek at and tell our readers why. Here are Aidin Vaziri's selections for the best music videos by Bay Area acts.

Journey, "Separate Ways," 4:26. There are so many Journey video parodies on YouTube (mostly starring dogs in heat) it's almost impossible to find the real Journey. At first I thought this one was another parody, because it started off with a bunch of idiots with perms and muscle shirts appearing on an abandoned dock "Star Trek"-style, playing air keyboards. Oops. This is the real video! So let me get this straight -- while Duran Duran were off in Sri Lanka riding elephants and raping tiger ladies, Journey just pretended to play their instruments on a bunch of shipping pallets and forklifts in Oakland? At least Steve Perry looks as if he's passing a kidney stone every time the camera gives him a close-up. But why the mysterious closing shot of the blonde in the bed -- was it all a terrible nightmare? Watch.

Metallica "One," 7:02. Great song and everything, but the whole thing where they cut parts of old movies into black-and-white performance footage seems like something Jim Morrison would have done if they gave him a camera and CPR. Metallica's videos only got worse from here. If you ask me, Lars Ulrich wasted his time with Napster. He should have spent all his big words and brain cells trying to shut down YouTube instead. Watch.

Huey Lewis & the News, "I Want A New Drug," 3:31. I always wondered how Huey Lewis could possibly sing in a sink full of ice water. With his eyes open! Back in 1983, he probably had all kinds of super powers besides the underwater singing thing. In this clip we see Huey zooming around San Francisco in a 1) convertible, 2) yacht and 3) helicopter. But even with all those forms of transportation at his disposal, not only does the poor guy barely have enough time to get dressed when the cameras start rolling, but has to shave on the boat while flirting with some babe in a bikini. Even at that, it takes him pretty much all day to get to the big show. What big show? The one where the girl he's been flirting with all day is in the front row! Actually, I was hoping this was the video where the members of the News are on the beach buried in the sand from the neck down but the only clip they had of that was actually a movie of a squirrel eating a Ritz cracker while the song played in the background. Plus, ever since "Ghostbusters," I hate this song. Watch.

Faith No More, "Epic," 4:29. Nice guys all around, but this is probably the stupidest video ever made. It starts with a hand with an eyeball that inexplicably shoots out neon green snot (no, really) and ends with a goldfish flopping around breathlessly before a piano explodes. In between all that, Mike Patton jumps around in a cargo shorts making funny faces, the band swishes its hair around quite a bit and it rains. Boy, does it rain. Oh, and there are more explosions and lightning bolts. Did I mention the hand with the eyeball is in a gold frame? It's unbelievable that anyone in 1990 thought this was more credible than Bell Biv DeVoe or Wilson Phillips. But I guess that's before they invented all the good drugs. Watch.

Chris Isaak, "Wicked Game," 4:03. Wow. This video is far more indecent than I remember it, and that's awesome. Helena Christensen is 95 percent naked throughout the whole thing and Chris Isaak looks great, as usual. But when they start groping each other in the water and rolling around in the sand? Just wow. And when it goes from black and white to yellow and white? Well, that part I don't understand. Otherwise, this is one of those rare instances where everything comes together just right: song, clouds, boobs, palm trees, chipped nail polish. If they still made videos this good, MTV would probably still be showing them. Watch.

MC Hammer, "U Can't Touch This," 4:13. It's hard to imagine a rapper wearing glasses or circus tent pants these days. Then again, Hammer was kind of a not-very-good rapper. This video is so dated that it's about to become hip again. Just watch: Some hot new Norwegian band is going to have spandex-clad dancers shaking their asses on an industrial staircase and everyone will go on about how they're such geniuses. Watch.

Counting Crows, "Mr. Jones," 4:29. Here's the thing about Counting Crows: Everybody would like them a lot more if they could look at them a lot less. They easily cut their potential audience in half the moment Adam Duritz first appeared with the dreadlocks and brown suede fringe jacket. Watch.

Third Eye Blind, "Semi-Charmed Life," 4:00. Third Eye Blind isn't nearly as godawful as everyone thinks. Looking back on this band's first video now, it's like, "Well, they kind of look like jerks you don't want to see in the Mission running around the Mission but, hey, at least they're better than some overpriced loft condo." Watch.

Jellyfish, "Baby's Coming Back," 3:04. People wonder why Jellyfish never made it big. Well, it could have something to do with the fact that whey were grown men who wore top hats and bellbottoms and made videos with giant cartoon babies. Watch.

Sammy Hagar, "Winner Takes It All," 4:11. I can't find "I Can't Drive 55." This is better anyway because it's from the soundtrack to the Sylvester Stallone arm-wrestling movie and has more synthesizers than guitars. Watch.

Greg Kihn Band, "Jeopardy," 4:16. Commitment-phobe Greg Kihn is supposed to get married, right? Except when he lifts the bride's veil everyone turns into a zombie! (This kind of thing was very popular in the '80s.) It's like a Ziggy comic set to music. Watch.

Too Short, "The Ghetto," 5:02. Personally, I prefer it when he's rapping about butts and stuff, but this is the moment the Oakland rapper discovered his conscience and features some pretty heavy dramatic acting such as: people crying, people standing in doors and people lying down dead in the street. Watch.

Smash Mouth, "Walking on the Sun," 3:23. It's funny that Smash Mouth ended up doing all those Scooby-Doo soundtracks, because right from the start they looked like a bunch of cartoon characters that were afraid of ghosts. Watch.

4-Non Blondes, "What's Up," 4:54. What was going on in San Francisco in the early '90s? Like Counting Crows and Jellyfish, Linda Perry's old band looked like a cross between hippie vagabonds and circus clowns. The video isn't nearly as annoying as the actual song, although Linda's mouth looks really, really big. Watch.

Romeo Void, "A Girl in Trouble (Is a Temporary Thing)," 4:03. Want to know how messed up the music industry was in the '80s? Just because the singer of Romeo Void had to shop in the plus-size department at Macy's, they projected her face on a screen in the background of this video while skinny models romped around in white overalls. Awesome video, though. Watch.

Pop Quiz: Fall Out Boy


Aidin Vaziri | Think what you will of Fall Out Boy, but the band is basically more interesting than 73 percent of the other rock groups on the radio right now. Maybe it's because we've all seen bassist and lyricist Pete Wentz's privates on the Internet, or maybe it's because he's been romantically linked to Lindsay Lohan and Michelle Trachtenberg. Or maybe it's because two years ago he overdosed on Ativan in a botched suicide attempt and recovered in time to make the suburban Chicago group's chart-topping new album, "Infinity on High," which includes the bonkers hit, "This Ain't a Scene, It's an Arms Race." It's a toss-up.

Pete Wentz of Fall Out Boy
Q: You've been corresponding with Morrissey. Does he use proper e-mail etiquette?
A: Like, does he use "LOL" and that kind of stuff?
Q: Yeah. He seems like he would really be into making those sideways smiley faces with semicolons.
A: No. He's wittier than that.
Q: How did he get your e-mail address? Is he a fan of the band or did he ask you to add him as a friend on MySpace?
A: I don't know if he's a fan of the band. We never even went into that. He just wanted us to play some shows with him.
Q: Do you think it was just because he liked your online photos?
A: I don't know if he knows about those either. I assume he's heard the record if he's asking us to play with him, but there was a never a point where he said, "Hey, I like your band." But he wouldn't do that, I don't think.
Q: Five years ago you were listening to his albums in your bedroom, and now you're his e-mail buddy. How does that happen?
A: I don't know. Everybody likes to think there's a giant plan for everything we do, but it's accidental.

Review: Nine Inch Nails


Nine Inch Nails 'Year Zero': Aidin Vaziri | To get people interested in the new Nine Inch Nails album, Trent Reznor led an Internet scavenger hunt, complete with clandestine Web sites and hidden messages on European tour T-shirts. He scattered a bunch of USB drives loaded with static, MP3 files and hidden phone numbers in public toilets around Germany. He even obliquely sketched out the future for his fans, projecting a virtual world where the government poisons its citizens, secret militias terrorize private homes and other similarly fun stuff happens. On the frayed new single "Survivalism," the rippled goth overlord snarls: "I got my propaganda/ I got revisionism/ I got my violence/ In hi-def ultra realism/ All a part of this great nation." But you have to cut through all the "World of Warcraft" nonsense to really get inside "Year Zero." At 41, Reznor has survived a heroin overdose and a stint in rehab. Now he's really paranoid. But as much as it is a dark, depraved concept album about the state of the world, "Year Zero" is also a dark, depraved concept album about a vampire taking stock. With a menacing cyber-metal score playing behind furious worst-case-scenario tales such as "My Violent Heart" and "Me, I'm Not," it seems that Reznor still has a few years to go before fully exhuming that teenage angst that first surfaced on "Pretty Hate Machine." Musically, it's not that far removed from 2005's "With Teeth," which means it's a bit single-minded. At this point, however, Reznor can afford a little self-indulgence. It's just a shame that there's nothing as vulnerable or tuneful as "Hurt," the song Johnny Cash carried to his grave.

Sunday, April 08, 2007

Pop Quiz: Hilary Duff


Aidin Vaziri | Hilary Duff, best known for her roles in "The Lizzie McGuire Movie" and "Cheaper by the Dozen," grows up in more ways than one on her new album, "Dignity." Not only is she edging out frothy bubblegum pop in favor of sleek electro grooves and songs inspired by the exotic decade she just missed (you know, the '80s), but the 19-year-old singer-actress is also nursing a broken heart with appropriately darkened hair and fingernails to match. Recorded while coming out of a long-term relationship with Good Charlotte front man Joel Madden (now hobnobbing with Nicole Richie), Duff could provide us with the moment we've all been waiting for on this disc -- the moment the teenage star comes of age.

Hilary Duff
Q: You started out making this album while you were still going out with Joel Madden. Did you have to hurry up and write a bunch of mean songs after you broke up?
A: That was a big question when I finished the record and I had these songs. I had broken up with Joel, and I thought to myself, "I have all these songs about being in love and it being great, and they don't make sense anymore." But everyone deals with that. There are people in relationships. There are people going through a breakup. There are people going through all of those things. So I feel like I got to cover a lot of ground, and everybody could relate.
Q: Were your parents secretly happy that you broke up with Joel, you know, because his arms are covered in tattoos, he's so much older and he wears baseball caps the wrong way?
A: No, my mom loves him. She misses cooking for him and his brother Benji. Even from the beginning, I did warn her before they met that he has a lot of tattoos and he's much older than me, but my mom knows that I'm smart. She's always trusted me, and we've always had a very honest relationship. She never wanted us to break up. She loves him. My dad might be a different story.
Q: I'm with Dad.

Live Review: The Killers at Bill Graham Civic, 04/07/07




Las Vegas synth-rock heroes go in for the, ahem, kill: Aidin Vaziri | It's incredible to think that just last year The Killers launched their latest album, Sam's Town, with an intimate Popscene show at 330 Ritch in front of a few hundred kids in the know.

On Saturday, the stubbly Las Vegas outfit graduated into a proper arena band with an extremely sold out show at the Bill Graham Civic that left no grand rock 'n' roll cliche unturned: Confetti cannons? Check. Massive audience singalongs? Check. A big gong, silver-shirted guitarist and wind machines? Check, check and check.

Even it felt a bit like seeing Bon Jovi in 1987, it was still an awesome show. The quartet played every song from Sam's Town and most of the good bits from its synth-heavy 2004 debut, Hot Fuss, plus some b-sides and covers. The highlights were obvious - gargantuan teen drama anthems like "Somebody Told Me," "Mr. Brightside" and "Bones. "

A couple of the more ponderous songs from the new disc, like "This River Is Wild" and the truly dreadful "Uncle Jonny" (sample lyric: "When everybody else refrained/ My uncle Johnny did cocaine"), temporarily cleared the floor in the middle of the set but, like a block of brie, the tunes from Sam's Town have only gotten better with age. In fact, "Read My Mind" is one of the best things they've done.

But even as The Killers become the domain of backwards cap-wearing, beer-swilling dudes that high-five each other after every drum roll, singer Brandon Flowers still looks completely out of his league as the band's frontman.

With stiff shoulders and darting eyes, he had no problem delivering the words with the arch theatricality that they require but seemed at a complete loss whenever the music stopped. Unlike his heroes Bono and Morrissey, there were no flashes of wit, no filthy jokes, not even a smile to suggest he wouldn't rather be at home with his wife watching "You've Got Mail."

Then again, he was probably the only person in the room that didn't have a good time.

Review: Tracey Thorn


Tracey Thorn 'Out of the Woods': Aidin Vaziri | Tracey Thorn has the kind of dusky voice that can stop time, so it's almost easy to forgive her for taking the past seven years off since her last CD with Everything But the Girl. On "Out of the Woods," the singer's first solo album since 1982's "A Distant Shore," she more than makes up for the wait with her breathtaking mix of delicate folk melodies, sleek electro-funk flourishes and skittery, hair-raising soul. Working with the Rapture's Gabe Andruzzi and remixer Ewan Pearson, Thorn delivers an album that's as adventurous as it is evocative, nowhere more so than on the single "It's All True," a pristine love song set to a neon '80s soundtrack. But for sheer chills, it's hard to beat "Hands Up to the Ceiling," in which she sings of finding solace from the world outside by sneaking off to the attic to listen to Terry Hall, Siouxsie Sioux and "Edwin, too." Haven't we all been there?

Live Review: Mew at the Fillmore, 04/06/07




Danish prog-rockers are go!: Aidin Vaziri | It's probably been a while since the FIllmore has seen a band like Mew. Playing against a psychedelic reel of violin-playing cats and sad-eyed puppets with enormous human lips, at its sold-out Fillmore show on Friday the Danish band defied description with a set that was part prog revival, part symphonic space jam, and all goosebump inducing greatness. Working its way through most of the songs from its two belatedly released American albums, 2003's Frengers and 2005's And The Glass Handed Kites, the group rocked inexplicably hard considering, 1) The guitar player has a mustache, 2) Frontman Jonas Bjerre sings like a 14-year-old girl, and 3) Their tunes have totally ridiculous titles like "Circuitry of the Wolf" and "Am I Wry? No." We won't even mention the frizzy haired keyboard player who is most likely a closet Yes fan. Someone get them a stadium and a proper laser light show, pronto!

Monday, April 02, 2007

Pop Quiz: Corbin Bleu


Aidin Vaziri | You may not recognize Corbin Bleu, but to a certain demographic he's bigger than Justin Timberlake, John Mayer and Brad Pitt combined. The 18-year-old Brooklyn native is the breakout star of the surprise Disney Channel hit movie "High School Musical" and its smash sequel, "Jump In!" -- the network's highest-rated original movie -- watched, memorized and watched again by millions of tweens. The franchise has also launched a triple-platinum soundtrack and individual music careers for Bleu and his cast mates, who spent last year playing a 40-city arena concert tour. "Jump In!" is out on DVD this week.

Corbin Bleu
Q: Lenny Kravitz is one of your idols. Have you met him yet?
A: Not yet. But I want to so bad. I know his daughter is a fan.
Q: And you just missed Johnny Depp at the Teen Choice Awards.
A: I was so upset. We went up onstage to accept the award and then we went straight backstage to do all the interviews. Once we leave, he comes on. Not only did I not get to see him, but I didn't even get to see him onstage.
Q: What good is all this success if you can't meet Lenny Kravitz and Johnny Depp?
A: Seriously, man.
Q: Don't worry, you can get them through their daughters.
A: Exactly. Their kids love it. I recently found out Johnny Depp's daughter is a fan, and I just signed an autograph for her. It's always for their kids.

Review: Timbaland


Timbaland 'Shock Value': Aidin Vaziri | Just how much Timbaland can you take? In the past year, the Virginia producer (born Timothy Mosley) has been everywhere, helming blockbuster singles for Nelly Furtado ("Promiscuous," "Say It Right"), Justin Timberlake ("SexyBack," "My Love") and the Pussycat Dolls ("Wait a Minute"), popping up in videos and joining his proteges onstage. His previous hits with Missy Elliott, Jay-Z and Aaliyah are still all over pop radio. And there's word that he's collaborating with Björk, Coldplay and Duran Duran, while offering career rehabilitation to Britney Spears. Now comes the inevitable solo turn, his first since 1998's "Tim's Bio." For an artist who so desperately seems to crave the spotlight, Timbaland just can't seem to get away from the boldface names that are always standing in his way. "Shock Value" features a genre-busting guest list that includes not only all the usual suspects, but also a few less likely ones, such as Elton John, Fall Out Boy, the Hives, She Wants Revenge and Sri Lankan rapper M.I.A., making it sound more like an installation of the scattered "Now That's What I Call Music" compilation series than his big artistic moment. Even as Timbaland becomes more impossible to escape, he also becomes easier to ignore.