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Sunday, May 9, 2010

Oasis' Liam Gallagher Buys Film Rights for Beatles Book Frontman will tackle story of Apple Corps in 'The Longest Cocktail Party'

Liam GallagherO

asis have earned no shortage of Beatles comparison over the years, and now frontman Liam Gallagher is taking his love of the Fab Four to the next level: he has acquired the cinematic rights to the book The Longest Cocktail Party, which tells the behind-the-scenes story of the Beatles' Apple Corps. Gallagher's newly formed In 1 Productions confirmed today that they will develop and produce a feature film based on Richard DiLello's 1973 book that tracks the rise and near fall of the Beatles' famed record label. No release date for the film has been announced.

"This will be a film with humor and affection providing an insider's look at what it meant to be a young man caught up in the wild swirl of the music business, celebrities and the tail end of the swinging Sixties' in London," reads a statement from Gallagher's company. DiLello, who began working for Apple in 1968, witnessed firsthand the demise of the Beatles, which coincided with record company's financial struggles. The film, like the book, will likely focus more on Apple Corps than the Beatles themselves, though the breakup of the band factors largely in the story.

It remains unclear what role Gallagher will play on the film — if he'll serve as producer, writer or one of the Beatles. Oasis will be the subject of their own film, an upcoming documentary that includes fans' stories about their connection with the band and its music. As Rolling Stone previously reported, Noel Gallagher quit the band with "great relief" in August 2009.

'Let It Be' 40 Years Later: A Look Back at the Beatles' Final LP

Forty years ago this weekend, the greatest band of all time gave the world their final album together: On May 8th, 1970, the Beatles released Let It Be, the Phil Spector-produced LP that featured hits like the title track, "The Long and Winding Road" and one of John Lennon's most famous compositions, "Across the Universe." While the album was recorded during the band's caustic final days, Let It Be would go on to become one of their most celebrated records: it ranked Number 86 in Rolling Stone's 500 Greatest Albums of All Time.

The story behind Let It Be is almost as mythic as the Beatles themselves. The band originally intended to record it as a live-in-the-studio album and movie in 1969. But the ambitious undertaking left the Beatles so weary, they abandoned the project to make Abbey Road instead. Later, Phil Spector added oversweetened orchestral overdubs to many of the album's tracks — even though the record features some of the band's strongest rock songs ever (including "Get Back"). In 1970, the Beatles released the documentary film of the same name, which captured the group's iconic performance atop the Apple Studios building in January 1969. Perhaps due its controversial and detailed look at the Beatles' interpersonal problems, the film itself remains unavailable on DVD.

Despite the album's status in rock history, Paul McCartney was never a fan of Phil Spector's production flourishes on Let It Be. In Rolling Stone's original review of the album, writer John Mendelsohn also criticized Spector's superfluous additions, saying the famed Wall of Sound producer rendered "The Long and Winding Road" "virtually unlistenable with hideously cloying strings and a ridiculous choir" when compared to the version that appeared on the Get Back bootlegs in May, 1969. (Sign up for All Access to read the original Let It Be review from 1970.) After years of dissatisfaction with the released version, McCartney announced plans to put out Let It Be… Naked in November 2003, which stripped the Let It Be songs of Spector's ornate production. (All Access members can read the 2003 review of Let It Be...Naked now.)

Thursday, April 29, 2010

Ozzy Osbourne Reveals Cover for June LP 'Scream'

Metal god Ozzy Osbourne's Scream is due out June 15th and Rolling Stone has your first look at his new album cover. The angel wings, the red typeface, Ozzy standing victorious atop a mountain with a black flag in hand — who else but the Prince of Darkness could deliver album artwork like this? It looks like he's prepared to bark at the moon, to borrow from an Ozzy album of yore. Scream's first single "Let Me Hear You Scream" is already receiving heavy radio airplay after it premiered on an episode of CSI: NY two weeks ago. He'll shoot the video for "Let Me Hear You Scream" next month with director Jonas Akerlund (Lady Gaga's epic "Telephone" clip) at the helm.

Scream was produced by Ozzy and Kevin Churko, the same team behind Osbourne's 2007 album Black Rain. Ozzy also had a hand in writing all of Scream's 11 tracks. The album will feature Osbourne's new guitarist Gus G. as well as bassist Blasko, drummer Tommy Clufetos and keyboardist Adam Wakeman.



As Ozzy told Rolling Stone in January, the album originally had another title, but his fans protested. "I was going to call it after one of the tracks on the album called 'Soul Sucker.' When we put it on the Internet, none of my fan base liked the title, so I was like, 'Fuck it. I've got to come up with another title,' you know," he admitted. "They said, 'I can't imagine me walking around the fucking house with 'Soul Sucker' on my T-shirt.' OK, fine — thank you."

Ozzy will embark on an 18-month world tour as well as revive his annual Ozzfest after a one-year hiatus. The official announcement and details for Ozzfest 2010 will arrive this Friday night.

Scream Track List:
"Let It Die"
"Let Me Hear You Scream"
"Soul Sucker"
"Life Won't Wait"
"Diggin' Me Down"
"Crucify"
"Fearless"
"Time"
"I Want It More"
"Latimer's Mercy"
"I Love You All"

Green Day Moonlight as Foxboro Hot Tubs at Beer-Soaked Secret Show

By the time the Foxboro Hot Tubs reached the beer-soaked, shambling conclusion of their chaotic two-plus-hour set in the basement of New York's Bowery Electric last night at nearly 3 a.m., roughly 950 cans of Pabst Blue Ribbon had been consumed and nearly twice that amount had been poured out over bandmembers' heads or sprayed into the audience. Two Who songs had been covered, one plastic alligator head had been angrily brandished, a number called "It's Fuck Time" was played eight times, three women had been kissed and one attempt to repair a marriage by telephone had gone completely awry.

Such is the particular brand of anarchy practiced by the Foxboro Hut Tubs — or, as they are more commonly known, Billie Joe Armstrong, Mike Dirnt and Tré Cool (along with guitarist Kevin Preston and touring musicians Jason Freese and Jason White). If Green Day's main concern is a spit-shined and muscular arena punk outfit, the Foxboro Hot Tubs are the exact opposite. The show was a dervish from the first note, bodies colliding and songs arriving in white hot flashes. Armstrong spent more time in the crowd than onstage, repeatedly hurling his body into the audience and allowing himself to be passed overhead from one end of the room to the other. It was a rare and occasionally startling sight: a bona fide rock star coming within literal touching — and often, groping — distance of his fans.

The very nature of the show seemed fantastically quixotic. There are no clear fiscal rewards for the band — the venue officially holds only 108 people, though it was jammed with a few more — and they played just one song, "St. Jimmy," from the Green Day catalog. What the show did provide was an opportunity for the group to spit at the rules of professional rock & roll. More than anything, they came off as old friends who had known each other for ages, had far too much to drink, and were just going to keep bashing out bleary-eyed garage songs until somebody pulled the plug.

The music is perfectly suited to this kind of giddy haphazardness: the Hot Tubs hang out at the intersection where garage started giving way to punk, and their hot-rodding Kinks-meet-Stooges rave-ups sound best loud, and when most of the band is intoxicated. Sunday's set list was cobbled together from audience suggestions and the impulses of the band members, which meant that there was plenty of time for Armstrong to dally in perplexing non sequiturs ("I don't like to Swedish kiss, I like to French kiss") and several songs got multiple plays. In fact, their latest, "It's Fuck Time," gradually evolved into something of a running joke, the kind that's funny the first time you hear it, hilarious the fourth and excruciating the eighth.

Sunday's show, as well as a Friday show at Don Hill's, came at a time when Green Day are at their most professional, earning accolades from unexpected quarters for the Broadway version of American Idiot. In case anyone in the audience had forgotten the musical existed, a few of the show's cast members took repeated opportunities to remind them, mugging for the audience and showily hamming it up with the band until, a little after 2 a.m., a very weary, very drunk Armstrong playfully chided them by saying, "I love you guys, but you have to get the fuck off the stage."

There were times the same could be said to the Hot Tubs themselves. As the night went on and the participants became — both internally and externally — alcohol soaked, the show ambled off in odd directions, including not one but two meandering noise jams, one of which even featured darting jazz flute. But the reason the show worked was that the wall between performer and audience was obliterated: Armstrong repeatedly invited people onstage and many obliged, one of whom Armstrong treated to a sustained, open-mouth kiss. He emptied entire cans of beer over his head, then sprayed them out into the crowd. It felt natural and unforced, music being made for the sheer enjoyment of making it, and for the frenzy it instills in those who hear it.

Occasionally, the tight bond between performer and spectator turned out some strange results. Near the end of the show, an audience member stumbled onstage and implored Armstrong to call his wife, who had just left him. "Did you cheat on her?" Armstrong drunkenly deadpanned. The two then clumsily called the woman in question who, unsurprisingly, did not answer. Armstrong, soaked to the skin with beer and steadily moving past coherent ordered the band into another number and the man, crestfallen, did the only thing he could do: looked out into the audience, shrugged, and launched himself over top of it.

AC/DC : Puncaki Top Chart Berkat Iron Man


Band rock legendaris, AC/DC kembali puncaki chart album Inggris berkat bantuan dari Iron Man 2. Sepertinya Angus Young cs. mengulang kesuksesan beberapa tahun silam lewat Back In Black, pada Agustus 1980.

AC/DC berjaya dengan album Original Soundtrack Iron Man 2. Mereka menggusur album album Wake Up Nation milik Paul Weller dan penyanyi fenomenal, Lady Gaga. Sementara album terbaru Meat Loaf dengan judul Hang Cool Teddy Bear berada di peringkat keempat.

Pendatang baru, Diana Vicker dengan hits berjudul Once puncaki chart single UK, kalahkan OMG dari Usher featuring Will I Am.

Semoga kesuksesan soundtracknya ini jadi petanda buat kesuksesan film Iron Man 2.Let's see..

Madonna Duduk Manis di Puncak Billboard Hot 200


Setelah kemaren AC/DC masuk ke puncak chart Inggris lewat soundtrack Iron Man 2, sekarang giliran Madonna yang berjaya. Yup, albumnya merupakan original soundtrack drama komedi televisi Glee, berjudul The Power of Madonna, minggu ini duduk manis di posisi teratas Billboard Hot 200.

Duduk di belakang Glee, terdapat Lady Antebellum yang ngebooming dengan album Need You Now. Albumnya terjual sebanyak 83.000 kopi. Disusul Justin Bieber, si penyanyi muda bertalenta. Albumnya berjudul My World 2.0 asik berseluncur di posisi tiga.

Di Amerika Serikat, AC/DC dengan soundtrack Iron Man 2 hanya mampu bertahan di posisi keempat. Di bawah AC/DC, album milik Usher bertitel Raymond vs Raymond melorot satu slot ke peringkat lima.


Sementara Lady Gaga melesat ke posisi paling buncit. Gadis Paparazi ini bertahan di posisi sepuluh dengan album The Fame, yang mampu terjual 28.000 kopi.

Nah sekarang udah ada tahu kan, album mana yang recommended…

Thursday, April 15, 2010

David Guetta Ft Fergie, Will I Am Chris Willis - Gettin Over

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