Saturday, December 13, 2008

Hugh Jackman as Oscar host?

The choices for Oscar host have become increasingly eye-raising in the past few years... Chris Rock, Ellen DeGeneres, Jon Stewart, and for the upcoming Oscars... Hugh Jackman? Okay, so the Australian-born hunk is an actor with success in Hollywood (and a good actor at that), and he has a flair for musical theatre (having won a Tony award), but after the comedic monologues from Rock, Stewart and DeGeneres of the past years, people will be looking for Jackman to poke fun at Hollywood. However, since Jackman is part of the A-List, how will that be possible? I find the choice of Jackman a curious choice, but I'm willing to give him the benefit of the doubt. Let's see how he will handle the duties -- will he break into song? Will he reveal secrets of the Hollywood stars? Will he be as funny as Carson and Crystal? Time will tell...

Monday, December 1, 2008

Britney, For the Record

Watching the Britney Spears "comeback" special For the Record last night on MuchMusic, you felt as though Britney's handlers were trying desperately to showcase a recovered and revitalized Britney Spears to the public. But once again, typical with Spears' almost ten-year career, her handlers once again presented an image that is false and unconvincing.

Now, I like Britney. She has made good pop music in the last decade (perhaps some of the best pop music), and she appears to be a sweet, fragile person, still innocent even as she is pushing 30. But there was something desperate about For the Record, as the show worked on all cylinders to make it appear this was Spears' triumphant comeback, when it was anything but.

There is something sad about Britney, almost Marilyn Monroe-like, and not in a good way. She seems unhappy, joyless, seemingly blank in the eyes. There is no spark, no ambition, no determination, unlike Madonna, who made an appearance last night, still has even at 50. Watching Madonna and Britney, side-by-side, was an interesting experience. The difference between Madonna and Britney is that Madonna controls everything: her image, her money, her staff, everything. You can sense her control when she walked into the room where Britney and her entourage were. Nothing penetrates Madonna's powerful yet icy facade or those puffed-up cheeks; she's impenetrable. But Madonna was never a puppet like Britney is, and if ever she was a puppet, Madonna always had at least one hand on the strings pulling her; the only difference is when the string was cut, Madonna did not fall, but the person pulling the string would.

Britney certainly lacks the drive her peers Christina Aguilera and her ex-boyfriend Justin Timberlake have. Yet unlike Madonna, Aguilera and Timberlake, Britney does not have the same grip on her career as they do. Watching Britney rehearse videos and dance routines throughout the special, you get the sense that she had nothing to do with the concepts behind them. None of these creations are her original ideas. Someone else is creating her ideas and telling her what to do. Britney seemed bored and disinterested throughout.

As much as the special wanted us to believe this was a "comeback", I think it's too soon for a Britney comeback. In fact, I don't think there should be a comeback, because the star herself appears not even interested in coming back.

Sunday, November 23, 2008

Revisiting the (Christmas) Classics: Kim Stockwood's I Love Santa


There are some singers who were born to make Christmas albums: Elvis Presley, Bing Crosby, Julie Andrews, Nat King Cole, Frank Sinatra, Boney M (oh, come on, admit it -- you love their Christmas album!) et cetera. The list could go on and on. And, of course, there are those singers who should not make a Christmas album (Jessica Simpson, anyone?).

It seems as if making a Christmas album is part of any singer's contract. Even during the boy-band hey-days, New Kids on the Block, N*Sync and 98 Degrees all made Christmas albums. But rarely are any of these albums more than smart marketing ploys to lure shoppers into spending money during the holiday season on their favourite singer jumping on the Christmas-album bandwagon.

However, one of the best Christmas albums in recent years is by a Canadian singer who like Presley, Andrews et al. was destined to make a Christmas album: Kim Stockwood. She's has had a few hits on Canadian radio, most notably Jerk and 12 Years Old. She is a talented singer-songwriter with a cheeky sense of humour and a gift for writing thoughtful, personal songs with strong melodies. Which is why she's the perfect singer to make her own Christmas album.

Released in 2006, I Love Santa gets some play during the Christmas season because of Stockwood's popular version of It's a Marshmallow World. There are a handful of other popular Christmas classics such as Silver Bells, Rudolph the Red-Nosed Reindeer and an absolutely gorgeous version of Silent Night (featuring Damhnait Doyle and Tara MacLean). But thankfully, Stockwood also features some of her own songs, including the title track. The album is a charming, warm-hearted Christmas album with a slightly jazzy sound; the kind you can listen to snuggled up in front of the fireplace drinking egg nog or a hot chocolate.

Although it's only two years old, Stockwood's I Love Santa is already one of my favourite Christmas albums of all time. I don't think it's too early to rank it with the Christmas classics. Treat yourself this Christmas to Kim Stockwood's I Love Santa.

Sunday, November 16, 2008

Wanda Sykes Comes Out!

I have been a big fan of Wanda Sykes. She is a hilarious comedian who is a scene-stealer in any movie she appears in (she was the only good thing in the god-awful Jane Fonda/J-Lo stinker Monster In-Law).

Now, I am an even bigger fan because yesterday at a Las Vegas rally to protest Prop. 8, legislation which proposes to ban gay and lesbian couples from marrying, Sykes came out of the closet to show her support with protesters of Prop. 8.

While there have been a number of artists who have come out before Sykes, her coming out is unique because 1) my gaydar apparently did not detect her (!) and 2) her coming out has more to do with human rights than making magazine covers or plugging a new film or comedy special.

You have to hand it to Sykes. Coming out is still a big deal for a performer even as there are a number of gay celebrities, and she runs the risk of losing out on comedy gigs, commercial deals and sadly, some fans. But coming out to protest an ill-advised piece of legislation is a reminder that we need to come out, be proud and rise up against hate. Because that is what Prop. 8 is; it's hatred. It's unacceptable and reminds us that we need to speak out against legislation which makes it acceptable to hate gays and lesbians.

Sykes did such a thing yesterday in Las Vegas. And she did it in a big way, in a move that was both personal and political. But most of all, it was brave and courageous.

Tuesday, November 11, 2008

Beyonce as Wonder Woman?

There are reports floating around that singer/actress/entrepreneur Beyonce is in talks to play Wonder Woman in the long-anticipated film adaptation of the beloved comic book and '70s television show starring Lynda Carter.

I like Beyonce. She makes some good music, and she surprised me by giving a fairly weighty performance in Dreamgirls. But to me, she is still an average actress, and playing such a high-profile role in a film for an actress with a handful of film credits is a big risk.

Physically, Beyonce has the amazon-like figure that Wonder Woman requires, but she doesn't have the grace, innocence, great comic timing or - dare I say it? - sexiness that Lynda Carter brought to the role in the 1970s. Now, Lynda Carter will never be accused of being a great actress, but there is no denying it: she was great as Diana/Wonder Woman, and made the show worth watching, even in the awful second season when WW switched from the '40s to the present-day, disco-bathed '70s.

As much as Beyonce looks the part of Wonder Woman, she doesn't embody her. I think it would be a good idea to go with an unknown actor, like they did with Daniel Craig for Casino Royale. Although he had a fair share of acting credits, most movie audiences were unfamiliar with Craig, and that factor helped make Casino Royale to become a monster hit.

Perhaps one of the reasons I am not too enthusiastic about Beyonce playing Wonder Woman is because Beyonce is overexposed. She's on the radio, on music video channels, hair commercials, make-up commercials, tabloids, awards shows, and it goes on and on. Beyonce has become a corporation; it's much more difficult to buy her as an Amazon goddess/warrior.

Who knows who will play Wonder Woman in a WW feature film, if that ever happens. But if it should be Beyonce, I remain skeptical.

But then again, I was skeptical when Daniel Craig was cast as James Bond. And we all know how that turned out...

Sunday, October 26, 2008

Has it been 10 years since Cher's Believe?

On Sunday mornings, I enjoy cleaning and doing laundry. It's also an excuse to listen to new CDs or dust off some old ones. In regards to the latter, I dusted off my CD of Cher's 1998 comeback CD, Believe. And, yes, it's hard to believe (sorry, couldn't resist) that it has been 10 years since Cher surprised the music world by releasing the biggest solo hit of her career - in her 50s!

The album and single of Believe was intended to be a valentine to Cher's faithful gay audience, an album full of up-tempo dance tunes. What Cher got in return was a major comeback and a worldwide smash. Ten years late, the album is still a fun dance record, and the album's single, including the overplayed title track, the underrated Strong Enough and All for Nothing, all sound fresh today. The production by Metro, Junior Vasquez and Todd Terry kept Cher's unique voice in the forefront, and while it is dance album, Believe is still pure pop. Even some of the album tracks are good -- Runaway, The Power are strong, while Taxi, Taxi sounds like it could have come from Donna Summer's seminal 1979 disco opus Bad Girls. Cher even updated her 1987 hit We All Sleep Alone to good effect.

You might be surprised to learn that Believe is an influential album. The use of the vocoder effect on the title track has become commonly used in music, even to this day. Artists such as Madonna, Britney and other dance artists have become quite fone of the voice-processing sound. Although Believe was not the first album to use the vocoder effect, it certainly helped pioneer it.

Ten years later, Cher is now in Vegas, entertaining audiences with an over-the-top spectacle that only Cher could pull off. She doesn't record as much -- the major success of Believe was not sustained on the follow-up Living Proof -- but you have got to give credit to Cher, she's been a consistent hit-maker for decades, and her music is also, for the most part, consistently good. If you own this album and have not listened to it in some time, you may be surprised how good it still sounds.

And yes, it's still great for cleaning.

Monday, October 20, 2008

Madonna reigns supreme...

Well, what can I say about Madonna's Sticky and Sweet show last night at the Air Canada Centre? It was amazing. And it was even BETTER than I could have imagined.

I don't know what it is about a Madonna show that just unleashes the inner gay boy in me, but I just lose myself at her shows. It's like time stops. I don't think about my personal problems, about work, about my debts or whatever is on my mind. It's literally two hours of pure euphoria. Last night, whenever Madonna would plant her microphone in some guy's face to sing along to her lyrics, he would break away from the lyrics and shriek, "I love you, Madonna!" That happened several times last night, and I understand why - you just become so giddy at a Madonna show.

I'm not quite sure what sets Madonna apart from the other shows I've seen in the last year or so - she's not the best singer or best dancer (let's not even pursue the whole guitar thing). But what Madonna possesses is what most performers wish they had - and I suspect why several celebrities resent her: she's a complete force of nature herself. She has so much charisma and stage presence that, despite the moving sets, top-notch lighting, and a hard-working troupe of dancers, the main spectacle remains Madonna herself. As much as I loved seeing the Spice Girls earlier this year, the four of them cannot even muster the same degree of stage presence (heck, stage power) Madonna can.

What I loved about the Sticky and Sweet show was that, despite the spectacle, it was quite intimate. Yes, the staging and lighting were stellar, but they were not as grand or overwhelming as Re-invention or Confessions, and S&S allowed Madonna to take center stage. Her voice was in surprisingly great shape. And for two hours, Madonna danced, vogued, jumped rope, boogied and shimmied her way across the stage as if she was a 20-year-old girl, not a 50-year-old woman.

The show was basically built around tracks from her new album, Hard Candy, with a few classics thrown in for good measure. Hard Candy is not one of Madonna's more popular albums (although I quite enjoy it). But most of the HC tracks translated well to the stage, particularly the show opener "Candy Shop" followed by the "Beat Goes On". One of the show's highlights was "Devil Wouldn't Recognize You", featuring Madonna singing atop a piano in a dark cloak, followed by a surprisingly good performance of "Spanish Lesson" (one of the most hated Madonna tracks ever, with posters on Madonna fan sites calling it "Spanish Torture"), and an exuberant sing-along version of "Miles Away". The show closer "Give It 2 Me" was the perfect song to end the show, with the ACC turning into a massive dance club. I couldn't have asked for a better audience - completely enthusiastic throughout. You could feel the electricity throughout the ACC, particularly during "Like A Prayer". Even my sister, who is five months pregnant, rarely sat down because she was having such a blast. Afterwards, we all felt the $400 tickets were justified in price.

The only drawbacks were too much of Madge on guitar (the rock version of Borderline was great, but Human Nature and Hung Up didn't fare as well), and some of the interludes were a bit dull, although the Get Stupid video was impressive.


But overall, a fantastic show!

The Queen reigns supreme...

Tuesday, October 7, 2008

Where is the "Spotlight" for Jennifer Hudson?

After wowing audiences in Dreamgirls with her Oscar-winning performance as troubled singer Effie White, anticipation has been growing for the release of Jennifer Hudson's debut album -- the Dreamgirls soundtrack notwithstanding. Many have wondered if the big-voiced diva will be able to translate her surprising film success into a recording career. After all, Hudson rose to fame singing on American Idol, wowing audiences with her stunning version of Elton John's Circle of Life.

However, while Hudson's first album has long been in the making, its eventual release last week was accompanied by little fanfare. Most people I know had no idea she had an album coming out, or that it would be released on September 29th. Hudson herself has made few television appearances, and there has been little buzz surrounding the release of her debut. Her first single, "Spotlight", has been lingering in the lower part of the Top 40 on Billboard's Hot 100 Singles Chart, not a good sign for the long-term success of Hudson's album. "Spotlight" is a decent enough single, but it's nothing special, and hardly allows Hudson to use her impressive pipes.

The lack of fanfare for Hudson's album is surprising since Clive Davis is one of the album's executive producers. Where is that magic touch that he brought to all those Whitney Houston albums he oversaw? Does Davis not feel the same way about Hudson as he does about Houston?

The album has received mixed reviews, and the lukewarm response to "Spotlight" indicates that the buzz around Hudson herself may be faltering. After her spectacular debut in Dreamgirls, response to Hudson's performance in the Sex and the City movie was not as positive, although several critics did compliment her. But reading online reviews on IMDB or other movie sites, many bloggers and posters criticized Hudson's performance.

So, with the lack of interest in Hudson's first album and mixed response to her second film, does this mean Hudson is a one-trick pony? I'd like to think not. She's still young, and I must admit I enjoyed her in the Sex and the City movie, and look forward to buying her album, which I have not heard all the way through. How can anyone not be impressed by that voice? Time will tell if Hudson's career will find success beyond Dreamgirls, but Hudson is very talented, and there is more to her than Effie White.

Sunday, October 5, 2008

Alison Moyet

Venturing out to the CNE Grounds, on a Sunday night no less, is not my ideal way of spending my Sunday evening before the dreaded Monday morning. But when you're venturing out to see Alison Moyet, it's worth it. Returning to Toronto to perform at the Queen Elizabeth Theatre after a 14 year absence, the British singer proved that time has been very kind to her soulful, bluesy voice, which remains powerfully intact.

Even if Moyet's recent material, including a number of songs from last year's The Turn, was met with mild response by the three-quarters full audience, her stunning vocals were a treat. Her powerful pipes were well-matched with the jazzy material, including a cover of Elvis Costello's Almost Blue and Billie Holiday's That Ole Devil Called Love. Most members in the audience were looking for nostalgia as Moyet trotted out a handful of Yaz hits (which she covered on their recent reunion tour this past summer, which, sadly, did not stop in Toronto and many last night were probably kicking themselves for not getting to see that much-anticipated reunion). Without Vincent Clarke's trademark synthesizer, Moyet's tight five piece band did an adequate job re-inventing the songs (with violins, no less). Particularly good was an energetic version of Don't Go, although a brief version of Situation, which was the show closer, did not sound as good without synthesizers.

As for Moyet's own early material, she seemed hesitant to trot out her biggest North American hit, Invisible, for its desperate and pleading lyrics, which Moyet joked as unbecoming for an almost-50-year-old woman to sing. But the night's biggest surprise was an intimate version of Is this Love, which was warmly embraced by the crowd. A solid version of Whispering Your Name was also a highlight.

Too much of the newer material weighed down some of the show, and unfortunately Moyet performed only a few songs from her excellent 2004 covers album, Voice. But it was THAT voice that held the show together. Hopefully Moyet won't wait 14 years for next performance in Toronto.

Will Janet Jackson ever bounce back?

Since 2004, when Janet Jackson made the ill-fated decision to spice up her appearance at the Super Bowl Half-time show with the infamous Justin-ripping-away-her-blouse routine, Jackson's once-hot career has been in free-fall, a decline that seems to have no end in sight. Just last week, Jackson announced that she had left her label, Island Def Jam, insisting that it was her request to be released from her contract. The parting of ways between artist and label comes only months after the release of Jackson's first and only album with IDJ, Discipline, which failed to match the buzz and sales of her past monster hits such as Rhythm Nation 1814, Janet, and even 1997's Velvet Rope. Jackson was obviously dissatisfied with the label's lack of promotion of the album, but Jackson herself has not had a hit album since 2001's All for You. Her previous two albums, Damita Jo and 20 Y.O., both bombed, and Discipline appears to have run its course.

Jackson sought to boost album sales by going out on tour. Rockwitchu, her first tour in seven years since 2001's All for You tour, opened recently in Vancouver, but the tour has been plagued by soft ticket sales, and recent health problems for Jackson herself. She has postponed shows in Montreal, Boston, and is now postponing shows in Atlanta, North Carolina and Fort Lauderdale due to an undisclosed illness. Whatever the case may be, this recent development in Jackson's tour is simply another case of bad luck for Jackson, whose career hasn't recovered from the infamous "wardrobe malfunction".

Without a label and a failure to generate buzz or ticket sales for her latest tour (like Madonna who is yet again breaking box office records with her Sticky and Sweet Tour), Jackson finds her career at an impasse. It's obvious Jackson needs new management and new advice. She has exhausted the sex kitten role, a persona she seems reluctant to drop even at the age of 42, and despite the fact that the public has grown tired of the sex act as well, judging by the harsh reaction to her Super Bowl performance and tepid response to Jackson's last three problems. Perhaps Jackson should take a page out of her rival Madonna's book. Following the negative reaction to her 1992 Sex book, the Material Girl regrouped and softened her image to the public, releasing a compilation of ballads, starring in the film adaptation of the musical Evita and releasing the spiritually inspired, Grammy-winning Ray of Light album, all of which helped put Madonna back in the good graces of the public.

Since 2004, aside from starring in Tyler Perry's Why Did I Get Married?, Jackson has not done much to evolve her image or soften it. Her albums continue to feature silly interludes about sex, and her songs themselves are erotically charged. Essentially, she has made the same album for the past decade.

There was a time when Jackson seemed unstoppable. Control, Rhythm Nation 1814, Janet and Velvet Roper were strong albums that were also commercially successful, back in her heyday of 1986 to 1997. But back then, Jackson was more than a sex kitten; she wrote and sang songs about racial harmony (Rhythm Nation); AIDS (Together Again) and domestic violence (What About). But now she appears to be a one-trick pony, trying to compete with the Rihannas and Beyonces with sexed-up image that no longer comes across as sexy or genuine. Perhaps being without a record label will inspire Jackson to take some new risks, but it's evidently clear that her sex kitten days are over. It's time for some new tricks, Miss Jackson.

Saturday, October 4, 2008

What's so great about Shia?

Shia LaBeouf is definitely on a roll - four blockbusters in a row: Disturbia, Transformers, Indiana Jones and the Kingdom of the Crystal Skill, and now Eagle Eye, which debuted at number one last weekend at the box office. LaBeouf certainly has a great agent and is getting good advice; all four films have done big box office, and have quickly elevated LaBeouf to the A-list.

But I have to ask the question: what is so great about Shia LaBeouf? He definitely has screen presence, and in each of the four films I mentioned, he has done a serviceable job in his respective roles, but one thing is becoming increasingly clear when I watch Shia LaBeouf on film - he plays the same role in EVERY film. In Disturbia, Transformers and Indiana Jones 4, he plays a likable but wayward teenager who gets caught up in adventures that reform him, while Eagle Eye gives him a chance to play a somewhat older character. But I haven't seen much range in LaBeouf's acting. His performance in Indiana Jones 4 started promisingly, as he introduced the character as a rebellious, mouthy young punk, but either Spielberg or the screenwriters quickly diluted the bad-ass of LaBeouf's character, resulting in his character of Mutt Williams turning into a stock Shia LeBeouf character.

I realize there are actors who are continually cast in films to play their typical character, like Sly Stallone, Jason Stratham, even Woody Allen, but LaBeouf has been touted as the next big thing, but so far I find his acting passable and serviceable, but he hasn't dazzled me. Perhaps soon he will find a role that will really challenge him, and show us a side of him we haven't seen before. Perhaps playing a drug addict like Anne Hathaway does in the upcoming Rachel Getting Married, or getting his hands dirty playing a villain, will demonstrate why Shia LaBeouf is the next big thing. But so far, I'm not convinced.

Wednesday, May 7, 2008

Lovely Laura


Over a number of years, I have included a number of albums in my CD collection by the late Laura Nyro. The talented singer/songwriter died in 1997, but she has left a rich legacy of music. She never became a household name, but her compositions became hits for other singers, in particular "Stoney End" for Barbra Streisand and "Wedding Bell Blues" and "Stoned Soul Picnic" for 5th Dimension. Nyro herself recorded these songs, and in the late '60s, her songwriting skills were in much demand.

One of my favourite Laura Nyro albums is actually a covers album. Usually I steer clear of covers albums because they seem nothing more than a contract obligation, but Nyro's 1970 album Gonna Take a Miracle, featured covers of soul classics such as "The Bells", "Jimmy Mack", "Spanish Harlem" and the title track. She was backed by powerhouse R&B trio Labelle (featuring Miss Patti) and their stunning vocals made this a classic album.

If you have never listened to Laura Nyro, I recommend Gonna Take A Miracle or any of her albums. Nyro was a great songwriter, but she was also a wonderful singer blessed with a beautiful voice.

Saturday, May 3, 2008

Move over Mariah and Madonna...

Donna Summer is back with yet another single from her upcoming album, Crayons. And all I can say is WOW! This is such a great song! It's called "Stamp Your Feet". It's got a catchy beat to it and the lyrics are fun to sing along with. It's not a traditional dance/disco song that we're accustomed to hearing from Donna, but it's still fun to dance to, and contemporary enough for radio. I doubt radio programmers will give much love to this song (read: ageism), but they should -- it's a perfect summer radio song. With so much written about Mariah and Madonna's new albums, it's unfortunate that Summer, who has had obvious influences on both female artists, is not getting as much press or attention. Personally, I think "Stamp Your Feet" is superior to both Carey's "Touch My Body" and Madonna's "4 Minutes" .

This is definitely one song we'll stamp our feet to, Queen Donna!

Wednesday, April 30, 2008

It's all about ME, ME, ME!

What is with the marketing of the "Sex and the City" movie? Why is Sarah Jessica Parker the only cast member in the posters? I've seen two posters, the first with the tagline "Get Carried Away", featuring only SJP, and a recent one featuring a haggered, witch-like SJP, again, on her own. I thought SATC was an ensemble show -- oh, wait -- I forgot. It was supposed to be a star vehicle for SJP until, um, the talents of Kim Cattrall, Cynthia Nixon and Kristin Davis stole the spotlight from SJP. The three other women deserve to be on that poster as much as SJP does. Where are they?

Saturday, April 26, 2008

Classic Film Sequences: "Paris, Texas"



One of my favourite film sequences is from Wim Wender's 1984 film, Paris, Texas. The film is about an amnesiac (Harry Dean Stanton), who is lost in the Texan landscape, and the film tracks his journey in rediscovering his past and finding his wife (played by Nastassja Kinski). The reunion between these two characters is the highlight (and climax) of the film, and it's one of the most engrossing film sequences I have ever seen. The writing, by Sam Shepard, and acting, by both Stanton and Kinski, are outstanding. If you have not seen this film, I recommend watching it through before watching this particular sequence. It's a masterpiece.

Monday, April 21, 2008

Best Albums of the '90s

The other day I was having dinner with some friends, and the discussion of '90s music came up. My friend Karina asked me what my top 10 favourite albums from the '90s are. I was stumped for a moment, but after pondering a few minutes, I realized that many of my favourite albums ARE from the '90s. Here are 15 (sorry, couldn't do 10) in no particular order or ranking:

1. George Michael - Listen Without Prejudice, Vol. 1
Faith was a classic, but this album is more touching and "Freedom '90" is amazing.

2. Sinead O'Connor - I Do Not Want What I Haven't Got
Before she became embroiled in controversy, O'Connor made this stunning album of personal songs, plus an outstanding cover of Prince's "Nothing Compares 2 U".

3. Madonna - Erotica
4. Annie Lennox - Diva
5. k.d. lang - Ingenue
1992 was a great year for women in music, and these three albums are proof of that. Madonna's "Erotica" made perhaps the best albums of her career; Annie Lennox went solo and found success with "Diva" and k.d. lang abandoned the country twang for the torch twang on "Ingenue" with equal success.

6. Me'Shell Ndegeocello - Plantation Lullabies
A great album of funk, urban pop, hip-hop inflected soul.

7. Nirvana - Unplugged in New York
Nirvana made some of the greatest albums in the early '90s. I choose this unplugged album because, for me, it is their most accessible and engaging.

8. Fatboy Slim - You've Come a Long Way Baby
A surprise treat in 1998 of electronic dance.

9. Aaliyah - One in a Million
The Timbaland/Missy Elliott production on this album is outstanding.

10. New Radicals - Maybe You've Been Brainwashed, Too
A one-hit wonder who actually made a fine album. Some great songs.

11. Lauryn Hill - The Miseducation of Lauryn Hill
She may have disappeared into obscurity (or madness, depending on what story you hear), but Lauryn Hill was the Queen of Music in 1998. Ten years later, we may not know where she is, but this album is still a great player, especially the first five tracks.

12. Spice Girls - Spiceworld
In my opinion, this is the best bubblegum pop album. Every song is pop perfection.

13. Madonna - Ray of Light
Not as good as Erotica, but with ROL connected Madonna with a new generation of fans in 1998, with well-crafted songs that blended pop with electronica.

14. Radiohead - The Bends
O.K. Computer could go here as well, but I prefer this album.

15. Pet Shop Boys - Behaviour
In 1993, PSB made Very, which has become a classic, but 1991's Behaviour is even better, with lush, symphonic dance songs.

Sunday, April 20, 2008

Hard Candy Unwrapped... and it's delicious!

I have heard a few "leaked" tracks from Hard Candy, Madonna's highly-anticipated hip-hop-style album to be released April 29th, and all I will say at this point is that it is HOT!! It's very catchy, and two of the songs are actually quite personal. So, while it will be a fun, upbeat album, Madonna still indulges her introspective songwriting side. Many M fans were worried this would be a desperate attempt for the pop diva to sound current and remain relevant, but in fact, judging from what I've heard, she has made what is, perhaps, her best album since Ray of Light.

Saturday, April 19, 2008

Underrated performances: Petula Clark in "Finian's Rainbow"

Finian's Rainbow was a flop when it was released in 1968, despite being a big-budget musical and an early film in the career of budding auteur Francis Ford Coppola, who would go on to direct the Godfather series. By 1968, musicals were falling out of public favour, and Finian's Rainbow, a success on stage for many years, looked a wee bit outdated on screen with some creaky plot points. But despite its flaws, there is much to enjoy in Finian's Rainbow. One of its greatest virtues is the performance of Petula Clark, who plays Sharon, the strong-willed but loving daughter of Fred Astaire. At this point, Clark was at the peak of her music career, when she ruled the charts with hits such as "Downtown", "I Know A Place" and "Don't Sleep in the Subway". Producers were quick to get Clark on screen, and to her credit, she was a natural in film, giving fine performances in "Goodbye, Mr. Chips" and this film. As Sharon, Clark projects strength, sensuality, and a sharp sense of humour, almost stealing the film away from her co-stars Astaire and Don Francks, who plays her love interest and duets with her in this clip, "Old Devil Moon", one of the highlights of the film. When she made Finian's Rainbow, Clark was in her late '30s, yet she proved ideal casting. Just watch her in this clip, as Sharon nervously gives into a romantic suitor. She's very charming, but also very sexy. It's unfortunate Clark didn't do more films, but her short career at least gave us this excellent performance.

Wednesday, April 16, 2008

Yes, I bought this...

Back in the '80s, I was a huge fan of Lisa Lisa & Cult Jam, the R&B/pop trio who scored with hits such as "I Wonder if I Take You Home", "Head to Toe" and "Lost in Emotion". Lisa Lisa's sweet voice combined with the urban pop of Full Force was a great match. The songs still sound hot and are perfect for an old skool party.

I purchased this compilation of their hits at a local used CD shop, and I must admit I was a little embarrassed when I approached the cashier. I mean, Lisa Lisa & Cult Jam -- it was always a strange name, and now 20 years later, the group has become a true guilty pleasure. Nobody buys CDs by Lisa Lisa and Cult Jam anymore (hence, why I purchased this in a second-had music store), but if you don't want anybody to know that you like LL&CJ, you can always download in the privacy of your own home. So, let's take a trip back 20 years and enjoy the artistry of, um, Lisa Lisa & Cult Jam.

Sunday, April 13, 2008

Kylie's X flops in America

Kylie Minogue may be a global superstar, particularly in Europe, Australia and Japan, but in the U.S., and to some degree, Canada, Minogue has had a more difficult time establishing a stronghold on radio and record sales.

Minogue released her latest album, X, in the U.S. last week, a few months after it was released internationally. It's been available in Canada for some months as well. X has done respectable business worldwide, not a huge hit, but good enough to continue Kylie's streak of hit albums since her international comeback with 2000's Light Years. But in the States, the sales results were devastating. The album entered the Billboard 200 at 139, selling a pathetic 6000 copies. Even Minouge's last album, 2003's Body Language, sold more in its opening week (43,000).

So, what happened? There are several factors. Firstly, Minogue's hardcore fan base in the States probably bought import copies of her album already (or downloaded it). Secondly, Minogue's record company picked the wrong song to release as the album's first single. "All I See" is a pleasant, R&B-lite, mid-tempo ballad, but it's hardly indicative of Kylie's pop/dance sound. It was probably chosen as the first single because it's the most R&B-sounding song on the album, and since R&B/hip-hop dominates U.S. radio, radio programmers would more likely play "All I See" than "2 Hearts" and "In My Arms", which have been released internationally and are perhaps too "pop" for American radio. Thirdly, while Minogue's campy appeal is popular worldwide, it's less likely to catch on in America, where camp is not mainstream and generally frowned upon. By releasing "All I See", Minogue seemed to be watering down the elements that have made her a huge superstar internationally. Where's the sass of "2 Hearts" or the sexiness of "In My Arms" or the over-the-top kitsch of "Wow"? By all accounts, Minogue is being marketed improperly to American audiences, and perhaps Minogue and her record company do not know how to market her to America, since Minogue has always had an indifferent relationship to the States. By appearing on shows like Dancing with the Stars and Craig Ferguson, Minogue was targeting older demographics and not skewering younger audiences who watch MTV. Even fawning posts by blogger (and Minogue fan) Perez Hilton failed to have an impact on Minogue's sales.

I think it's safe to say that Minogue should give up trying to break into the States. She doesn't need it. While America is still seen as a desirable market, Minogue has achieved a staggering amount of Madonna-like success without ever breaking into it. She regularly hits number one or the top 10 in Europe and Australia, and her tours sell out instantly. She's only had two top ten hits in America, "The Locomotion" in 1988 and "Can't Get You Out of My Head" in 2001 - a 13-year gap between hits. Minogue has never been able to maintain a streak of success in America, and I mostly attribute it to the fact that her sound is too European, too campy, too pop, too much of everything America does NOT like in music.

It's a bit disheartening to see a talented artist like Kylie Minogue, who has had made some fantastic pop singles and albums, courting an audience who are disinterested in her and ignore her. America, you don't know what you're missing. It's your loss.

Friday, April 11, 2008

Gremlins 3... please!

I was thinking about Gremlins 2: The New Batch the other day, and was recalling how it's a great, underrated sequel. It's a little different from the first one in that it takes a lighter tone and goes completely over the top, with the Gremlins taking over a Trump Tower-like building (owned by a Donald Trump-like character, played so well by John Glover). The New Batch was not a huge hit, but it's become a cult favourite beloved by fans of the Gremlins series.

I really wish they would make another sequel, perhaps to quench my thirst for an
'80s revival, which will start next month with the next chapter in the Indiana Jones chapter. I think another Gremlins film could still work, perhaps with a mix of the dark humour from the first film, and the pointed satire of the second.

Do you think a third Gremlins film could work, or am I just having a severe case of nostalgia?

Wednesday, April 9, 2008

Is American radio ageist or does it just hate Madonna?


Madonna's latest single "4 Minutes" from her upcoming album Hard Candy is becoming a huge hit around the world, and is a top seller on download charts. It is number one on both the American and Canadian iTunes singles charts, and the video has become a hot download as well. The song is doing exceptionally well on Canadian radio. Yet, on American radio, Madonna seems to be making little progress.

On the Billboard Hot 100, which takes into account both sales and radio play, Madonna is #3, mostly based on downloads. The number-one song is "Touch My Body" by Mariah Carey, which has received far more radio spins than Madonna's song, almost three times the amount. So, what is going on here? Why is Madonna's song, which is a top seller, getting such a chilly reception from American radio?

There seems to be a number of factors. Firstly, Madonna has not been a huge American radio presence in many years. Madonna's last big single on radio was "Don't Tell Me" from her 2000 album, Music. Madonna is now approaching 50, and American radio has always been a bit hesitant to play more established (read: veteran) artists, and it seems radio programmers are less likely to play a sexy uptempo track from an almost-50-year-old woman than the latest club jam from Fergie. Ageism is no doubt a factor here.

Secondly, Madonna's music has become increasingly European-influenced for the last decade or so, and European-style music has never been popular on American radio. For her latest album, Madonna has hooked up with hot producers Pharrell Williams and Timblaland to give the album a more American feel, which she hopes will put her back on the radio map. So far, it's been a struggle.

Thirdly, Madonna's political views and her move to England have no doubt helped distance her from American audiences. She bashed President Bush in her "American Life" video and in both her Re-invention and Confessions tours. This may also be a factor in why radio programmers are not keen to play her latest song.

Perhaps it comes down to the fact that America no longer cares for Madonna. Gone are the days of "Papa Don't Preach", "Like A Prayer" and "Vogue", when the release of the latest Madonna single on radio was an event. Yet "4 Minutes" is a huge hit on the U.S. iTunes, so obviously Madonna is still very popular in America.

Madonna may be pop royalty, and despite her strong sales, for some reason America doesn't want to set aside "4 Minutes" for the Queen of Pop.

Monday, April 7, 2008

Is George Clooney box-office poison?


George Clooney's latest film, Leatherheads, which he stars in and directed, took in a disappointing $13.5 million at the box office. Clooney may be critically-lauded and admired for his directorial efforts and offbeat choices in his acting career, but he hasn't exactly been setting the box office on fire lately. For every Ocean's 11, 12, or 13, there is a Solaris, Intolerable Cruelty or Michael Clayton. Some of these are decent films and some are even great. Michael Clayton was an excellent film that, despite receiving several Academy Award nominations, including one for Clooney for Best Actor, stiffed at the box office. Clooney's past directorial efforts, Confessions of a Dangerous Mind and Good Night and Good Luck, while critically acclaimed, were not huge box office hits.

Now that Leatherheads looks to be another stiff at the box office, many are questioning Clooney's ability to pull in an audience. His suave charisma and good looks work in films like Ocean's 11 and Out of Sight, and audiences respond well to those films, but when Clooney tries something a little more obscure, like Solaris, or more low-key, like Michael Clayton, audiences stay away.

As he nears 50, Clooney is at a point in his career where he can still enjoy leading-man status, like Denzel Washington, but can also settle into interesting character roles. However, unlike Washington, Clooney has always seemed a bit indifferent to being a big box-office star. His offbeat choices, including O Brother, Where Art Thou?, are not films that are designed to bring in huge throngs to the local mulitplex. He seems less engaged in films like Perfect Storm and Batman & Robin (well, who could blame him for the last one), which are designed for mass audiences, but he obviously does those types of films either for money or to reach a wider audience. However, I think he really does those films so he can do the smaller films that he enjoys making

Clooney reminds me a lot of Clint Eastwood, who would do Dirty Harry movies and movies co-starring apes to help finance his smaller films like Bird and White Hunter, Black Heart. But the difference between Clooney and Eastwood is that the films Eastwood stars in and/or directs are generally box office hits. Films like Unforgiven, Bridges of Madison County, Mystic River and Million Dollar Baby, all did fairly well at the box office.

Clooney may be on a critical streak but his box office powers are diminishing. This leaves him in an interesting position; will he continue doing offbeat projects or will he do more mass-appeal films? And will studios continue hiring Clooney even though he hasn't had a major box office hit in the past few years aside from Ocean's 13?

I admire Clooney and his commitment to making different types of films. But he's working in Hollywood, where money talks. Clooney is going to need another hit soon if he wants to keep making his pet projects.

Sunday, April 6, 2008

Revisiting the Classics: Kylie Minogue's "Impossible Princess"

2008 marks the tenth anniversary of Kylie Minogue's polarizing Impossible Princess album (although it was released in some areas in 1997). I say "polarizing" because IP is one of those albums that people either love or hate. I, of course, love it and think that it's Kylie's finest album.

Kylie made IP when she was on the Deconstruction label in the '90s, following her massively successful run of hits with SAW (Stock, Aitken and Waterman). At Deconstruction, Kylie opted for a more sophisticated dance-pop sound than the bubbly, sugar pop of SAW. 1994's self-titled album (her first for Deconstruction) was a glossy dance-pop affair featuring enduring Kylie singles "Confide in Me" and "Put Yourself in My Place". IP was the follow-up album; a mix of brooding techno-pop ("Too Far", "Cowboy Style", "Breathe"), and rock ("Some Kind of Bliss", "I Don't Need Anyone"). Many refer to it as the "Indie Kylie" album, where she opted for a darker, less-poppy sound. While IP is a little darker and more brooding than the typical Kylie album, it is still, essentially, a pop album, albeit, with a darker edge. Songs like the sexy mid-tempo "Breathe", the snappy "Did It Again", and the pulsating dance track "Drunk" are as catchy as any song in Kylie's catalogue. The lyrics on this album are more introspective and obscure than say those on Light Years, Fever, or Kylie's lastest, X, which all aim to be classic pop-dance albums.

With IP, Kylie got her hands dirty and tried to create something a little edgier than her pop audience was used to. She branched out by working with the Manic Street Preachers, who provided the rock-style songs including "Some Kind of Bliss", which became a moderate hit (see the video below, as well as the fabulous video of "Did It Again").

While not a flop by any means, IP received a mostly indifferent reaction when it was released in the late '90s. This reaction pretty much motivated Kylie to return to her pop roots with 2000's Light Years. However, over the years, the album has become a favourite amongst fans, many rating it her best. In 2003, a special edition of IP was released adding b-sides and remixes. For me, the original album is all you need. It's a tight collection of 12 tracks, from the mysterious opener, "Too Far" to the haunting, stunning closer "Dreams" (a true fan favourite).

If you are a Kylie fan, but have never heard this album (which was never officially released in North America), you owe it to yourself to order an import copy or download it on iTunes. It's a true masterpiece.



Saturday, April 5, 2008

Revisiting the Classics: "Circle of One" by Oleta Adams

Oleta Adams was introduced to music fans as a guest vocalist on Tears for Fears' 1989 album The Seeds of Love. Adams made such an impression that a debut solo album was inevitable. Circle of One was a smash hit for Adams in 1991, bolstered by Adams' popular version of Brenda Russell's Get Here.

Circle of One remains a very fine album, and while some of it sounds dated, it still holds together thanks to Adams' stunning voice. Her soulful voice was one of the last great voices to adorn radio. Sadly, Adams is no longer a strong presence on radio, and she only records sporadically, a shame considering her talent. But in 1991, it was hard to resist Circle of One, and songs such as the up-tempo "Rhythm of Life" and the jazzy "You've Got to Give Me Room". This is definitely one album worth having in your collection.

Wednesday, April 2, 2008

Mariah tops Elvis record


Mariah Carey's latest song "Touch My Body" has hit number one on the Billboard Hot 100, making this her 18th number-one smash, and thus, beating Elvis Presley's streak of 17 number-one songs. This makes Carey the first solo artist to score 18 number-one songs. She has yet to beat the Beatles' record of 20 number-ones.

I have to admit I have never been a big Mariah Carey fan. She produces great songs (and "Touch My Body" is another winner), but I have always found her lacking in personality. I also find her a lackluster live performer. I saw her live on her last tour in Toronto, and her voice, obviously strained and weakened after her famous breakdown in 2001, was croaky and it cracked throughout. She also seems uncomfortable on stage, flailing her arms, and walking around the stage aimlessly. For someone who has been in the biz for so long, she should be a stronger live performer.

But I've got to give props to Mariah. She has a knack for making classic songs, and while I'm not a big fan, I have bought many of her songs ("Always Be My Baby", "My All" and "Don't Forget About Us" are my favourites). She'll undoubtedly have more hits when her new album E=MC2 is released later this month.

Then, she may just beat the Fab Five's record.

Tuesday, April 1, 2008

TMZ is disgusting

When I set out to do my blog, one of my goals was not to create a gossip site. How much more negativtiy and shameless reporting do we need? However, I am human, and I have visited some of these sites, but I don't want to write like them. Today I read on TMZ one of the most disgusting pieces of "celebrity news" that I have ever read. I have debated whether or not to post a link to this filth, but to make my point, here it is. What is sad and tragic news is treated with insensitivty, rudeness and a brazen (and failed) attempt at humour. Shame on you, TMZ!

http://www.tmz.com/2008/04/01/mom-of-former-idol-finalist-dies/#comments

**UPDATE: TMZ had a "vote" where posters could vote whether they went too far. If the overwhelming response was "yes", they would take down the offending line. They did. Perhaps this was a way for TMZ to get some publicity. Case in point, I'm writing about it :-( I will do everything in my power to make sure my blog is not like theirs.

By the way, what caused such an uproar was TMZ posted a story about American Idol Elliott Yamin's mother passing away. The closing line caused the ruckus:

"Yamin finished in 3rd place in 2006 on "Idol," behind Katharine McPhee and Taylor Hicks -- who, like Mrs. Yamin, will never be heard from again."

Disgusting!

Fierce!


Last night, Canadians finally found out who won this season's Project Runway. Since the finale already aired in the U.S. weeks ago, most of us knew that Christian was the winner (thanks to the results being posted on the Net). But even if you knew what the outcome was, the finale was still enjoyable. And I believe the judges made the right decision. Christian's collection was HOT! Yes, there was too much black, but the designs were well executed, and the two-tone pieces were stunning, smartly saved for the end of Christian's collection. As for Rami and Jillian, their collections were pleasant, but they didn't wow me like Christian's did. Perhaps Christian's won because his was the flashiest, but I didn't want his collection to end. And having Victoria Beckham as one of the guest judges probably helped Christian, since his collection was best suited to her fashion sense. Christian is still very young, so it will be exciting to see his future designs.

Monday, March 31, 2008

In Praise of Linda Gray

Warner Bros. has released the first eight seasons of the classic soap Dallas on DVD. Next up will be the release of the infamous Season Nine, better known as the "Dream Season". If you lived through the '80s and watched Dallas, you'll remember season nine, 1985-86, as the "dream season." In the season eight finale, Bobby Ewing (Patrick Duffy) had been mowed down and killed by crazy Katherine (played by the fabulous Morgan Brittany). But ratings fell during the '85-86 season, so it was decided that Bobby Ewing would be resurrected from the dead by having Pam (played by Victoria Principal) "dream" the entire season, so he could return in the season ten premiere in '86.

While a lot of the Dream Season was pretty silly, it did have some merit. In particular was Linda Gray's performance as J.R.'s long-suffering wife Sue Ellen. In season nine, alcoholic Sue Ellen hit rock bottom, and Gray was given some great material to work with. In previous seasons, Gray had been sensational as a drunken Sue Ellen, but she hit new peaks in season nine, giving an Emmy-worthy performance in addition to adding some grittiness to the show. So, yes, season nine may have been a dream, but Gray's performance was the real deal. Here are some highlights.



Sunday, March 30, 2008

Best Album Covers


I still love to collect vinyl, not just for the music, but also for the incredible album covers. There are some album covers which are more famous than the actual albums they adorn (case in point, Debbie Harry's Koo Koo). It's hard to say what makes an album cover "art", but here are some which are unforgettable; whether for great photography and/or paintings, iconic images, controversial images or simply for being bold and taking a risk. What are your favourite album covers?




Saturday, March 29, 2008

Classic Film Sequences: "When A Stranger Calls" (1979)

Forget the terrible 2006 remake, and stick with the superior -- and scarier -- original. This suspense film is about a young woman (played by Carol Kane in a rare dramatic role) who keeps receiving crank calls from a mysterious caller while she is babysitting two children who are asleep upstairs. The first 20 minutes of this film are perfect; so suspenseful that I would dare to call them 20 of the scariest minutes on celluloid. Whenever somebody says about a suspense film: "Don't watch this film alone or in the dark", I scoff. But in the case of the original When A Stranger Calls, I would definitely take their recommendation. Because if you want to be scared witless, the opening 20 minutes of this film will do that no problem. The film falters following its stellar opening, but it's still worth seeing.

Here is an excerpt from the first 20 minutes. To give you the whole 20 minutes would not be fair. But here's a teaser, albeit a scary one.

The Best Cover Songs

It's a tried-and-true formula for singers: cover a hit song, make it your own, have your own hit with it. Some covers can never top the original, but sometimes a cover version can match or best the original. Here are 20 songs that do the latter.



1. "Satisfaction" by Otis Redding

This late soul man covered the Rolling Stone's classic, but I think his version is superior -- and sexier -- than the Jagger version.

2. "Helpless" by k.d. lang

There are many great covers of this song, but lang's version will give you goose-bumps.

3. "Proud Mary" by Ike and Tina Turner

This R&B duo recorded several fine covers including the Sly & the Family Stone's "I Want To Take You Higher" and The Beatles "Come Together", but their version of CCR's "Proud Mary" is superior to the original, thanks to the opening spoken-word intro by Tina and the kick-ass rock version that follows.

4. "Ain't No Mountain High Enough" by Diana Ross

Marvin Gaye and Tammi Terrell had a hit version with a fast, loose version of this Ashford & Simpson-penned song in the late '60s. But when Diana Ross recorded it in the early '70s, at the beginning of her post-Supremes solo career, A&S produced her version, which resulted in a dramatic, six-minute epic that has become a staple for Miss Ross.

5. "I Feel For You" by Chaka Khan

Chaka Khan had the biggest hit of her solo career in 1984 with this version of Prince's funk classic. There have been several outstanding covers of Prince songs, but Chaka's is the best.

6. "To Love Somebody" by Nina Simone

Nina Simone was famous for covering other people's songs, but if the High Priestess of Soul covered your song, it was an honour, because this woman could make the phone book sound good. To some, this Bee Gees song may be just average, but in Simone's hands, it's a classic.

7. "I Just Want to Make Love to You" by Etta James

This sizzling, smoky cover of Muddy Waters' 1954 blues song is still as hot as ever, and Ms. James is still as feisty as ever!

8. "Tragedy" by Steps

Sure, this British pop band made fluffy music (that was popular in the late '90s/early '00s), but their version of the 1979 Bee Gees disco stomper was a Hi-NRG/Europop classic even when it was released in 2000.

9. "I Will Always Love You" by Whitney Houston

Say what you will about Whitney's overplayed version of Dolly Parton's sweet ballad, you can't deny those vocal arrangements are amazing. No wonder it was such a huge hit in 1992.

10. "Respect" by Aretha Franklin

Many forget this is a cover of Otis Redding's original (he wrote it as well). Aretha decided to record it for her first album on Atlantic Records, and the rest is history...

11. "Venus by Bananarama (1986 cover of Shocking Blue's 1970 version)
12. "Desperado" by Linda Ronstadt (Eagles cover version)
13. "Always on My Mind" by the Pet Shop Boys (Dance version of Willie Nelson's country hit)
14. "Liar, Liar" by Debbie Harry (underrated cover of the 1965 original by the Castaways)
15. "Could It Be Magic" by Donna Summer (Disco version of Barry Manilow's hit song)
16. "I'm Every Woman" by Whitney Houston (Energetic version of Chaka Khan's disco classic)
17. "Hurt" by Johnny Cash (the country legend covering Nine Inch Nails? It works beautifully)
18. "No More I Love You's" by Annie Lennox (brilliant cover of an obscure song)
19. "Wild Night" by Martha Reeves (Van Morrison cover)
20. "I Wanna Hold Your Hand" by Petula Clark (a beautiful slowed-down version of the Beatles classic)

Great Performances: Diane Keaton in "Looking for Mr. Goodbar"



Diane Keaton won the Oscar in 1977 for Annie Hall. She should have won the award for this, her daring performance in Richard Brooks' adaptation of Judith Rossner's controversial novel about a schoolteacher who frequents bars looking for sex and attention.

While most know Keaton for her comedic roles in Annie Hall, Love & Death and Baby Boom, many forget what a great dramatic actress she is. I think Keaton's performance as Theresa is her finest. This is not an easy role to play, considering the frequent nudity, and the film has many dark themes, but Keaton excels in the role. She's not afraid to show Theresa's promiscuous and self-destructive side, but still imbues her with tenderness and vulnerability (as she teaches her deaf students). The film is heavy-handed at times and tends to wallow in sleazy excesses more than it needs to, but Keaton's performance carries the film. She has great chemistry with her male co-stars Richard Gere (in one of his first roles), William Atherton and Tom Berenger.

Why she wasn't nominated for this film, I will never understand. If you have never seen Looking for Mr. Goodbar, it is worth watching. It is not currently available on DVD, but hopefully Keaton's masterful performance will be preserved on DVD soon.

Thursday, March 27, 2008

Return of the Divas!






It's official. Leona Lewis' "Bleeding Love" has ousted Usher's "Love in This Club" as the number-one song on Billboard's Hot 100. After years of hip-hop and dour rock songs, a song by a big-voiced diva has hit number one. Not only that, Madonna's new single "4 Minutes" has hit number one on Canada's iTunes, and Mariah Carey's "Touch My Body" has hit number on U.S. iTunes. The divas are back!

Friday, March 21, 2008

Donna's new song -- it's on fire!!



Fans of Donna Summer are anxiously awaiting her new album, entitled "Crayons", later this spring. It's hard to believe, but it's been 17 years since Donna released an album proper (unless you count her excellent Christmas album from 1994). She's released a few singles in the interim, but not a full-length album, so you can understand her fans' anxiousness about her new project.

"I'm a Fire" is the first single from Donna's new album, and it's a great song which will undoubtedly be huge in clubs. Thankfully, Donna is not going the route of other singers of her age and releasing a - yawn - covers album. She's sticking to what she does best - dance music. After all, she is the Queen of Disco, and she's a serious contender for Queen of Dance music if it were not for Madonna. While music fans are buzzing about the upcoming releases of Madonna and Mariah Carey's new albums, I'm equally excited about Donna's. Having seen her in concert two years ago at Casino Rama, the almost-60-year-old diva still has those powerful pipes (and they sound better than ever on "I'm A Fire"). While most of her contemporaries have lost their vocal power, Donna can still hit those notes with ease. In fact, I think she sounds better than she did 30 years ago, and I attribute that to clean living and proper vocal training.

So, when "Crayons" comes out on May 20th, be sure to pick it up. And if Donna comes to your area, be sure to see her live. She's worth it!

Thursday, March 20, 2008

"Release Me" from this Guilty Pleasure!





I don't care what anyone says... I love Wilson Phillips' "Release Me". I was a huge fan of the female trio in the early '90s. You couldn't go anywhere without hearing their hits "Hold On", "Impulsive" and "You're in Love". But my favourite WP song has to be "Release Me", their second single. It hit number one on the Billboard Pop charts during their hot streak of chart hits. Say what you will about WP, but on their first album, they had beautiful harmonies even if the songs were a little cheesy. You could sing along with their music, and their songs actually had melodies!! (Remember them??) I think this is their best song because they really let go and SANG on this song with gusto! I never get tired of this song. Almost 20 years later, it's still a great guilty pleasure!

Saturday, March 15, 2008

Smurfs!




Remember Saturday Morning Cartoons? If you grew up during the '80s like myself, you'll remember shows like Muppet Babies, The New Archies, Scooby Doo, and so many more. And of course, you'll remember The Smurfs. I have a habit of collecting retro cartoons, particularly from the '80s. So when I heard that Part One of Season One of The Smurfs was going to be released on DVD, I couldn't resist buying it. I think there's a part of us that wants to tap back into the past, to a time when life was (or seemed) more innocent, when we didn't think of bills or RRSP's or mortgage payments. Essentially, I bought the Smurfs for nostalgia, not because I think it's a great cartoon.

While it was fun to watch it again, I can't say that I really want to buy the subsequent seasons. The Smurfs is cute. But I'm no longer five years old, so the show doesn't have the same hold on me at 31. I'm now into shows like The L Word or Project Runway -- they're not exactly The Smurfs.

However, there is a certain sadness watching The Smurfs. I remember the good times about my childhood, but also the tough times. And I think back to that five-year-old, full of hopes and dreams, who loved watching Smurfette tease the male Smurfs, or Gargamel trying to thwart the poor Smurfs; the boy who couldn't wait to be an adult, but had no idea what being an adult involved. All in all, I'm glad I bought The Smurfs box set, but it's been a bittersweet experience.

Friday, March 14, 2008

Found the Cure: Buy this Collection



Ashford & Simpson are the extremely talented singer/songwriter duo who wrote countless Motown hits including Diana Ross' mega-hits "Ain't No Mountain High Enough" and her disco classic "The Boss". The pair went on to a successful recording career with Warner Bros and Capitol Records. Warner Bros. has just released an excellent 2-disc compilation of the duo's 70's disco-oriented material entitled "The Warner Bros. Years: Hits, Remixes and Rarities". It features disco classics such as "Found A Cure", "It Seems To Hang On" and "Over and Over", which sound as lush as ever. The second disc features new remixes of these classics, but the remixes stay faithful to the originals. This is a collection that demonstrates A&F's talents as singers and songwriters and also proves that disco did not suck!

Sunday, March 9, 2008

Revisiting the classics: "Summer Rain"


An Australian website recently compiled a list entitled "The 50 Gayest Songs of All Time". Of course, the usual suspects showed up: Madonna's "Vogue", Diana Ross "I'm Coming Out", and the number-one song, "Dancing Queen" by ABBA. But one of the surprises on the list was Belinda Carlisle's 1989 minor hit "Summer Rain", coming in at 34. I say "minor" because the song was not a big hit in North America (peaking at #30 on the U.S. Billboard 100), although it was a bigger hit in Australia.

The third single from Belinda Carlisle's third album "Runaway Horses", "Summer Rain" is one of her loveliest songs, and perhaps her most underrated. The song continued in the style of Carlisle's summery, feel-good pop music she did so well in the late '80s on hits like "Mad About You", "Heaven Is A Place on Earth" and "Circle in the Sand". "Summer Rain" is one of my favourites of Carlisle's, and it seems to be a favourite of many others, as it has become one of her enduring singles. Check it out!

Sunday, March 2, 2008

Madonna's "4 Minutes" Leaked!

Madonna's much-anticipated new single "4 Minutes" has been leaked to radio. On Friday, Madonna fansites were buzzing about the leak of her collaboration with Justin Timberlake and Timbaland on French radio, and soon enough, files were being swapped around furiously over the web.

So, what's the verdict?

Personally, I think the song is in keeping with Timbaland's skills as a producer. "4 Minutes" has great beats and solid production. But the problem with the song is that Madonna is featured very little in it. She's basically a guest on her own song. Timberlake definitely gets the spotlight here, and most shocking of all, he is the one who sings the chorus!! Many comments on the fansites chalk up Madonna's lack of presence on the track as "LQ" (low quality), but I'm not buying it. If so, then why does JT sound so crystal clear.

The cynical part of me suggests Timberlake's bigger role is a chance for Madonna to get back on American radio, where her status has declined in recent years. The days where songs like "Live To Tell", "Like A Prayer" and even "Frozen" and "Music" would get guaranteed spins on radio are long gone; Madonna is no longer a sure bet on radio. By hooking up with Justin Timberlake, arguably the hottest male singer out there right now, and Timbaland, perhaps the hottest producer in music right now, Madonna is guaranteeing herself a radio hit.

She may have a hot song, but it's not her contribution that guides the song; it's Timbaland and Timberlake. As much as I enjoy the song, as a Madonna fan, don't you want the actual superstar on her own song??

Wednesday, February 27, 2008

Spice Up Your Life!

Last night, the Spice Girls ended their "reunion" tour in Toronto. It was a fabulous show. Musically, Mel C and Emma (Sporty and Baby) showed they had the musical chops, while Geri, Mel B and Victoria (Ginger, Scary and Posh) sang and danced sexily but proved they are better in a group than going out solo.

I have always loved the Spice Girls and I am sad to see them stop recording and performing together. During their peak, the Spice Girls made some of the best pop music of the past 25 years in my opinion. But I think they have the right idea. Last night, Mel C surprised the other girls by performing an impromptu back-flip. She did very well, considering she's well into her 30s. In ten years, if they reunite, Sporty may not be so agile to do such flips. And those "Stop" moves may not look so sharp down the line. Perhaps they want to go out on top. Or maybe, they made enough money from this tour that they simply don't need to do it anymore.

Sure, it was a cash-grab tour, but even when rolling in the dough, the Spice Girls gave their fans everything they wanted in a show: giddy, campy fun with confetti, lights, cute boy dancers and a seemingly endless run of classic pop songs. By popping out $135, fans got what they wanted -- and more. Entering the show, you could have been a stone-cold cynic, but last night the Spice Girls did exactly what they did in 1996-98; they made music fun and for a few hours, let us forget the pain of a troubled world.

Monday, February 18, 2008

Team Marion!


Last night I finally watched La Vie En Rose, the docudrama of Edith Piaf's life. The film is very well made, but the film is really a showcase for the incredible talents of its lead actress, Marion Cotillard, who more than plays Edith Piaf, she IS Edith Piaf. As much as I admire Sissy Spacek as Loretta Lynn in Coal Miner's Daughter or Jamie Foxx as Ray Charles in Ray, I don't think I've seen a finer performance of a musical legend on film than Cotillard's. Every rave review and award (plus Oscar nomination) she has received for her performance is justly deserved. She makes Piaf such a complex woman, and is not afraid to make her unlikable.

Going into next Sunday's Oscars, Julie Christie is the frontrunner to win the award for her performance in Away From Her. As much as I love Julie Christie (she is one of my favourite actresses) and her performance, she simply can't hold a candle to Cotillard's rich, multi-layered performance. Also, Christie's role is more of a supporting one, as the film is anchored by Gordon Pinsent's moving, and underrated, performance.

I hope the Academy recognizes Cotillard next Sunday. She deserves the award.

Saturday, February 16, 2008

"Queen" Tina

In 1984, Tina Turner made a huge comeback with her Private Dancer album. The first song on the album is called "I Might Have Been Queen". After a number of rocky years, many due to her tumultuous marriage to guitarist Ike Turner, and others due to her long struggle back to the top, the lyrics were spiritual, yet accurately described Tina's struggles and triumphs:

I'm a new pair of eyes everytime I am born
An original mind because I just died
And I'm scanning the horizon
For someone recognizing that I might have been queen
For every sun that sets there is a new one dawning
For every empire crushed there is a brand new nation
Let the waters rise, I have ridden each tide
From the gates of the city where the first born died

And I might have been queen
I remember the girl in the fields with no name
She had a love
But the rivers wont stop for me
No, the rivers wont stop to me

During the recent Grammy Awards, Beyonce performed a duet of "Proud Mary" with the still-going-strong-at-68 Turner. During her introduction, where she paid tribute to the prolific jazz and soul singers before her, Beyonce introduced Turner as "the Queen". When Aretha Franklin got wind of this, she was more than just a little miffed. For years, Franklin has been referred to as "the Queen of Soul". Although not an official title, most of the press and music industry refer to her as this.

There is no doubt that Aretha Franklin has been a trailblazer in soul music. Her Atlantic material from 1967 to 1974 is unsurpassed in its power. However, for the past 30 or so years, Franklin has never matched her groundbreaking work from that time period. But she still is bestowed the "Queen of Soul" title. The very fact that she got upset that another female singer was referred to as a "queen" only shows how insecure Franklin is (if you don't believe me, read her autobiography, where she comes off as petty and catty towards other female singers, particularly Gladys Knight).

Franklin also must think of herself more than just the Queen of Soul. She apparently thinks she IS the Queen. After all, Beyonce never said Queen of Soul. She just said "Queen". And how can anyone NOT think of Tina Turner as a queen? This woman is simply music royalty.

Of course, many think Tina Turner is a queen simply for surviving her marriage to Ike Turner and for defying age by selling out world tours in her '60s and keeping up with dancers half her age. But Turner also has an incredible musical legacy behind her. Check out the recent Time Life compilation of Ike & Tina Turner's music partnership in the box set entitled The Ike & Tina Turner Story: 1960-1975 for proof of that. While many credit Ike as the musical genius behind the duo and Tina as the star, many forget that their greatest hits can be attributed to Tina herself. She helped their version of "Proud Mary" to become a huge hit by steering away from Ike's penchant for rhythm and blues to a more rock and roll sound; she wrote one of their biggest hits "Nutbush City Limits", a tribute to her hometown. And Tina herself was the star of Ike and Tina Turner. Watch any clips on Youtube and you'll see why.

Tina Turner's solo material may not match the power of her music with Ike, but she has successfully updated her sound with the times, particularly in Europe where she is massively popular. Watching Tina on the Grammys, she can still kick. She may be a little bigger, and her kicks may not be as sharp as they were in her 40s (or even 50s), but she is a survivor.

Tina Turner may sing she "might have been queen", and Aretha Franklin may get annoyed that another female contemporary is bestowed a royal title, but there is no denying this: Tina Turner IS Queen.

Sunday, February 10, 2008

Thriller 25 Years Later

Technically, Thriller is turning 26 this year, since it was released in 1982. But, as it is, Michael Jackson's mammothly successful album Thriller is being released this week in a 25th anniversary edition. It seems MJ is finding any opportunity to celebrate his back catalogue, particularly his crowning achievement of Thriller. Sony, MJ's record company has released countless anthologies of MJ's work for the past few years: a number-ones collection, a box set, even a DVD-single collection called Visionary. In 2001, Thriller was re-released in time for its 20th anniversary. Now it's being re-released again with updated versions of classic hits such as Beat It.

Looking back, Thriller is an album that had incredible singles, but as a whole, it's not Jackson's best album. That distinction belongs to Off the Wall, Michael's first full-length album collaboration with Quincy Jones. Off the Wall was a superb mix of R&B, disco, and pop. Thriller continued that tradition, but it almost tried too hard; too hard to be the best pop album of its time, that it lost the spontaneity and fun quality that made Off the Wall so enjoyable. Thriller also pushed itself into more rock territory with "Beat It" (featuring Eddie Van Halen on guitar), so it's a bit more varied in its sound than Off the Wall.

But unlike Off the Wall, Thriller features a few duds. In particular, The Girl is Mine, a duet with Paul McCartney, is cheesy as ever, even 25 years later. Much better is their duet a year later, Say, Say, Say. Album filler like Lady in My Life remains unmemorable in 2008.

But Thriller released amazing singles, no doubt about it: Wanna Be Startin' Somethin', Human Nature, P.Y.T, and course, Billie Jean. The videos themselves are still amazing to this date and rarely have been topped. And who can forget from 1982 to about 1985, Thriller's endless run of singles on the radio?

Thriller is, of course, an important album to have. But don't forget Jackson's other masterpieces, Off the Wall or even the underrated Dangerous. When you listen to these albums, you'll forget "Wacko Jacko" and remember when Jackson really was the King of Pop.

Sunday, February 3, 2008

More B-Stars than you could ever want!!

I have to admit I have a love for bad movies.  You know, the types that just have the aroma of stinker, but are nonetheless entertaining.  Like Showgirls. The Lonely Lady. Supergirl. 

Sometimes you know a movie will be bad just by the cast or the film's star.  After Mommie Dearest, most films starring Faye Dunaway were generally bad (with the exception of Cold Sassy Tree and Barfly).  You'd be hard-pressed to find a good movie starring Sean Young, although in the '80s she starred in Blade Runner and No Way Out, two fine films.

The strange this is these two stars were once (ie. Dunaway), or could have been (ie. Young), A-list stars.  But they've lost that status, and now star in straight-to-video movies or cable flicks.

Currently in theatres is a movie featuring a number of B-list actors.  In the Name of the King: A Dungeon Siege Tale... starring Jason Statham! Ray Liotta!! Leelee Sobieski!!! Claire Forlani!!!!  And Mr. Burt Reynolds!!!

Okay, so this cast does not exactly scream out Brad Pitt or Julia Roberts star power.  I haven't seen a film with so many actors whose careers appear to be washed up.  Remember when Ray Liotta was touted as the next big thing in Hollywood after his amazing performance in Something Wild?  Remember when Leelee Sobieski was becoming the next big young thing? Where did she go, except to Z flicks like this?  And Burt Reynolds.  Ten years ago, he scored an Oscar nomination for Best Supporting Actor for Boogie Nights.  Ten years later, his face has been pulled so tightly back, you're afraid it will snap.  Perhaps that's why he's getting roles like "King Konreid" to add to his resume.

What happened to their careers?  Bad choices? Probably.  Lack of good roles? Maybe.  Drugs? Who knows?  Perhaps, as in the case of Sobieski, the momentum was never really that strong in the first place.  I thought Liotta would have a long career, and while he's worked throughout his 20+ career, he has had a lack of great roles aside from Something Wild and Goodfellas.

Will these "stars" ever get back on the A-list?  Who knows?  Perhaps starring in reality tv shows or getting arrested may seem the only route these days for B-list stars to regenerate some buzz, as sad as that may sound. Sean Young's surprising outburst at the Director's Guild Awards was shocking not because she was supposedly drunk and heckling the award winners, but because she was at an A-list event.  Why was she even there?  She hasn't had a box-office hit in almost 20 years. It's somewhat sad because in the '80s, Young showed promise and talent, but nowadays you'd never know it. 

I wonder what the cast of "A Siege Tale" was thinking when they were making that film? Perhaps it was a decent pay cheque, so they didn't have to think about the fact they were starring in a B-film.  Or maybe Sobieski or Forlani dared to think, "Just maybe... one day I'll get to work with Martin Scorsese!"  

Although Ray Liotta was probably thinking, "Just maybe... one day
 I'll get to work with Martin Scorsese... again!"


Sunday, January 27, 2008

Heath Ledger R.I.P.

With so much already said about the unexpected and tragic death of actor Heath Ledger, all I can really say is what a great actor he was.  I will be most grateful for his incredible performance in Brokeback Mountain.  This is simply one my favourite film performances.  Ledger captured the inner struggles and pain of a man repressing his homosexuality.  It was a tortured performance, and it will be even more heart-wrenching to watch it now that Ledger is gone.  I won't be able to watch it for some time.  His death is a major loss to film.

Monday, January 21, 2008

Diane Keaton... Razzie Nominee?

Since it's Oscar time, it's also Razzie time, which means the worst of the worst in filmdom is nominated for the Golden Raspberry Awards, better known as the Razzies.  As expected, Lindsay Lohan's I Know Who Killed Me was nominated, and the film's star, who hasn't had a hit in years, was also nominated.  Eddie Murphy was nominated for the terrible Norbit - no surprise there.  

But there was a surprise amongst the nominees this year... Diane Keaton for Worst Actress in Because I Said So.  Could this be? Diane Keaton, an Oscar-winning actress who gave brilliant performances in Annie Hall, Looking for Mr. Goodbar and Marvin's Room, shined alongside Woody Allen in his early films and has had a successful film career well into her 60s, nominated for WORST actress?

2007 was not a good year for Keaton. Last year we got Because I Said So and Mama's Boy.  Keaton has always had a unique appeal on the screen, but in the last year, terms such as "shrill" and "annoying" were being used to describe her performances.  I admit I saw Because I Said So last year in theatres, only because my friends wanted to see it and nobody was interested in my film choices. It wasn't as bad as I expected, but it still sucked. Keaton should have known better -- when Mandy Moore is playing your daughter, you know your film is in trouble (what was the last good Mandy Moore film? Is there a good Mandy Moore film?). 

I found Keaton's performance as Moore's overbearing mother overdone, and yes, shrill.   The script was terrible, for sure, but her performance was overindulgent and she gave into her excesses at every opportunity.  I know it's harder for actresses in their 60s to find good roles, but Keaton generally has good taste. She still looks fab, and she has has given some great performances in the past few years. How about 2003's Something's Gotta Give or 2005's underrated The Family Stone? So, perhaps this was a simple misstep in a mostly sparkling career. 

However, 2008 is not looking much better. Keaton's latest movie, Mad Money, is bombing in theatres. I haven't seen it yet, but judging from the previews, it looks like a stinker.
I hope Keaton finds a role worthy of her talents. For a woman who has had such an impressive career, it's unfortunate that she finds herself amongst nominees like Lohan and Jessica Alba. 

La-di-dah!

Saturday, January 19, 2008

Freemasons

In the past few years, the remix/production team of the Freemasons have added their magic touch to dance remixes of Faith Evans' "Mesmerized", Luther Vandross' "Shine", and most notably remixing a number of Beyonce's hits including "Deja Vu" and "Ring the Alarm".  Their mixes are high energy, great for both club dancing and working out at the gym.

Now, they are not on remixing songs for the clubs, but producing for artists' albums, and they've come up with a real winner for Kylie Minogue's latest album, X. Their collaboration on "The One" is arguably the best song on Kylie's comeback album.  Driven by a pulsating electronic beat, "The One" has a great euro '80s touch to it.  I hope it is released as a single.

The Freemasons also produce some of their own songs.  Their latest is a dance cover of Alanis Morissette's "Uninvited" featuring vocals by Bailey Tzuke. Surprisingly, Morissette's brooding song works very well as a dance song, although I do prefer Morissettes's anguished vocals to Tzuke's sweet voice. But, once again, the Freemasons provide an irresistible beat. 

Go to www.amazon.com or iTunes to hear/download the Freemasons.

Monday, January 14, 2008

Where is the Oscar buzz for Gordon Pinsent?

Last night, Julie Christie won a Golden Globe for Best Dramatic Performance by an Actress for Away From Her. This is yet another step closer to Oscar for Ms. Christie. I think Christie was great in Away From Her, but where are the accolades for Gordon Pinsent, who plays Christie's husband in Sarah Polley's directorial debut? As good as Christie is in Away From Her, Pinsent is the one who carries the film, and is the film's emotional anchor.

I suspect the snubbing of Pinsent has to do with the fact that he has not made it a habit of appearing in many American productions, film or television. If you look at his resume on IMDB, you will see a long list of Canadian productions. Perhaps many people in America do not know who he is, but after watching his performance in Away From Her, how can anyone not think his performance ranks up there with George Clooney in Michael Clayton or Johnny Depp in Sweeney Todd?

Is this a snub of Canadian talent? After all, Sarah Polley herself has not been nominated in many directorial categories. Although Away From Her has received much praise from critics, and has made many top ten lists for '07, I believe that the film's awards will go mainly to Christie.

But next Tuesday, let's hope that there will be a few surprises when the Oscar nominees are announced. And let's hope one of those surprises is Gordon Pinsent.