WBEZ | Lady Gaga

Pitchfork Day 3: Kendrick Lamar, a dash of Lady Gaga and Oneohtrix Point Never

Sun, 15 Jul 2012 21:54:00 -0500

Poor Kendrick Lamar: The thing that everyone was going to be talking about as soon as she arrived backstage was Lady Gaga, not the artist in question performing. To make matters worse, Gaga didn't even join him for his set but grooved on the side, smoking a cigarette.

At least she seemed to be enjoying herself; I didn't find Lamar any different than your typical untalented rapper, hiding behind samples and beats that have already been made famous by another. Whether it was the constant horn blast, his calls for "Any beautiful ladies in Chicago right now?", or boring use of less-than-family-friendly-language in "A.D.H.D", it was all sort of the usual thing.

"When I go back to Compton I like to chill with the folks," he said of his hometown. "They're like chill people." This was one of several references to Compton, dropped in, I suppose, to make us feel as though Lamar is one of the people. He felt far from it. His one moment of concern was for a young (female) fan in the audience, who looked as though she might have a case of heat stroke. Once it was clear she was alright with a thumbs up from her friends, it was, in Lamar's words, "Back to your regularly scheduled program" -- i.e. him.

"This next record, I wrote this in a crazy space. I was on my mom's couch. I knew it would touch a lot of you motherf***ers and would hurt a lot of you motherf***ers." Sorry Lamar, rapping about "Rigamortis" is literally about as moving as your song about a pool full of liquor. Last time I checked, rappers that have been commercially successful and still one with the people exist; see Common or Taleb Kweli. Those rocking deep narcissim but honesty about it end up like Kanye. The in-between both worlds isn't working.

"I need you to recognize that my plan is to win your hearts before I win a Grammy," Lamar said. I fear for those chances, as well as the likelihood of finding the right women, weed and weather to keep anyone happy.

At least Lamar was memorable; his the crowd was desperately clamoring for him to start. When Oneohtrix Point Never aka Daniel Lopatin went on, thus began the slow exodus of fans toward AraabMuzik. Lopatin didn't make people wait, coming on quickly and with little fanfare, but he also didn't have much of a chance to retain fans; I can't much think of a weirder line-up choice to follow Kendrick Lamar than this Dan Deacon-esque music (but without enough hook or screwed up beats). It was only three songs in that he broke into some sort of George of the Jungle, Phil Collins-inspired tune, but by that point, my attention span was broken and I wandered away, following the crowds of eager fans still on a high from their taste of rap for the day.

Pitchfork Day 3: Ty Segall, Real Estate, Kendrick Lamar… and (sorta) Lady Gaga

Sun, 15 Jul 2012 18:46:00 -0500

As expected, prolific San Francisco garage rocker Ty Segall took the main stage in mid-afternoon and immediately claimed it as his own with a furious sound and a confident presence that belied his young age or the fact that he’s spent much of his time in the musical spotlight before late recording alone in his bedroom.

Touring in support of the brilliant Slaughterhouse and fronting a tight quartet he calls the Ty Segall Band, he leaned heavily on the songs he wrote for that album with the new group, mixing indelible pop melodies and raucous clangor and stretching some tunes out into expansive but never really indulgent jams that amply justified his description of this music as “evil space rock.” Oh, and he also made the rare concession this weekend to the absurdity of the festival setting by leading a chant of “Oi, oi, oi,” followed by a kick-butt cover of AC/DC’s immortal “Dirty Deeds Done Dirt Cheap.” Now that’s rock’n’ roll.

From that adrenaline rush, the tempo instantly shifted into nap time as New Jersey indie-rockers Real Estate that was perfectly lilting and I dare say even lovely at times. But is lovely what anyone really wants at 4:30 in the bright sun on the middle of a festival bill? The group essentially had one song and one tempo, yet the set went on… and on… and on… and on. Sure, the temperature was in the mid-’90s. But my God, I’d have killed for a cup of coffee.

Per the rest of the weekend, my plan had been to leave the secondary stage to my WBEZ colleagues and catch the reactivated Chavez on the main stage next, hopefully forgiving bandleader Matt Sweeney for his time in the ill-fated Zwan. But the Pitchfork-powers-that-be spread the word that Lady Gaga would be appearing with Compton rapper Kendrick Lamar on the smaller platform, so along with seemingly thousands of others, off in that direction I went.

For all the positive buzz on Lamar, and despite some admittedly impressive freestyle chops, his set was a tremendous disappointment that left no hip-hop cliché unturned. Left side/right side shout-outs, exhortations to chant “f--- that” and wave your hands in the air, a song paying homage to “p---- and Patrón,” countless mentions of weed and blasts from the air horn to hype everybody up—all of it simply was pathetic. But even worse was the fact that Gaga—and several in the know swear it was her (“She’s here! She’s really here!”)—did nothing but stand on the side of the stage, gently gyrating and enjoying being notice.

So much for giving one to the little monsters. Though I suppose we still can hope she’ll sing “Horchata” with Vampire Weekend.

Eminem gets 10 nods 10 years after he mattered (and other dubious wonders in the 2010 Grammy nominations)

Thu, 02 Dec 2010 06:00:00 -0600

With their stated mission “to honor artistic achievement... without regard to album sales or chart position” once again more of an ideal than a reality, Grammy sponsors the Recording Academy have announced the nominees for the 53rd annual awards, the most prestigious if chronically misguided in the music industry.

Topping the list of multiple nominees with a number that puts him among such Grammy favorites as Carlos Santana, Eric Clapton, and Bonnie Raitt—even though his last album “Recovery” was one of the most mediocre of his controversial but platinum-selling career—Eminem garnered 10 nods, including the most prestigious, album of the year, as well as two more of the “big four” prizes, record and song of the year (for “Love the Way You Lie” featuring Rihanna).

The rest of the album of the year contenders are divided between worthy contenders—orchestral-popsters Arcade Fire (for “The Suburbs”) and pop phenom Lady Gaga (for “The Fame Monster”)—and sheer commercial pabulum (country-pop merchants Lady Antebellum for “Need You Now” and Katy Perry for “Teenage Dream”).

Trailing Marshall Mathers with seven nominations is pop producer, singer, and songwriter Bruno Mars. Hip-hop CEO Jay-Z and the aforementioned Ladies, Antebellum and Gaga, each claimed six Grammy nods, while five nominations apiece went to the venerable guitar hero Jeff Beck, B.O.B (a.k.a. rapper Bobby Ray Simmons), easy-listening soul man John Legend, rising pop/R&B star Philip Lawrence, and classical music producer David Frost.

Completing the roster for record of the year (which is awarded to the artist and producer) along with Eminem are B.o.B featuring Bruno Mars (“Nothin’ On You”), the indomitable Cee Lo Green (“F*** You”), Jay-Z and Alicia Keys (“Empire State Of Mind”), and Lady Antebellum (“Need You Now”).

And joining Slim Shady in competition for song of the year (which is awarded to the songwriter) are Ray LaMontagne (“Beg Steal Or Borrow”), Cee Lo with “F*** You” again, tunesmiths Tom Douglas and Allen Shamblin, who wrote “The House That Built Me” for Miranda Lambert, Dave Haywood, Josh Kear, Charles Kelley, and Hillary Scott, who wrote “Need You Now” for Lady Antebellum.

Then, of course, there is the always laughable best new artist prize, whose contenders this year are bad-haircut pop hearthrob Justin Bieber, hip-popper Drake, Florence & the Machine, Mumford & Sons, and Esperanza Spalding.

The Chicago chapter of the Recording Academy will release its tally of local artists honored with nominations later today, and we’ll duly post it. But a quick scan of the complete list indicates a real shortage of hometown talent, save for the dubious inclusion of fading but acquitted R&B superstar R. Kelly, who was nominated for best contemporary R&B album (“Untitled”) and best traditional R&B vocal performance, and one minor nomination each for the American treasure Mavis Staples and wayward hip-hop hero Common.

The full list of nominees in all of the 7,894 categories (give or take) can be found online here. Meanwhile, a look at some of the other key categories follows below. And the golden gramophones themselves will be given out on Feb. 13 at the Staples Center in Los Angeles during a ceremony televed on CBS and theoretically lasting 3½ hours, though it will of course feel three times as long.

Best pop performance by a duo or group with vocals: “Don’t Stop Believin’ (Regionals Version)” — the cast of “Glee”; “Misery” — Maroon 5; “The Only Exception” — Paramore; “Babyfather” — Sade; “Hey, Soul Sister (Live)” — Train.

Best pop collaboration with vocals: “Airplanes II” — B.o.B, Eminem & Hayley Williams; “Imagine” — Herbie Hancock, Pink, India.Arie, Seal, Konono No. 1, Jeff Beck & Oumou Sangare; “If It Wasn’t For Bad” — Elton John & Leon Russell; “Telephone” — Lady Gaga & Beyoncé; California Gurls” — Katy Perry & Snoop Dogg.

Best dance recording: “Rocket” — Goldfrapp; “In For The Kill” — La Roux; “Dance In The Dark” — Lady Gaga; “Only Girl (In The World)” — Rihanna; “Dancing On My Own” — Robyn.

Best rock performance by a duo or group with vocals: “Ready To Start” — Arcade Fire; “I Put A Spell On You” — Jeff Beck & Joss Stone; “Tighten Up” — the Black Keys; “Radioactive” — Kings Of Leon; “Resistance” — Muse.

Best hard rock performance: “A Looking In View” — Alice In Chains; “Let Me Hear You Scream” — Ozzy Osbourne; “Black Rain” — Soundgarden; “Between the Lines” — Stone Temple Pilots; “New Fang” — Them Crooked Vultures.

Best rock song: “Angry World” — Neil Young; “Little Lion Man” — Mumford & Sons; “Radioactive” — Kings Of Leon; “Resistance” — Muse; “Tighten Up” — the Black Keys.

Best alternative music album: “The Suburbs” — Arcade Fire; “Infinite Arms” — Band Of Horses; “Brothers” — the Black Keys; “Broken Bells” — Broken Bells; “Contra” — Vampire Weekend.

Best R&B performance by a duo or group with vocals: “Take My Time” — Chris Brown & Tank; “Love” — Chuck Brown, Jill Scott & Marcus Miller; “You’ve Got A Friend” — Ronald Isley & Aretha Franklin; “Shine” — John Legend & the Roots; “Soldier Of Love” — Sade.

Best contemporary R&B album: “Graffiti” — Chris Brown; “Untitled” — R. Kelly; “Transition” — Ryan Leslie; “The ArchAndroid” — Janelle Monáe; “Raymond V Raymond” — Usher.

Best rap/sung collaboration: “Nothin’ On You” — B.o.B featuring Bruno Mars; “Deuces” — Chris Brown, Tyga & Kevin McCall; “Love the Way You Lie” — Eminem & Rihanna; “Empire State Of Mind” — Jay-Z & Alicia Keys; “Wake Up! Everybody” — John Legend, the Roots, Melanie Fiona & Common.

Best rap album: “The Adventures of Bobby Ray” — B.o.B; “Thank Me Later” — Drake; “Recovery” — Eminem; “The Blueprint 3” — Jay-Z; “How I Got Over” — the Roots.

Best country song: “The Breath You Take” —George Strait; “Free” — Zac Brown Band; “The House That Built Me” Miranda Lambert; “I’d Love to be Your Last” —Gretchen Wilson; “If I Die Young” —The Band Perry; “Need You Now” —Lady Antebellum.

Best country album: “Up On the Ridge” — Dierks Bentley; “You Get What You Give” — Zac Brown Band; “The Guitar Song” — Jamey Johnson; “Need You Now” — Lady Antebellum; “Revolution” — Miranda Lambert.

Best Americana album: “The List” — Rosanne Cash; “Tin Can Trust” — Los Lobos; “Country Music” — Willie Nelson; “Band Of Joy” — Robert Plant; “You Are Not Alone” — Mavis Staples.

Best traditional blues album: “Giant” — James Cotton; “Memphis Blues” — Cyndi Lauper; “The Well” — Charlie Musselwhite; “Joined at the Hip” — Pinetop Perkins & Willie “Big Eyes” Smith; “Plays Blues, Ballads & Favorites” — Jimmie Vaughan.