Mexican Pop Group on Why They’re Reuniting for a Tour – Rolling Stone


Almost 20 years ago, the members of RBD came together for the first time on the Mexican telenovela Rebelde. Quickly, the series — which followed teens who formed a band at a fictional private school — became a household staple, propelling the group’s members to make the show’s band a real thing. RBD eventually became a sensation and a pop culture staple for many Latinos.

On Thursday, 15 years after RBD went on hiatus, the beloved Mexican pop group announced that they’re officially heading on a stadium and arena tour this fall, energizing longtime fans and new generations who discovered RBD after the band’s music became available on streaming services during the pandemic.

“The music of RBD was living in the hearts of our fans,” Dulce María tells Rolling Stone. “But in 2020, when our music was put on streaming services, there was a boom. When RBD was what it was, there were no streaming services, just CDs. Now that younger people can listen, the nostalgia was reborn.”

RBD’s five returning members — Dulce Maria, Anahi, Maite Perroni, Christian Chavez, and Christopher von Uckermann — caught up with Rolling Stone ahead of their tour announcement and shared why now is the perfect time for a reunion. “Our group is more than friends. They’re family,” Von Uckermann says. “We want to end this journey in such a loving way.” (RBD was originally made up of six members, but Alfonso Herrera, known more recently from Ozark, is not returning.)

“Regardless of how different each of us is, something bigger brings us together. It’s the love, the sisterhood,” Dulce adds. “We want to bring back this love that people have given us: We’re not stopping the dreams, and it’s something beautiful.”

RBD first teased that a reunion was on its way last month when the five returning members — minus Herrera — made their profile pictures blank. They each posted a video that spliced clips from Rebelde with an in-person reunion, captioning it “Soy Rebelde,” the band’s tagline.

Maria, known for her iconic blood-red hair, got to see how fans craved early aughts nostalgia over the past year, as she joined the “2000’s Pop Tour,” a multi-artist tour in Mexico, headlined by Paty Cantú and Belinda. “People go crazy over that era,” she says.

Anahí, known for her role as Mia Colucci, and who joined Karol G during her stop in Mexico City to perform “Sálvame,” says the reunion is aimed at giving back to the group’s longest-lasting fans. “It’s been beautiful to know that people keep the group in their hearts,” she tells Rolling Stone. “To live this moment with my fellow members is pure magic.”

For Chavez, reuniting with RBD has an even more personal meaning. He’ll be able to take the stage fully embracing his identity as a queer person after feeling like he had to hide it during RBD’s success. Now, Chavez is ready to be “completely myself” on this new tour.

“I’m excited to shine as a genderfluid, queer person onstage,” he says. “While in RBD, I was fighting to be myself, to love how I wanted to love. I came out and sacrificed, perhaps, a better professional life.”

In 2007, as RBD was on a North American tour, Chavez was forced to come out after he was blackmailed by a tabloid that had acquired photos of his wedding ceremony to ex-husband B.J. Murphy. He had previously denied identifying as gay for fear of what his identity might do to his career. “I love to see how people don’t have to go through what I did,” he says of how much acceptance for the gay community has changed over the years. “I love seeing how new generations don’t care what other people think.”

Earlier this month, Perroni, who continued her telenovela career after Rebelde, announced that she was pregnant and would be welcoming her first child. Following her announcement, speculation about whether she’d have to pull out of an RBD reunion filled tabloid headlines in Mexico.

But Perroni is set and committed to this project “al 100%.” “I would have never signed up for this if I couldn’t be there,” she says. And though welcoming her baby will be the “most important moment of my life,” she has her mind set on touring with the group. “I’m about to share a stage with my brothers and sisters. We’re back together and we’re filled with energy as we go into this,” she says. “I’m ready to live this euphoria.”

As for Von Uckermann, who focused on his acting career after RBD disbanded, he says he “never imagined” that returning to the group being part of his journey, but that now he wouldn’t have it any other way.

“There was a lot of learning and we represented something so large,” he says. “Doing this is our way of ending this cycle and thanking our fans, who after years, continue to listen to the music. We want to allow new generations, who never went to the shows, to see us perform.”

Soy Rebelde Tour Dates

Aug. 25 – El Paso, TX @ Sun Bowl Stadium
Aug. 27 – Houston, TX @ Minute Maid Park
Sept. 1 – New York, NY @ Madison Square Garden
Sept. 2 – Fairfax, NY @ Eaglebank Arena
Sept. 3 – Greensboro, NC @ Greensboro Coliseum Complex
Sept. 8 – Chicago, IL @ Guaranteed Rate Field
Sept. 10 – Denver, CO @ Ball Arena
Sept. 13 – Phoenix, AZ @ Desert Diamond Arena
Sept. 14 – Las Vegas, NV @ MGM Grand Garden Arena
Sept. 22 – Miami, FL @ Miami-Dade Arena
Sept. 23 – Orlando, FL @ Amway Center
Sept. 24 – Atlanta, GA @ Lakewood Amphitheatre
Sept. 27 – Edinburg, TX @ Bert Ogden Arena
Sept. 30 – Arlington, TX @ Globe Life Field

Trending

Oct. 1 – Austin, TX @ Moody Center
Oct. 6 – San Jose, CA @ SAP Center
Oct. 7 – Sacramento, CA @ Golden 1 Center
Oct. 8 – San Francisco, CA @ Chase Center
Oct. 13 – San Diego, CA @ Viejas Arena
Oct. 15 – Fresno, CA @ Save Mart Center
Oct. 19 – Los Angeles, CA @ Banc of California Stadium

Nov. 17 – São Paulo, BRA @ Allianz Parque
Nov. 19 – Rio de Janeiro, BRA @ Estadio Nilton Santos Engenhão
Nov. 24 – Monterrey, MEX @ Estadio Mobil Super
Nov. 26 – Guadalajara, MEX @ Estadio 3 de Marzo
Dec. 1 – Mexico City, MEX @ Foro Sol



Spotify needs to profit from a music revolution


More disruption beckons as streaming growth slows and platforms struggle to make money.

Music matters to the wider economy. It was one of the first industries to be disrupted by the internet, and the first to repackage itself as all-you-can-eat rather than all-you-can-steal. The status quo has been the norm for a while: Napster was wound down two decades ago, its nemesis Metallica embraced streaming platforms more than a decade ago, and Spotify Technology SA’s subscription prices have stayed around $9.99 for years.


It’s time to think about the potential for radical change. For one thing, if this is the endgame for music, it would be a sad state of affairs. The streaming economy is crushingly unequal. It’s great for consumers and for labels and rights holders that have identified ways to live off royalties, as well as the most-listened to artists such as Taylor Swift and Ed Sheeran. It’s been less good for musicians lower down the ladder.


Nor has it been good for shareholders of Spotify or similar standalone music-streaming platforms like Deezer SA, with tough competition in a saturated market threatening their pitch as high-growth tech plays. Platforms also have limited negotiating power with the record labels and rights holders who are keen to maximize the value of their hit songs and star artists. Spotify has never turned an annual profit; it seems to be in “perennial start-up mode,” as music royalties expert Phil Bird recently put it.


With inflation and economic slowdown eating into growth — MIDiA Research analyst Mark Mulligan estimates 2022 global streaming revenue may have risen by just 7% — and with profits at Spotify likely to be elusive for a few more years yet as it funnels more money into podcasts and audio books, what are the options to get out of start-up mode?


One is to hike prices, as Apple Inc. recently did. Music is very good value – paying $10 a month works out to a few cents per hour. Former Spotify economist Will Page noted in 2021 that the price of a glass of Malbec wine had doubled since 2009 despite offering no significant improvements for consumers, while songs cost the same despite an explosion in the depth of music libraries, personalization and algorithmic curation.


Higher prices would certainly enlarge the overall economic pie. It might even create some incentives to change the unequal way subscription fees flow into an overall pot that favors the biggest artists regardless of what individual subscribers choose to play.


But the halving of Spotify’s stock price last year indicates that this move is fraught with risk. Nobody can predict what price hikes will do to demand in a fragile economy. We’re close to saturation, with platforms only able to add subscribers by stealing from others. Spotify is up against big tech firms that view music as a loss leader, bundled in with other services.


Spotify seems to be pursuing an alternative course, disrupting its own core product by folding into a new kind of tech offering pitched as the “Spotify machine” to investors. Co-founder Daniel Ek’s vision is to create a platform for all things audio, from music to podcasts to audiobooks. More products would lock in more users at a higher subscription price, along with increased advertising revenue and more sophisticated algorithms and payment mechanisms to bind it all together. The plan has some eyebrow-raising targets, including a $100 billion annual revenue figure in the coming decade that would put it in the same league as Citigroup Inc. or WalMart Inc.


Yet here again, the risks are high. The story of different audio streams converging and fattening profit margins is taking a long time to come to fruition; Jefferies analysts expect Spotify’s gross margins to be below 2021 levels until 2024. The podcasting bubble has also deflated, with no guarantee that Spotify’s move into the spoken word will be profitable this year. Audiobooks look like yet another long-term journey. The idea that these investments won’t eat into appetite for music is also debatable: The potential for surprises when one platform hosts both Neil Young and Joe Rogan has become obvious.


There’s something even bigger potentially on the way: Artificial intelligence. ChatGPT and tools like it are already being treated in the way Napster was treated by Metallica, with lawsuits and boycotts. It’s only a matter of time before AI-generated music starts to invade music platforms — you can already listen to music aided by AI on Spotify — and the rise of auto-tuned vocals and drum loops in pop music have made humans easier for machines to imitate.


Of all the changes on the horizon, AI could derail all sorts of long-term plans. Record labels already accuse Spotify and others of filling their platforms with flotsam and jetsam, diluting the market share of star artists (and by extension their negotiating power) by accepting all kinds of independently distributed music. AI-generated music, especially if it didn’t require payouts to artists or labels, would upend the industry.


This probably wasn’t what the architects of the post-Napster revolution had in mind. It means governments and regulators will have to keep a close eye on what happens to the music industry; given one in three music jobs was lost during the pandemic in the UK, another wave of disruption would hurt. As Spotify kicks its machine into high gear, and as techies turn their hand to literal Metal Machine Music, things will get noisy.


Hear SLEEP TOKEN go pop then pummeling on new song “Granite”


Sleep Token are off to a fast start to kick off 2023. Today (January 18th), the anonymous U.K. collective — who perform in masks and black hoods — surprise-released their third single of January: “Granite.” The song follows up “Chokehold” and “The Summoning,” both released during the first week of the month, and like its predecessors, it finds the group in stunning form, stretching from crystaline pop to crushing metallurgy. “Granite,” in particular, presents these contrasting sides to Sleep Token’s split personality in stark relief, giving no hint of the coming heaviness through most of its runtime before dropping the hammer.

Also, like the two preceding singles, “Granite” arrived with a striking CGI video showcasing a sci-fi-looking retro-futuristic warrior creature, this one with a cubic head and medieval-looking armor, brandishing two axes. Watch and listen above.

No word yet on whether Sleep Token’s three 2023 songs herald an imminent new album or not, but stay tuned for more surprises.



Top live music concerts in Austin are Dolly Parton birthday bashes


Singer-songwriter, actress, philanthropist, businesswoman and bonafide national treasure Dolly Parton turns 77 on Jan. 19. In an illustrious career that spans over six decades, the country music legend has been working “9 to 5” (with oodles of overtime) to bring us some of the most insightful songwriting of the modern era. With her easy charm and grace, she’s also become one of the most universally beloved figures in pop culture.

“It seems so rare to experience someone as genuine as Dolly. There’s something about her that feels familiar and comforting. Whether it be the human condition or from a woman’s perspective, she’s so relatable,” Austin singer-songwriter Kathryn Legendre says.

More:Pleasure Venom to play The Drop, our free music series at Waterloo Records

Legendre admires Parton’s “spunk, wit, awareness, and positivity,” and she’s inspired by her skillful songcraft. “From her depth, dedication, and ever-growing catalog, she sets a bar to which I truly aspire,” Legendre says.

Legendre will take the stage on Thursday to honor Parton during the third annual Dolly Birthday Bash and Tribute Show at Sagebrush in South Austin. Other artists on the bill include Brigitte Bandit, Darci Carlson, Paige Plaisance and Devin Jake.

In addition to music, the event will include pop-ups of Dolly merch and vintage clothes from Feels So Good, Rosehound Apparel and Ramblin Rose. There’s also a Dolly look-alike contest.

A portion of proceeds from the event will go to the Austin chapter of Parton’s Imagination Library, a program that provides free books to children in need.

In case one day of Dolly isn’t enough, local birthday celebrations continue on Friday, when Empire Garage hosts the Dolly Party, a touring event branded as a “Dolly Parton-inspired country Western diva dance party.” Expect to hear your favorite Dolly songs mixed with tracks from Reba McEntire, Carrie Underwood, The Chicks, Tina Turner, Donna Summer and more.

Dolly tribute show at Sagebrush: 8 p.m. Thursday, $15 in advance, $20 day of show, sagebrushtexas.com.

Dolly dance party at Empire: 8:30 p.m. Friday, $15, empireatx.com.

More:New ‘Dungeons and Dragons’ movie will open SXSW Film & TV Festival 2023

More live music this week in Austin

Friday-Saturday: A Giant Dog at Chess Club. Austin’s favorite barroom bruisers kick down the walls for a two-night stand at the tiny Red River Cultural District club. $30. chessclubaustin.com.

Saturday: Como Las Movies, Beach Blossom at Meanwhile Brewing. Hazy psychedelic cumbias to make you move and groove. Free. meanwhilebeer.com.

Sunday: Hi How Are You Day at Emo’s. The mental health nonprofit hosts 2022 Coachella performers UMI and Dannylux. $29.50. emosaustin.com.

Sunday: Texan Feminist Throwdown at Distribution Hall. Electrifying soul singer Tameca Jones, Selena tribute act Bidi Bidi Banda and more raise funds for reproductive health nonprofits MOVE, Black Mamas and the Lilith Fund. $15 and up (sliding scale). texanfeministthrowdown.com.

K-Pop group aespa becomes the first to perform at the Governors Ball Festival in New York


aespa:

aespa, who ranked 3rd on the Billboard 200 main album chart in the US, is appearing at various local festivals. In April 2022, they successfully completed their first live stage in the country through the largest outdoor music festival in the US, ‘Coachella Valley Music and Arts Festival‘. In addition, they became the first K-pop girl group to appear in the outdoor concert ‘GMA 2022 Summer Concert Series 2022’ hosted by ABC’s representative morning show ‘Good Morning America’ (GMA) every summer.  

aespa also participated in a branding campaign with the message of ‘sustainable travel’ in celebration of the New Year. Following Stray Kids and Lee Jun-ho, on the 27th, the third episode of the ‘LDF Original Series’ was released for the first time, aespa’s edition is a short drama titled ‘Melody of the Stars’, and contains a total of 3 episodes of aespa’s sustainable travel story. It is a story about aespa members sympathizing with the preciousness of the earth while going on a stargazing trip to Australia. The title of this short drama, ‘Melody of the Stars’, was taken from the title of the song ‘Melody of the Stars’, which was used as the background music along with the beautiful shooting star video in the drama. ‘Melody of the Stars’ expresses the color and brightness of stars with sound. 

About aespa: 

In the last episode, which will be released on January 9th, aespa members deliver messages about ‘sustainable travel’ and ‘protecting the earth’ in four languages, respectively Korean, English, Chinese, and Japanese. Behind the growth of K-POP as an industry, there was a system of domestic entertainment companies that systematized the process from artist development to performance planning and marketing. However, it was not an achievement achieved only by the power of the system. The rapid growth of K-POP in recent years is because there were attractive artists who could satisfy hundreds of millions of global fandoms around the world.

Unfortunately, the period from 2020 to 2022, the period of the global corona pandemic, was a time when many next-generation talented K-pop groups appeared. During this period, groups that stood out and were loved by fandoms around the world were especially female groups. SM Entertainment’s ‘aespa’, which introduced the metaverse worldview storytelling called ‘Wilderness’ and the ‘Hyper POP’ genre, which twisted the grammar of existing pop music, into the album, marked the beginning of the next generation of K-POP. It was an informed group. aespa, which debuted in November 2020, was evaluated as “unique” by conveying a different feeling from typical SM style groups by putting the “difficulty” of the metaverse worldview as one concept. In addition, with each member’s overwhelming visuals and corresponding singing and performance skills, aespa almost monopolized the popularity of the K-POP industry in 2021 with popular songs such as ‘Next Level’ and ‘Savage’.

aespa’s uniqueness received favorable reviews from unexpected media. ‘Forbes’, an American economic media, reported that aespa’s first mini-album ‘Savage’ ranked Billboard’s ‘Top Album Sales’ ranking of the 100 best-selling albums in the United States.’ Regarding their second place on the chart, they praised, “This 4-member group’s first album is a very important and tremendous victory compared to the records of all female singers in Korea.”

aespa’s Synk Road: 

The group aespa foreshadowed a variety of charms with its first solo reality show. As it is the first trip among the members, all four members are excited and excited, saying that they showed high tension. In the car leaving for Gangwon-do, Super Junior‘s Shindong, a ‘entertainment senior’, made a surprise appearance on the VCR and generously introduced ‘reality essential car games’ to the aespa members, such as high-pitched battles, holding back laughter games, and song endings, and passed on the know-hows of the trip.

The members who returned after carrying out thrilling activity missions in the beautiful nature of Gangwon-do brought laughter with cute reactions, saying, “We are back alive!” and “We will live kindly.” The question is amplified whether aespa succeeded in the mission and obtained the first ae-key safely.

ALSO READ: Sweet Home’s Song Kang and 20th Century Girl’s Kim Yoo Jung to lead a new fantasy drama? Find Out

Stay updated with the latest Hallyu news on: InstagramYouTubeTwitterFacebook and Snapchat

What do you think of the achievement? Let us know in the comments below. 

What makes pop songs so catchy?


Dr. Timothy Byron. Credit: Paul Jones

“Hey, I just met you, and this is crazy… But here’s my number, so call me, maybe.”

These wise and catchy words are those of Canadian singer-songwriter Carly Rae Jepsen from her 2012 hit “Call Me Maybe.” The song topped the music charts across the world, including in the United States, Canada and Australia.

But what was it about that song that made it so popular? Why, 10 years later, is it still so memorable? What makes any song stand out and be easily remembered?

These questions are just some of many that are explored in “Hooks in Popular Music” (Palgrave McMillan 2022)—a new book co-authored by University of Wollongong (UOW) researcher Dr. Timothy Byron and Dr. Jadey O’Regan (Sydney Conservatorium of Music).

It’s the first book-length study of hooks in popular music that attempts to explain why some songs get stuck in our heads and why these “hooks” are the guiding principle of modern popular music.

Dr. Byron from UOW’s School of Psychology said the book defines a hook as a musical moment or musical phrase that stands out and is easily remembered. These are the bits of songs that are more likely to end up as “earworms,” the elements of the songs that become stuck in our head.

“Hooks are deeply personal—what is a devastatingly effective hook for one person, might slide right past another person unnoticed,” Dr. Byron said.

“Hooks can be a rhythm, a timbre, or a melody and they’re not something that’s added on top, they really are the defining fabric of pop music.

“That’s not to say other genres don’t use hooks, you see hooks in the riff in rock music, but for pop music itself, we just think it’s the core of what makes it pop.”

The book gives a range of examples of hooks in popular songs from the last 30 years, including the catchy chorus of the 2001 hit “Can’t Get You Out Of My Head” by Kylie Minogue, Third Eye Blind’s 1997 song “Semi Charmed Life” and this 2022’s memorable hit “As It Was” by Harry Styles.

Dr. Byron said hooks are important for modern pop music because artists want their songs to stand out.

“It’s been said in radio that if people hear a song they don’t know, they’ll wait about seven seconds before changing the station and it’s probably the same for modern streaming services,” Dr. Byron said.

“Pop songs have to make an impact quickly and to stand out to the listener, they need to have a hook.

Dr. Byron adds that the concept of a hook is not new.

“Through our research we found the term hook being used to refer to a subsection of a piece of popular music that is notable in some way has occurred since at least the 1960s.”

The authors are both musicians but had different motivations for writing the book. Dr. Byron’s expertise lies in music psychology, and in particular the way that music interacts with memory. While Dr. O’Regan focuses on teaching music at the Sydney Conservatorium of Music.

“I am very interested in the psychology of what makes a song stand out and why some songs are easy to remember and I wanted to explore that in this book,” Dr. Byron said.

“For me as a psychologist, it’s intriguing for something to be remembered because there are lots of things we don’t remember at all. We barely remembered what we did a week ago, so for people to remember anything at all, there must be something special about it..

“If a bit of a song is getting our attention, if there is a bit of a song that we’re remembering, then it’s doing something right and it’s almost exploiting the specifics of how our memory and attention works.”

For Dr. O’Regan the impetus for the book came from her teaching background and experience.

“I teach contemporary music and a lot of my students are songwriters, producers and performers and in class we often talk about this idea of ear candy,” Dr. O’Regan said.

“Students would ask me where they could go to learn more about these concepts, and I realized there wasn’t really anywhere I could send them.

“And then I realized we really needed to write something.”

The end result was a 459-page online textbook that covers everything from the psychology of memorability to the role of the study of hooks in popular musicology.

“Hooks in Popular Music” is a comprehensive piece of work that fills a gap in the literature discussing the importance of what makes a song catchy, and as Alanis Morissette memorably said in 1995, it’s the kind of stuff “You Oughta Know.”

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An Asian Pop Festival Coming To Melbourne


Melbourne’s post-pandemic Asian pop music scene is thriving. Last year saw the return of Epik High and Eric Nam, as well as DPR’s first time in Melbourne. 2023 is shaping up to be a good year too, with Stray Kids playing at Rod Laver Arena in February, and BLACKPINK coming to Melbourne in June. And now, fans can rejoice because there’s a whole new music festival coming to Melbourne, promising a massive line-up of international stars. Get ready for SONICA, a music and arts festival that will take over Sidney Myer Music Bowl on Friday March 17.

SONICA Music Festival

Details about this music festival are tight at the moment. What we know so far is that the line-up consists of both international acts and Australia’s emerging talent. Enjoy K-pop, rap, alt-rock, hip hop, house and R&B.

The festival will celebrate Melbourne’s cultural diversity through music, arts and cuisine, creating an event that you won’t forget.

More information is expected to be released soon. In the meantime, keep an eye on their website for updates, and stay tuned to their social media. Who are you hoping to see?



You Picked It!! – The Cars – ‘Heartbeat City’ – Album Review – 2 Loud 2 Old Music


Alright…You Picked It! This one was really close as we almost ended in a tie, but one edged out the pack by one little vote. The one vote that made it not a tie was someone said that they wanted either one album or another that I should pick, so I always go with the first name on the choices. If I didn’t, we would’ve ended in a tie. The winner for this month’s picks ended up being The Cars with ‘Heartbeat City’ and I am real excited about this one. Here are the results.

  1. The Cars – ‘Heartbeat City’ – 8 votes
  2. Prince – ‘Purple Rain’ – 7 votes
  3. Genesis – ‘Invisible Touch’ – 3 votes
  4. U2 – ‘The Joshua Tree’ – 2 votes
  5. Bryan Adams – ‘Reckless’ – 2 Votes

Thanks to all for participating. The February choices will be up on Saturday! And the choices are all now from my collection and the next one will be some albums I have from the 90’s but probably not the ones you’d expect. Hopefully you can help me decide which one I should review.

THE CARS – ‘HEARTBEAT CITY’ (1984):

The Cars were now on their fifth studio album by 1984 and they made some changes with this one. Long time producer, Roy Thomas Baker, was replaced with some dude name Mutt…that is right…Mutt…Robert John “Mutt” Lange. I think you’ve heard of him before. Mutt had just come off Def Leppard’s album ‘Pyromania’ so he was one of the hottest producers around, plus he had done ‘Back in Black’ and “For Those About to Rock, We Salute You” by AC/DC, ‘4’ by Foreigner and ‘High & Dry’ by Def Leppard. Just a few massive albums. With Mutt signing on to do this album, he had to turn down Def Leppard’s next album ‘Hysteria’…but delay after delay allowed him to eventually join in and help with that mind blowing album.

But the Cars were different, they pure pop. They were not a hard rock band. The Cars also co-produced with the album as well. I do know that Mutt’s influence on here is huge and obvious at times as I can hear hints of his other work in these songs. This saw the band return to form and even see elements of their debut on here as well. It might be slick and polished, but is quite incredible too! If this isn’t their best album, it is pretty damn near close.

The album came out on March 13, 1984 and spawned not one, not two, but six singles, two of which reached the Top 10 on the Top 40. The album sold over 4 million copies going 4 x’s Platinum in the U.S. alone. It was a massive hit thanks to a ton of airplay on MTV and many awards from them as well. The band was huge and at their peak! The band was Ric Ocasek, Ben Orr, Elliot Easton, Greg Hawkes and David Robinson.

One last bit of information, the cover art is spectacular. My vinyl is a gate fold and the cover runs across the front and back. The cover art (including an image of a 1971 Plymouth Duster 340 and an Alberto Vargas pin-up model) is from a 1972 piece by Peter Phillips called Art-O-Matic Loop di Loop. You got to love it. A Cars album with a “car” on it and a cool looking car at that. A very striking cover. Inside the gatefold it was full of pictures of the band. And my copy still has the album sleeve as well…see….

And now, let’s get to the music…

SIDE A:

The first song and fourth single is “Hello Again”. A song that went to #20 on the Billboard Hot 100 plus it’s video was directed by the late, great Andy Warhol. The song kicks off with a slick, “Hello Again” vocal that sounds so Leppardy and almost sounds like Phil Collen singing. There is a ton of synths and sound effects in the song, but that electronic drum beat is catchy as hell. The chorus will grab hold and not let go. Ric Ocasek is on vocals and he sounds so good. It is an earworm and an exciting pop opening track. You immediately take notice that this is a serious band at the top of their game.

“Looking for Love” is another track with Ric on vocals and percussion that is the driving force of the song. It is foot tapping, head bobbing greatness. One of the non-singles that is just as good as the singles. I love the coolness that the song oozes, the soft vocals, the “here she comes’ repeated over and over”, all just sink right in and feel like home.

Then come the synth space sounds, the recognizable keyboard notes and that pounding drum as “Magic” kicks in. I remember hearing this on the radio and seeing it on MTV and being like, what the hell is this? I love it…and I still do today. It is new wave, pop perfection. The song will have you singing that chorus long after its over. And there is even a great guitar solo from Easton that is awesome and one of the more rocking ones on the album. It don’t get much better than this…although it does on this album. “Magic” went to #12 on the Hot 100 chart and #1 on the Mainstream rock chart.

Then we get the first ballad and this might be one of the best ballads ever written. “Drive” was sung by the late Benjamin Orr and he had such a smooth, soulful voice that it touched a lot of hearts. The emotion he was able to pour in to the lyrics was amazing. There was a steady beat and bass groove that propelled the track and set the tone. The keyboards were used for accents and were brilliant touches of flair to the song. The song went to #3 on the Billboard Hot 100 and charted all across the globe. The video for the song was directed by actor Timothy Hutton and also starred Ocasek’s future wife and super model, Paulina Porizkova.

The most electronica sounding song on here is “Stranger Eyes”. It is nothing but keyboards, synths and electronic drums. It is another song sung by Orr, but he sounds a lot like Ocasek on this one. There is almost a Miami Vice vibe to it, before there was Miami Vice. It is a darker tone but still painted with vibrant colors. How cool the deep cuts are as cool as the singles.

SIDE B:

Then we get one of the most groundbreaking songs ever turned in to a video with all its computer animated graphics. Really ahead of its time. “You Might Think”, though, is a great song even without the video. It is an upbeat, hell of a good time, fun, entertaining track. Ear candy at its best. It is sugary sweet and catchy with a great beat and those high pitched metallic sounding keyboard notes strike a chord with your ears and makes them instantly recognizable. Ric flys through the lyrics and he’s never sounded better. A masterpiece of a pop song that went to #7 on the Billboard Hot 100 and #1 on the Mainstream Rock Chart.

“It’s Not the Night” is one of the few rockers on the album. Yes, a rocker with even all that keyboard. The guitar riffs are good, the drumbeat is on point and the song chugs along beautifully. The guitars are the highlight which we don’t have enough of those on the album. This is more of what the Cars do best, well crafter pop songs with a rock edge.

“Why Can’t I Have You” was single #5 and broke the Top 40 as well going to #33. They could still do no wrong even on single #5. The song is moody, a little darker ballad and has some great backing vocals and some really interesting melodies that will hook you right in. Ocasek delivers that same moody almost desperate vocal that the music is mimicking perfectly.

Then comes “I Refuse”, the last of the deep cuts (as there are only 4 since there were 6 singles). My least favorite of the bunch. I didn’t say I hated it, just my least favorite. It is standard fare with the synths and electronic drums, just not as exciting and engrossing as the other tracks on here. The one misstep on the whole album.

The final single and final track is “Heartbeat City” which didn’t chart. But there is an ethereal vibe to the song almost like a drug induced haze as the song has been discussed that is about heroin. I can see that. The electronic sound is almost hypnotic and entrancing as you get lost in the sound. I can see this being a little much for radio, but it might be the most interesting and engrossing song on the album. It feels epic and important and even a little artsy. And I love it…like I do this whole album.



Shakira to Feature in New Bizarrap Music Session


Shakira will be the next guest artist to feature in Argentine producer Bizarrap’s popular ‘Music Sessions.’ After teasing the track earlier this week, the Colombian singer and Bizarrap both took to social media to announce the collaboration titled “Shakira: Bzrp Music Sessions 53.”

The new song will be out on Jan. 11 as the follow-up to Bizarrap’s release with Argentina’s Duki (Session 50) and Spanish rapper Quevedo (Session 52) which spent several weeks at No. 1 on Billboard’s Global 200 chart last summer and currently has over 400 million views on YouTube.

The news of a fresh Shakira song was initially announced on Jan. 9 in a cryptic post that displayed the song’s release date and the line: “Una loba como yo no está pa’ tipos como tú,” or “A wolf [in reference to Shakira’s 2009 hit “She Wolf”] like me is not for guys like you.”

Shakira might be one of the few widely recognizable names in Bizarap’s “Music Sessions” guest book (which also includes Nicky Jam, Residente, Anuel AA, Nathy Peluso) as the artist’s acclaimed series started in dedication to rising Latin trap acts. On YouTube, the sessions boast a view count in the millions thanks to one formula: Bizarap records and films all of his collabs, usually composed of his own backing track with special guest vocals, in his DIY home studio.

“I started in this same room with my speakers and FL Studio software. I want people to identify with the space,” he told Variety late last year. “I’m bringing to people what I’d like to find myself – an artist who releases a new song every month, based on his own taste and criteria.”

Despite not having put out a full studio album since 2017, Shakira has released several successful collaborations in the past year including the Latin Grammy-nominated “Te Felicito,” with Rauw Alejandro, and the Ozuna-featuring “Monotonía.”



Lisa Marie Presley, fame’s child | Commentary


Not long after the news broke that Lisa Marie Presley had died, I watched an old interview she did with David Letterman.







John Krull, publisher, TheStatehouseFile.com


It was from the time her first album came out 20 years ago. The lyrics of the song that made the splash on that album, “Lights Out,” were loaded with references to the ongoing grief she felt about the loss of her famous father, Elvis Presley, and with her struggles to live with his legacy:

Someone turned the lights out there in Memphis

Ooh, that’s where my family’s buried and gone (gone)

Oh yeah

Last time I was there I noticed a space left

Oh, next to them there in Memphis, yeah

In the damn back lawn….

In the interview, Letterman tried to get Lisa Marie to talk about her dad. She gave short, evasive answers and covered her mouth with her hand as she did so, almost as if she wanted to hide.

Finally, she told Letterman she generally refused to answer such questions.

“Something has got to be left mine somewhere,” she said.

That short answer encapsulated her haunted life.

She was born to a fame the world had not seen before. When her father exploded onto the world’s stage in the middle 1950s, mass media worked to unify culture in ways that hadn’t happened before.

Today, everyone is his or her own programmer, choosing which songs to download and which shows or movies to stream at any time, with no constraints other than the limitations of one’s digital wallets.

Then, though, there were only three television networks and, while top 40 was king, radio programming was rigidly formatted, even segregated. Listeners could choose among pop, country or blues, but they had to move around the dial if they wanted to listen to an assortment.

Elvis’ genius involved erasing those lines. Critics say he was the white boy who sang the blues.

His achievement was more complicated than that. He introduced the blues into country music and country into the blues—and somehow transformed all of it into pop music.

His success was stunning.

In 1956, one of every nine records sold in the world was by Elvis. In the 1960s, when his star was supposed to have been eclipsed by the British invasion, he still outsold everyone but the Beatles, outstripping the Rolling Stones and other rock legends from the era. Even in the 1970s, when popular mythology had his career headed to a tragic sunset, he was the biggest concert draw on the planet, selling out hall after hall, coliseum after coliseum, as his health disintegrated.

Fame on that scale is corrosive. It eats away at those things—privacy, trust, intimacy—that make the maintenance of sanity possible.

Elvis came to that level of fame when he was 21 and spent the rest of his life trying to come to terms with what his success would cost him. He surrounded himself with guys he’d known from youth because, one sensed, he needed reminders that he was a human being like everyone else.

His daughter didn’t have a childhood or adolescence isolated from the spotlight. She emerged, infant-small, into the glare.

She struggled her whole life dealing with the intense attention, little of which seemed concerned with understanding who she really was.

Something has got to be left mine somewhere.

She wed Michael Jackson, one of the few people who could appreciate the fame that defined her existence. That union ended after two years. Three other marriages also came and went.

She lost a son to suicide, a young man who bore a resemblance to his grandfather and stumbled under the weight of expectations. She lived out her private griefs on a public stage, always trying to figure out what could be hers and what couldn’t.

When she came of age, she first worked for perhaps her father’s most devoted friend, Jerry Schilling, who became a trusted protector, even a surrogate dad. Just before she died, when she attended the Golden Globes to celebrate the triumph of the film about her father’s life she had helped will into being, she walked, unsteadily, into the gala on Schilling’s arm.

A long time ago, when her father had his first monster hit, he sang, almost prophetically, about a soul who came to a sad end.

It was down at the end of lonely street.

At a place called heartbreak hotel.