Brandon's Buzz

They invariably end up pissing me off with their unjustifiable inanity, but because I’m a music fan all the way down to my toenails, I always look forward to the annual Grammy nominations. And because I’m an eternal optimist at heart, I always pray that this is the year the recording academy will get it right. Well, I’m not holding out a great deal of hope that the Grammy folks will suddenly correct their typical foolishness tonight by uniformly nominating people who actually deserve the praise, but let me just say this at the outset: if “Use Somebody” doesn’t at the very least nab a nod for Record of the Year, I’m throwing a rock through my television set. Let the concert commence!

(more…)

It’s 2:47am in Texas, and I’m wide frickin’ awake and watching that pulse-pounding Ultimate Rock Ballads infomercial that still kills me every time I see it, even a year later. I have updated the Buzz’s radio archive, I have made a Facebook event for my show with the great Suzy Bogguss next week, I have answered some emails, I have played Bejeweled, and now I’m going to try to tackle as much of this week’s record store report as I can before I fall asleep. There’s some true blockbusters in the mix this week, y’all, so dig in:

When irritating twitlets like Taylor Swift and Colbie Caillat re-release albums that aren’t even one year old in enhanced “deluxe edition” sets, my ass gets thoroughly and enormously chapped. But when an indisputable classic album returns to the spotlight with a brilliant three-disc reinvention that is clearly worthy of the effort, I’ll bow in reverent deference ten times out of ten, honey. And you best believe the latter is what’s going to take place this week when I finally manage to get my hot li’l hands the sparkling new 15th anniversary commemorative edition of one of the ten best albums of the 1990s — Sheryl Crow’s amazing debut record, Tuesday Night Music Club.

Teased to a knowing few via the luminous “Leaving Las Vegas” — still and forever, one of the finest debut singles in the history of pop music — and sent into orbit via the worldwide smashes “All I Wanna Do” and “Strong Enough,” Tuesday earned four Grammy nominations (and netted Crow three trophies, including one for Best New Artist) upon its release in 1994, and a decade and a half later, all of that brilliant music — from the rambunctious “Can’t Cry Anymore” to the bizarro “The Na-Na Song” — continues to hold up. (I dare you to think you can still say that about the material of Crow’s pop compadres like Lisa Loeb and Jewel!) And it has now been augmented with a 10-track bonus disc of b-sides and rarities, as well as a DVD containing the album’s videos and a documentary about Tuesday’s tumultuous road to existence. Looking for the perfect stocking stuffer this holiday season? Aww, baby, look no further.

(more…)

November kicks off with a bang, as country’s hottest-selling lass is back with her hotly-anticipated third album, which has her working with some eyebrow-raising collaborators. Dig in:

 

Pop music’s venerable Now series is back this week with a pair of new entries, as recent radio hits from A’s beloved Black Eyed Peas (their record-breaking number one smash “I Gotta Feeling”), Jordin Sparks (the terrific “Battlefield”), Katy Perry (“Waking Up in Vegas,” a guilty pleasure if I ever heard one), Michael Franti and Spearhead (their cheeky top 40 breakthrough “Say Hey (I Love You)”), and others punctuate Now That’s What I Call Music, Vol. 32; and a fascinating cross-section of unforgettable club smashes from the past three decades turn up on Now That’s What I Call Dance Classics!, including any number of one hit wonders from the likes of The Weather Girls (“It’s Raining Men,” with the amazing Martha Wash blowing the roof off the joint), CeCe Peniston (“Finally”), Rob Base and DJ EZ Rock (their oft-sampled touchstone “It Takes Two”), and others. This is all well and good, mind you, and will probably find its way into my collection, since I have a profound weakness for this kind of thing. But please don’t tell me I’m the only one who is shattered by the Now folks’ decision to omit Everything But the Girl’s legendary 1996 monster hit “Missing” from this tracklist. Gotta tell you, guys: Todd Terry’s brilliant decision to lay down a furiously insistent house beat just beneath Tracey Thorn’s abominably sexy croon made for what I call a dance classic every damn day o’ the week. Recognize.

(more…)

October roars to a close with a huge list of necessary tuneage, including a must-own new album from one of the best bands going. Dig in:

The year’s most hotly-anticipated theatrical event lands this week when This Is It — a film culled from over one hundred hours of footage of Michael Jackson’s final days, footage recorded during rehearsals for what were to be Jackson’s farewell concerts — debuts on three thousand screens today. To accompany the film, which is expected to be an epic, record-shattering blockbuster, comes an identically-titled 2-CD soundtrack, which contains a collection of Michael’s best-loved classics, as well as the Paul Anka-penned title track, which was discovered in a box of tapes in one of Jackson’s vaults this past summer following his passing.

(more…)

Another pretty low-key week in musicland, although what is perhaps this fall’s most anticipated film gets a soundtrack worthy of the buzz. Take a look:

• Country stalwart Tim McGraw is up with his tenth studio album, Southern Voice.

 

• Paul Oakenfold, Dallas Austin, The Neptunes, and others put their own spin on some of the most famous songs in music history in the brand new collection The Remix Suite, which mainly concentrates on
  Michael Jackson’s early-’70s solo and group output.

 

• Snow Patrol spearheads the latest entry in the Late Night Tales series, to which they contribute a mellow cover of INXS’ late-’80s classic
  “New Sensation.”

 

• Those wacky New Zealanders Flight of the Conchords return with their sophomore effort, I Told You I Was Freaky.

 

• Another week, another Target exclusive: this one’s from that
  husky-voiced Brit Joss Stone, who is up with her fourth album,
  Colour Me Free.

 

• Four-time Grammy winner Lyle Lovett is up with his latest,
  Natural Forces.
• Sherry Ann is all agog over the return of MoZella, whose second album is the brand new Belle Isle.

 

• And finally, the week’s hottest-selling album will almost certainly be the soundtrack for the upcoming Twilight sequel New Moon, which contains exclusive new material from Death Cab for Cutie, Thom Yorke,
  The Killers, Bon Iver, and others.

One of modern music history’s premier divas has officially launched her long-awaited comeback, as the one and only Whitney Houston returns to center stage this week with her sixth studio album, I Look to You. Last heard from — musically, at least — on 2002’s horrendous, howlingly awful slap job Just Whitney (am I the only one who remembers, for all the wrong reasons, “Whatchulookinat”?), Houston is back — hardly wizened, mind you, but hardly none the worse for wear, either — cautiously (perhaps overly so) dipping her big toe back into the water to see if time and the ever-dynamic world of pop have passed her by.

(more…)

Weeks and weeks of slow-to-nonexistent release slates have led to this fresh hell: August’s final Tuesday is so jam-packed with new stuff that I’ll be typing about it from now until Christmas. But I’m not complaining, mind you: you have no idea how great it will be to walk into the record store and actually be greeted by a new release wall which is literally popping with exciting material begging for my attention.

(Incidentally, this is the Buzz’s 300th post, hard as that is to believe. Thanks to all my readers who continue to follow me on this crazy ride!)

Her annoying debut single “The Way I Am” — and the spare, folk-y album, Girls and Boys, on which it appeared — became a word-of-mouth sensation after saturating the whole of television a couple of years ago, popping up on such series as “Grey’s Anatomy” and “One Tree Hill” as well as in an extensive advertising campaign for Old Navy. A collection of b-sides and live recordings followed last year, and now, indie queen
Ingrid Michaelson has returned with her true sophomore project, Everybody. This gal’s tinny voice irks me no end, but she clearly has her fans, and they will probably turn out en masse to snap this up. Mazel tov, y’all.

(more…)

Unless new material from Kristinia DeBarge and/or that High School Musical moppet Ashley Tisdale float your boat, this week’s new release slate is practically non-existent. No matter: this has been a fairly robust season for great new music, which always increases the odds that worthy material will slip through the cracks of your consciousness. So in lieu of a typical record store report this week, allow the Buzz to help you thresh the wheat from the chaff of summer ‘09:

(more…)

As the world continues snapping up Michael Jackson recordings of any stripe — a fact which stands as heartening evidence that people can still be compelled to purchase actual records given the right circumstance — there’s not much happening on the new release wall this week. Chalk it up to the July doldrums:

The “Idol” cabal is certainly having itself a kick-ass summer to here: Miss Kelly’s back with a spectacular album that has entirely eradicated the stench of the leaden effort which immediately precedes it in her discography; spunky li’l Jordan Sparks has blasted back to the foreground with her fabulous smash “Battlefield,” a brilliantly bombastic Ryan Tedder tune about which not nearly enough Buzz ink has been spilled (a situation that I’ll set about rectifying next week, when the full album drops); and my beloved Brooke White offers me the greatest birthday present fathomable next week with the release of her long-awaited post-”Idol” effort High Hopes and Heartbreak, which is teased by the bouncy sing-along track “Radio Radio.” And then there’s Chris and the boys from Daughtry, who have set top 40 radio ablaze all over again this summer with the fiercely melodic “No Surprise,” the terrific lead single from the band’s sophomore record Leave This Town. Even though he can be a tad too pompous for his own good, and his sideburns more often than not tend toward the bizarre, there’s no denying that Chris is one hell of an engaging performer, and because his debut was such a masterfully executed commercial triumph, there’s little reason to believe that album number two will deviate radically from such a winning formula. If it ain’t broke, don’t fix it. (If you’re so inclined, pick Town up at Target, whose edition comes bundled with a bonus DVD containing the band’s six videos, including the new clip for “No Surprise.”)

(more…)

The Associated Press predicted Monday night it would likely be the biggest and most spectacular memorial for a public figure — bigger than Elvis, bigger than Diana, bigger than Marilyn — in the history of the free world, and having been glued to the coverage of Michael Jackson’s farewell service all damn day last Tuesday, surfing aimlessly across all the channels broadcasting the exact same action, I can scarcely imagine a more true statement.

Except to say that I found the overall presentation to be incredibly moving — and, when you consider the whole thing was thrown together on something like 48 hours notice, stunningly smooth — and that Miss Mariah would almost certainly have benefited from an extra hour of rehearsal time, and that the choice to finally cut his hair is the best creative choice John Mayer has made in eons, I haven’t much pertinent commentary to add to the growing list of funeral post-mortems. As I indicated in my initial Buzz eulogy, Michael’s music is strong enough to forever speak for itself, and, notwithstanding Al Sharpton’s pompous proselytizing, it by and large did on Tuesday.

(more…)

Sorry for the dearth in Buzz posts; I’m in the process of moving, and my internet access at the new place won’t be established until Tuesday, so updates will be catch as catch can until then. The Michael Jackson playlist is almost finished, and Sherry Ann lodged a request a few days ago for a Mexico-themed playlist, so that’s in utero as well.

Via a horrifyingly eloquent IM Friday afternoon, the beautifully intuitive Sherry Ann — on whom you can always count to keep things in measured perspective — made the following boldly blunt proclamation: “We have arrived at that point in our lives where the people we adored as children are going to start dropping dead. I am NOT ready to deal with that!”

And so it goes.

Like most of the world over 72 hours after the fact, I’m still struggling to comprehend what it means to draw breath in a world that no longer includes Michael Jackson. Having been all of six years old when Thriller broke, I literally can’t remember my life without Michael in it, and I spent the weekend operating in a strange, unrelenting daze. (Even though June 26 was Cliffhanger Friday and more than one soap is blowing and going at full steam heading into summer, and even though I already own the man’s whole video collection on DVD and can literally pull it out and watch it at will, I spent the lion’s share of the morning and afternoon transfixed by MTV, which jettisoned its entire regular schedule in favor of broadcasting and remembering Michael and his incomparable audio/visual oeuvre, a decision I found to be heartbreakingly poignant and perfectly fitting, considering the brilliantly symbiotic relationship the two entities shared in their parallel rises to global prominence: when MTV needed an ambassador with a tad more mainstream pop culture cachet than David Byrne and those fops from Devo to give the network a whiff of genuine relevance, Michael leapt into that role with both feet, and in kind, his constant and ingratiating presence on not only the channel but on the plethora of other video outlets that sprang up in its wake proved to flip the ignition switch on Jackson’s rocketship ride.)

(more…)

6:37 pm (NOTE: all times central): No agricultural emergencies delaying my progress this year. We’re actually startin’ early!

6:39 pm:  Last year’s “Idol” live blog was the first thing that really put Brandon’s Buzz on the map in terms of garnering some attention from the online world, so I’m very excited about tonight!

6:44 pm: Assuming that Adam was always a slam dunk to make the finale (and Paula predicted it twelve full weeks ago, so there you have it), I still think an Adam / Alison faceoff would have provided the most bang for our entertainment buck.  But I still think we’re in for a riveting evening of music, madness, and mascara tonight.

6:46 pm:  Let’s set up the cast of characters.  In one corner, we have Adam Lambert.

6:47 pm:  Because Adam screeches, shrieks, screams, wails, and just generally irritates the piss out of me, he will be known tonight as Banshee Boy.

6:48 pm: Adam is a glam rocker following the obvious David Bowie template — at least visually — but when he opens his mouth, he sounds like the love child that Robert Plant and Siouxsie Sioux might have created in an ill-fated night of passion.  (You might think I mean that as a compliment, since I rather like and admire both of those people, but I really don’t.)

(more…)