The Georgia-born singer likes to start off country but emphatically refuses to stay there. ( Josh Sisk / For The Washington Post ) – Billy Currington ranged as far afield as The Jeffersons theme song and Robin Thickes Blurred Lines. Looking for things to do? Select one or more criteria to search Kid-friendly Get ideas By the close of his 80-minute set at the Fillmore on Friday night, Currington and his versatile, energetic quintet had unearthed the Jeffersons TV theme song Movin On Up and, with stabs at Robin Thickes Blurred Lines and Daft Punks Get Lucky , turned the Silver Spring rock hall into a beat-heavy nightclub. Which is hardly to say that he held back the hard stuff. After opening with the happy-go-lucky I Got a Feelin , Currington dug into the honky-tonk rockers I Wanna Be a Hillbilly and Thats How Country Boys Roll . The traditional-sounding country-western ballad Pretty Good at Drinkin Beer and the mid-tempo Love Done Gone , with its charming Neil Diamondesque ba-bada singalong hook, lifted spirits even higher. It was at this point that Currington introduced the audience to his real-live chocolate labrador retriever, Paco the honorary subject of the mock-misogynistic Like My Dog (He dont get mad at me and throw a major fit / When I say his sister is a bitch / I want you to love me like my dog does, baby / When I come home, want you to just go crazy). Currington escaped the doghouse with a pair of heartfelt ballads: Let Me Down Easy and Dont. Indeed its easy to picture Currington having attempted to rise up the ranks of modern R&B singers. Occasionally, though, Curringtons expansive range led him too far afield. The slick pulsating pop of Hey Girl and We Are Tonight (the title track of his recently dropped new album) sounded forced and flat on Friday. Yet no matter how strenuously he stretches his repertoire, Currington remains centered in songs like Good Directions and People Are Crazy , the latter a worthy contribution to county musics corpus of wisdom literature: God is great, beer is good and people are crazy. Galupo is a freelance writer.
Music review: Billy Currington goes country and beyond at the Fillmore
-0 days until TNW USA in New York YouTube has announced its first-ever music awards show the fittingly-namedYouTube Music Awards, taking place in November which it says will be a fan-powered celebration of music and artists from the popular video site. The ceremony itself will take place in New York on Sunday November 3, withactor Jason Schwartzman the host. The eventwill be live-streamed, as youd expect with YouTube and its parent Google, and it will be headlined by Lady Gaga, Eminem and Arcade Fire as well as YouTube-made artists like Lindsey Stirling and CDZA . In a nod to YouTubes global presence, the ceremony will also include live acts fromSeoul, Moscow, London and Rio de Janiero. More immediately, things will kick off onOctober 17 when the nominations are announced YouTube says they will be based on the most watched and shared content on YouTube over the past year. Responsibilities will shift over to users for selecting the winning songs and artists within each category.To vote for a nominee, users simply share their nomination across social networks; thus those with the most shares win. In a big win for YouTube, music industry veteran Spike Jonze will be the events creative director. VICE and Sunset Lane Entertainment are involved as executive producers. YouTube says that the award show will be as much about helping to showcase new content as it will be about celebrating popular music: There will be a whole lot more music to enjoy on YouTube around the Music Awards. In the days leading up to the November 3 event, nominees will share official music videos, covers, parodies, concerts, interviews and fan videos on YouTubeso you can stay in the loop, find your faves and discover new music you didnt even know you loved! Heres the inevitable video trailer this is YouTube were talking about, after all: Headline image via Rego Korosi / Flickr More like this article
Music reviews: Elton John, Kings of Leon, Sheryl Crow
It’s difficult to tell what era John was shooting for with producer T Bone Burnett. Suffice it to say this is more parlor music than pop. Even the livelier tunes, such as “The Ballad of Blind Tom,” end up sounding vacant, like background music in a movie scene. Falling, not diving. David Hiltbrand, The Philadelphia Inquirer Kings of Leon, “Mechanical Bull” (RCA) *** Three years after the Kings of Leon’s last record, the edgy, gravely rock foursome return in top shape with “Mechanical Bull.” The album takes the band’s unique sound the recognizable longing guitars and Caleb Followill’s growl and adds a hint of melancholy and a stillness that gives the songs an aura of contentment. Nervy desire and wildness is still present in their music, most prominently in “Tonight,” with its sexy vibes of earlier hits that hinted at mad tumbling into lust, and in the obsessive strummings of “Wait for Me.” The playful notes of the first single, “Supersoaker,” set the tone, adding a sense of giddiness to the proceedings. “Don’t Matter” goes full-on rock in the beginning but is gradually imbued with a hint of Billy Joel. “Temple” starts out noisily and morphs into the confident stage presence of a rock star. “Beautiful War” rounds up the sound with a heartfelt ballad that showcases Caleb’s voice. And “Family Tree” sounds like an old man trying to give advice to the young, who think they know better than everyone else. Despite tackling the familiar themes of drunken nights and tentative love, the songs weave the story of a man who knows the meaning of being lost and who has finally been found. “Mechanical Bull” isn’t the anguished edgy ride you’d expect from Kings of Leon but a fun, stirring experience you don’t want to end.
Pending Legislation Could Cripple Consumer Music Choices
While some will still buy CDs that house the latest tunes and games, devices and services such as Apple Apple s iTunes, iPod, iPhone and the iPad, Spotify, Pandora Media Pandora Media as well as streaming services from Netflix Netflix and others has had the same impact on music that Amazon.com Amazon.com , Kobo and others have had on book publishing. There have been changes in business models that been beneficial to those companies mentioned above that either saw the future and embraced it. There have also been companies that have struggled along the way. Some companies, like The New York Times, are trying to find their way while others like Newsweek have been forced to embrace an all digital model. Beneath the distributors of content Apple, Spotify, Pandora, newspaper and magazine publishers and so on the ripple effect is also being felt on content creators musicians, authors and the like. While authors are seeing their articles and books downloaded, musicians have seen the playing field shift from consumers having to buy entire albums regardless of the format to individual tracks. No loner does the the music industry book the bulk of its revenue on a per album basis, but rather on digital singles. Despite that economic shift, airplay on broadcast is still the number one determinate of whether a song is a hit or a bust. For generations, music played on broadcast radio was viewed as promotional material for the artists. While companies in other industries pay to get their material on the air through ad sales, musicians and their record labels get their promotions for free. Even today, 240 million Americans still listen to broadcast radio, even as competition for listeners becomes stiffer thanks to MP3 players like iPods and cell phones, satellite and Internet radio. Even as Internet radio grows in popularity and I expect it will given the install base of Apples new iRadio, the costs make profitability difficult to achieve because the government royalty board at the Library of Congress determined that Internet radio stations like Pandora pay six times the royalty rate of other mediums. Some in the music industry have recognized the changing landscape and have begun negotiating comprehensive deals that acknowledge the current multi dimensional aspect of the industry today. Warner Music Group and radio giant Clear Channel (CCO) recently agreed to a deal where Clear Channel agreed to compensate Warner and their artists when their music is played on the air and in exchange, Warner agreed to lower the royalty rates for music Clear Channel streams on the Internet. The Warner Music Clear Channel deal benefits both companies Clear Channel will gain profitability on the growth of streaming music while Warner Music will get compensation for music played on the air. And the consumer get what they want a wider range of music selection and the ability to consume that content where they want and how they want. Despite the progress made by Warner Music and Clear Channel, there are those in the recording industry are seeking a governmental solution that would again give them the upper hand at the expense of consumers.