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Kelly Clarkson - Wrapped In Red I'm still trying to get over the fact that Clarkson needed the assistance of 14 DIFFERENT PRODUCERS to make her last album, Stronger, which sought to portray her as, you know, a strong and independent woman and all that other bullshit used to make her fans feel like they're not being hornswoggled by an industry bent on, well, hornswoggling them for fun and profit. See, if Kelly wasn't in on it, she wouldn't be releasing a holiday album of the same old played-out songs ('Have Yourself A Merry Little Christmas', 'Blue Christmas', 'White Christmas' and so on) mixed with a handful of innocuous original Christmas songs penned by Clarkson and those ever-present co-writers who do the grunt work while she reads a magazine (aka 'The Avril Lavigne Method' of co-writing). See, the only reason Clarkson is writing her own Christmas songs is for the ROYALTIES generated year-in and year-out by holiday albums. Just by having her rag-tag tunes associated with the likes of Irving Berlin and Rodgers & Hammerstein means that she will continue to see royalties on this record well into her golden years. The one saving grace is that she covers an Imogen Heap song, 'Just For Now', which means Heap will get a nice chunk of change, too and that's not all bad.

It's still a completely forgettable and by-the-numbers album that doubles as a cure for insomnia. Arcade Fire - Reflektor It pains me to say this, but the most listenable, groundbreaking artist of the modern age is not an overly-entitled hip hop messiah with undiagnosed autism, but, rather, a seven-piece band from Canada, which is weird because, last time I checked, only mediocre crap comes from Canada. Cruel, I know, but it's true.

Ah, but these savvy Canucks have obviously been studying their Clash and Talking Heads records all these years. While that isn't enough to make them original, it at least makes Arcade Fire that much more entertaining as we play 'Name That Influence' while the album plays. There's the Bowie influence sprinkled throughout the title cut, the Clash-style guitars on 'We Exist', Wall Of Voodoo's 'Mexican Radio' crossed with reggae Clash and unleashed upon the world 'Flashbulb Eyes', and so on. It's all nice sounding and all, but what's the point?

Duck The Halls: A Robertson Family Christmas My god, please make it stop. It's bad enough most of us that have never seen an episode of Duck Dynasty can't go anywhere without seeing the results of some overly ambitious product manager stuck with the responsibility of slapping those fucking cheesy beards on everything from body pillows to notebooks to coffee mugs to eyeglass frames to, sigh, holiday albums. Those who might actually be interested in purchasing this album can either pay full price now or 25 cents next summer when all this Duck Dynasty crap starts showing up at every yard sale on the block, thereby revealing our neighbors as complete morons.

Nick Lowe - Quality Street: A Seasonal Selection for All The Family Considering that his label (Yep Roc Records) roped him into this one kicking and screaming, Nick came up with a real fun romp through original holiday tunes ('Christmas At The Airport' and 'A Dollar Short Of Happy') that alternate between painful and humorous - sometimes within the same tune - little-known traditional holiday tunes, and ambitious reworkings of holiday favorites that come off sounding fresh and new, which is hard to do with 'Silent Night', but damn if he doesn't pull it off. I never thought I'd be reviewing a Nick Lowe Christmas album, but it is no coincidence that it was the most enjoyable album I reviewed this week.

We're reaching a period in time where a lot of really big trees are going to start falling. It will be inescapable, unavoidable and it will shake us to our core because we will then realize that there are no more heroes because we stopped making them. And so went my Sunday morning high (a combination of football on TV, cup of hot coffee in my hand, and watching the dogs frolic in the yard) upon reading the news today - Sunday, October 27th - and learning of the death Lou Reed earlier today. I hope for their own sake that the young kids realize how truly heavy this guy was and don't just roll their eyes as the rest of us pay our respects. Like many, I have Peter Buck to thank for turning me on to Velvet Underground in the '80s. Upon learning of their existence, I immediately felt robbed, as if I had uncovered an elaborate conspiracy. How could this awesome music have been kept from me all these years?

I remembered thinking that this was no accident. One listen to VU was like diving into a warm, welcoming pool of subversion. The music itself may not have been so sinister, but the beautifully crude production and Reed's detached monotone vocals made it sound like something smuggled out of some communist country during the war. Despite the thundering commercial disappointment that had been VU, Reed graduated to RCA Records after a brief retirement from music and made his first solo album, Lou Reed, with members of Yes.

A mere seven months later, he would return with Transformer and the trajectory of his career would be forever changed. For that album, he'd traded Steve Howe and Rick Wakeman for David Bowie and Mick Ronson and the musical results were, in a word, breathtaking. I still can't quite believe that a song that unabashedly decadent could still make it into the Top 20, but it did and we are all the better for it. How could it not have been a hit, though? With that iconic bass line, hell, you could have sung the phone book and it would have still been great.

Reed, of course, was singing about a handful of the Factory's more colorful, boundary-pushing characters, including Candy Darling, who was immortalized in the lines 'But she never lost her head/Even when she was giving head'. Yes, Lou Reed was cool enough to rhyme 'head' with 'head' and get away with it. Whereas Transformer had celebrated the joyful decadence of its characters, Berlin detailed their decline into drug use, depression and suicide. It was at this point that Lou Reed transcended simple pop stardom and became the first author to narrate his own stories, going so far as to set them to music.

If the job of a narrator is to paint pictures with words, Lou Reed was - without question - one of the greatest narrators of our time. KMFDM at Bottom Lounge 7PM This former Wax Trax! Act doesn't simply rest on their past accomplishments, which are man y, but continue to forge ahead with ex-Drill singer Lucia Cifarelli joining group founder Sascha Konietzko to take KMFDM slashing like a hot knife through butter into the second phase of their career. Their latest album, Kunst (German for 'art') shows Sasha and Lucia continuing to challenge the set boundaries of industrial music by embracing brutality and melody in equal amounts.

The result is a live show that will have you chanting along to one monstrous anthem after another as the band continues to push the musical envelope at every turn. Those who think they've heard all that KMFDM have to offer stand to miss one of the absolute best live acts on the industrial scene, but those of us who know better will be there with bells on.

Voodoo Glow Skulls, The Toasters at Reggie's Rock Club 8PM If you're one of those folks who was heavy into the ska-punk movement during its brief nineties commercial peak, but haven't thought much about it since, oh the great music you've been missing. Those looking to get back on the horse won't want to miss this Friday night gathering of two of the genre's best bands; Riverside, California's Voodoo Glow Skulls and 'third-wave' ska legends The Toasters. You sure as hell can't beat the ticket price. There are few musical pairings that will illicit a louder 'WTF?!'

Than the new duet project from Green Day frontman Billie Joe Armstrong and jazz-pop songstress Norah Jones. While we do not begrudge either artist the chance to shine sorely-needed light upon the songs and locked-in vocal harmonies of brothers Phil and Don Everly. 'I've been a big fan of The Everly Brothers since I was a little boy,' Armstrong says. 'A couple of years ago, I discovered Songs Our Daddy Taught Us for the first time, and I fell in love with it. I was playing it every day and thought it would be a cool idea to re-do the record, but with a female singer. I thought of Norah because she can sing anything, from rock to jazz to blues, and I knew her harmonies would be amazing.

I thought the songs would take on a different meaning working with her, and she has a really good ear for arrangements. I was mainly intrigued by these old traditionals, country songs, and hymns. When we were done with the album, Norah looked at me and said, 'I bet you didn't think you were going to make a country record, huh?' The Tourists 'Immune To Life' (LIVE) 1979 Thanks to YouTube, we have the chance to catch up on bands we totally missed seeing thefirst time around. As much as this writer may have loved The Tourists as a kid, unless we actually grew up in Britain, we missed seeing them on TV shows like Revolver.

Thanks to those who were kind enough to record such musical events at the time and upload them to YouTube decades later, those of us who totally missed such awesomeness are able to do some catching up. The first thing you'll probably notice in this clip of the Tourists performing 'Immune To Life' is that they seem to be performing to an audience of carbon-based robots. If the second thing you notice is that the fiery blonde keyboardist looks a little like a punk-rock Annie Lennox, that would be because that IS a punk rock Annie Lennox playing keys in The Tourists. The bassist is Dave Stewart, who would form Eurythmics with Lennox shortly after this band's demise.

Knowing their fate as we do only makes this clip that much more amazing. Thavius Beck 'Chopping Samples' in Ableton Live 9. Wanna learn the latest recording software, but hate wading through poorly-written manuals?

Thanks to YouTube and talented mofos like Thavius Beck, a popular recording artist who also doubles as an Ableton Certified Trainer happy to share his knowledge via real-world applications, thereby trimming your learning curve considerably and turning you on to things no manual would have taught you anyway. It doesn't stop there, as there are thousands of instructional videos for every recording software package you can imagine. Not to mention those showing you how to play the guitar, bass, drums, and so on. Boomtown Rats 'Banana Republic' Live 2013 You just heard your favorite band has gotten back together, but you wanna make sure the original singer is in the band before you pay good money to catch their show when they come to America next summer? In the case of Boomtown Rats, Geldof is indeed back with the band, having agreed to 'get the band back together' last spring to help out a couple members who'd fallen on hard financial times. Say what you will about the man best known for organizing Live Aid and the Band Aid sessions that yielded 'Do They Know It's Christmas', he can still bring it live.

The Alarm 'Reason 36' (Audio Only) Can't find a copy of that UK-only B-side anywhere, not even on the band's deluxe reissues series, and are starting to doubt your own sanity? Is it possible you dreamed the whole thing? Of course not. A quick search of YouTube will usually restore sanity, not to mention your belief in rock & roll. For us, we'd long loved 'Reason 36' from The Alarm and were dumbfounded by the song's absence from the band's deluxe re-issues of their catalog, each with tons of bonus tracks, but none of them 'Reason 36'. Having unsuccessfully scoured every other source for hard-to-find tunes that we could think of, it was YouTube that would ultimately come through for us! 'It's Slade!'

BBC Documentary (1999) Did you know that the band that wrote 'Cum On Feel The Noize', which Quiet Riot would cover years later, got its start as a skinhead band? For we rock nerds who devour any rockumentary we can get our hands on, YouTube is a treasure trove of rock docs on bands famous and not-so-famous. As far as Slade goes, they're a national institution in Europe, and rightfully so, but the answer to a trivia question everywhere else in the world. Thanks to YouTube, though, we Americanos finally get to watch the band's BBC documentary from 1999 and have our minds blown by the awesomeness of SLADE!

Reading reviews these days is essentially pointless because you could just as easily truck on over to your streaming site of choice, listen to the album, and form your own opinion. Buuuut, since you're already here, then allow us the pleasure of listening to the new Pearl Jam album for you. Afterwards, we'll tell you whether you like it or not. Keep in mind that we are not, by any stretch, big fans of Pearl Jam.

Quite the opposite, in fact. See, back in the day, a rave review of their first album, Ten, led us to investigate this new 'grunge' movement. Needless to say, we weren't nearly as impressed as the millions who raised the band's profile to that of the Stones to Nirvana's Beatles and so began our decade-long loathing of everything Pearl Jam. But a funny thing happened on our way to listening to the band's last studio album, 2009's Backspacer. It turns out that when PJ dispense with the grunge posturing and just kick out the jams motherfucker, they're actually capable of turning in stellar tunes like 'The Fixer' and 'Just Breathe'. Was Backpacer a detour or a sign of things to come?

Four years later, we get our answer in the form of Pearl Jam's tenth studio album, Lightning Bolt. Whereas Backspacer showed the band embracing a more pop-oriented writing style, Lightning Bolt sees them eschewing such immediacy for a slow build that grabs you without knowing and then refuses to let go. The title cut and 'Let The Records Play' are both energetic doses of guitar-driven commentary delivered by a singer in Eddie Vedder who has obviously learned a few tricks over the years. Sure, there are the occasional songs that see him fall back on the mewling vocal style that influenced the likes of Scott Stapp, but Lightning Bolt is most remarkable for being a showcase for Vedder's intensely nuanced vocals. In other words, the man can really fucking sing and, on this record, its all the rest of the band can do to keep up.

Will old school PJ fans dig the new LP as much as we did? The answer, of course, depends on whether such fans merely want their heroes to record Ten, Part Two or to continue to push against those confines. While both factions will find at least something to like on Lightning Bolt, the latter will flip their wigs at how Pearl Jam has managed to relay outrage and urgency in subtle ways rather than by trying to hammer their way through like they did through much of the '90s. Verdict: It's a winner. The answer is 'Spirits In The Night', taken from their 1975 album Nightingales and Bombers. So, all of this begs the thought.why hasn't Bruce ever hooked up with these guys?

They obviously have an affinity for interpreting his material - much like The Byrds had with Bob Dylan -and they aren't all that different from the E Street Band in a lot of ways and both he and the band are still active concerns. Just throwing that one out there. Regardless, for those wanting a real musical treat, we urge you to check out the band's 1980 album, Chance, as it's a tasty synth-heavy rock album that was very much ahead of its time. Agreed, they weren't the most photogenic band to ever hit the stage, which is probably why their output during the 'MTV years' is largely ignored, but when the jams are this good, who cares? The album opener, 'Lies' (which we'll be discussing next week for a completely different reason, so stay tuned!), will also have you slapping your forehead again for not have known of its existence until now. You're forgiven, of course, better late than never!

Nirvana - IN It's a slam dunk, considering that this is the band to last change the face of rock & roll, breathing new life into a slumping music industry. Sadly, part of me thinks that when Kurt Cobain died, rock & roll died with him. More accurately, Nirvana splashed paint on the last remaining blank space on a mostly-filled rock & roll canvas spanning five decades. It's been 22 years since Nevermind came out, but it still seems like a lot of bands are trying to be a Nirvana, albeit one on steroids. Kiss - IN ABOUT FUCKING TIME. Of course, this is only a nomination at this juncture, but if they don't get in, there will be an uprising that will make the L.A.

Riots like a church picnic. Lots of old guys in make-up, but the pyrotechnics will be amazing.

They really should have gone into the RRHOF on the very first ballot, seing how absolutely influential this band has been. Next to the Beatles, no other band is more responsible for enticing multiple generations of young kids to pick up instruments and start their own bands. Plus, they were groundbreaking in a visual and marketing sense, not to mention that a few of those early albums are actually pretty good. Destroyer and Love Gun are to many what Rubber Soul and Revolver had been to their parents. The Replacements - OUT I hope with all of my being that I'm wrong about this one. As much as they were an influence on countless bands and deserve to go in on the first ballot, they've never wanted to be a part of any club that would have them.

Maybe that sentiment is what'll make it very easy for a selection committee to say, 'Eh'. Ah, who am I kidding? They were on Sire, which was headed by Seymour Stein, who is now a notable RRHOF committee member. Plus, everybody wants an all-star jam featuring KISS and the Mats.

Hall and Oates - IN This one is sooo overdue. Forget the songs and albums that we all know and love, there is so much genius to be found in their early albums for those who care to listen. Abandoned Luncheonette, Beauty On A Back Street, Along The Red Ledge, each an amazing album that completely embodies a time when the barriers of rock and soul often overlapped. Still not convinced?

Listen to Voices and witness the exact moment that they hit upon the, dare we say, formula that would propel them to the top of the charts for much of the '80s. On a side note, those making fun of John Oates for being short and not doing anything are totally missing the fact that he looks like Cheech Marin in the above video. Paul Butterfield Blues Band - OUT Their greatness notwithstanding, this is an odd addition to an otherwise stellar list.

I just don't see them elevating the ceremony by getting in, but if they are owed a favor or Seymour Stein is a big fan, they could get in. Chic - IN This is, what, their third time being nominated? Wow, you wanna talk about influential. A band with just Nile Rodgers would be an amazing band but this one also had Bernard Edwards. Add established funk drummer Tony Thompson and a stunningly beautiful singer by the name of Norma Jean Wright to the mix and you have a band that remains just as groovy and funky as when we first heard them in 1977.

Those already familiar with the classic early Chic records, should check out Norma Jean, the 'solo album' cut by Wright and the rest of the band immediately following the massive success of their debut. It's essentially the band's second album.

Deep Purple - OUT For all of their greatness, these guys are the Charlie Brown and Rodney Dangerfield rolled into one. They should be held in the same high regard as Black Sabbath, if you ask me, but they never seemed to get the respect they deserved. Maybe that's starting to change, as I swear that I've been hearing their songs in those new Ford commercials, but is it enough to get them into the Hall?

Peter Gabriel - OUT This guy has always marched to his own drum. He's a maverick. Would there by a Roxy Music without Peter Gabriel first dressing as a flower?

His solo career has flown at a pretty high altitude for many years without Gabriel making a single artistic concession. Sure, he let the record company call the album 'So', but that album alone warrants induction into the Hall of Fame and anyone who disagrees has simply not heard the album. LL Cool J - IN A rap act will get in, no two ways about it, but will they induct two in the year? I'm not so sure these aging music industry heavyweights have it in them, so, of the two, LL Cool J gets in. Despite his attempts to prove otherwise (Mama Said Knock You Out and what appears to be a lifetime membership to 24 Hour Fitness) he always seemed like a lightweight to be.

Having said that, I can't deny the impact he had on the mainstream rap community. - OUT Second time nominated for this pivotal West Coast rap act. Torrent Discografia Extremoduro Completa here. The impact on the underground rap community made by Straight Outta Compton was seismic. It was so huge that its influence was felt by the mainstream rap community, who were now forced to toughen up their act or be forgotten (and why LL was essentially forced to make Mama Said Knock You Out). They were the first rap act to provide a 100% real, unadulterated snapshot of the urban Beirut that was (and is) South Central L.A.

Listening to the album 25 years later, it still unfolds like a movie and bursts aflame with an adrenalin-filled intensity. Like the Sex Pistols, they prove sometimes it only takes one album to make your mark. They deserve to get in, but LL will get the nod. Hope I'm wrong. Link Wray - OUT I think more people know the name than they know what the name means, even so, the man deserves his own fast lane into the RRHOF for inventing the 'power chord'. But he just doesn't have the massive catalog of hits to warrant entrance into the Hall, if you ask me.

The Meters - OUT Let's face it, the Meters are New Orleans. Though they never seemed to get their just due in the mainstream, their influence is felt far and wide. They still don't quite get in, though.

Linda Ronstadt - OUT She's already gone on-record saying she doesn't care one way or the other if she gets in, but she's also suffering from a serious illness that makes her unable to sing anymore. She should be inducted based on her first two albums alone. Everyting after that was just a hat that she tried on in hopes of continuing her chart success. As it became more and more evident, she became less and less regarded, but Cat Stevens, Yes and the Zombies, all worthy picks, just don't have the necessary OOMPH to warrant induction. Having said that, they all belong in the Hall, especially my beloved The Zombies.

If you think about it, all major artists, regardless of their genre, get locked into a single snapshot moment of their career. That moment, of course, is dictated by their period of greatest chart success. For example, The Knack were forever locked in time the moment 'My Sharona' spent its sixth week at #1. It was the sort of monster hit that could easily kill the career of a lesser band with nothing to match a fluke of musical perfection. That they managed to scored immediately with another monster hit in 'Good Girls Don't' is proof of their musical superior to 99% of their peers who went on to have lengthy careers of mediocrity. I like to imagine if 'My Sharona' hadn't happened, would The Knack have been as successful if 'Good Girls Don't' had been their first single. Would it have been seen as lightweight and flopped, or would it have given them something to build upon.

As I smoked a cigar on the patio and wondered if today would be our last day of Indian Summer, one of those ridiculous Barcalounger motorcycles sped lurched past blaring Alanis Morissette's 'Hand In My Pocket.' I sat incredulous for a good minute or so as Morissette's recognizable howl trailed off, but could still be heard at what I presumed was now a great distance. I wondered what it's like to be Alanis. She's obviously matured and mellowed over the years. Could you imagine her out there singing in ALL CAPS like that in her fifties? In a way, that would be bad-ass and I'd probably respect the hell out of her.

From a distance. Regardless, she's almost forced to revisit her younger, openly neurotic self every time she does a shed tour. Procol Harum Torrent Pirate Bays.

Alanis has become accustomed to a certain lifestyle - Malibu estates and fashionable French merlot bought at auction don't pay for themselves - so every summer/fall she tours the biggest rooms she can fill (she played the Riv a year ago yesterday) and, in doing so, summon up the energy each night to blast into those bratty 'Jagged Little Pill' tunes. I mean, try as she might to go 'unplugged' or revamp some of her more popular songs, people will always want to see her tearing around the stage and ripping her hair out. Still, you must admit, when you found out 'You Oughta Know' was about Uncle Joey from 'Full House', you threw up in your mouth a little. The idea of an impressionable young girl lured to the glitz and glamour of Hollywood by her dreams of rock stardom only to be chewed up and spit out by 'funnyman' Dave Coulier. Hell, he must have been hanging out at the bus station back then, just picking them off one-by-one. 'Yep, it's really me. Can I drive you somewhere?'

Teenage Canadian girls probably found him cute and HILARIOUS. I mean, what else do they know besides Michael J. Fox and Bob & Doug? While it's widely known that Carly Simon wrote 'You're So Vain' about someone in particular (which makes the line 'you probably think this song is about you, don't you, don't you, don't you' the most perfect bit of lyrical mind-fuckery EVER).

Her true genius, however, was keeping the person's identity under wraps. That way, jilted lovers everywhere could still identify with the song. As a result, she has enjoyed a lengthy career of singing while we try not to stare at her nipples, which never fail to make an appearance. Like you, I was stunned when she finally re that the song was written after a brief but passionate affair with Dave Coulier. The ones I feel most sorry for are, although I really don't, are those hair-metal guys. See, the one thing you never think about when you're a rail-thin 26-year-old headlining stadiums and shagging anything that moves is 'How silly am I gonna look in this outfit thirty years from now?'

Poison, Ratt, Motley Crue, Aerosmith, all those guys got locked into a very detail-intensive look, full of tight leather, crazy hair, tons of make-up. But no other band fucked themselves harder than KISS did.

Can you imagine how many times those guys have put on and taken off all that make-up and those costumes over the years? Thing is, they'd actually managed to distance themselves from it after they took their make-up off. The hilarious part was that when they finally did take off their make-up, Ace and Peter were gone, so we were supposed to be blown away by, uh, seeing Eric Carr without his make-up? Which makes me wonder how gracefully Lady Gaga will age in front of a public that will always demand she revisit her younger, more clothing-free self. Watching Madonna wander into her mid-fifties hasn't been pretty.

More than anything, thought, It makes us realize that we are ALL getting older and that youth is, indeed, wasted on the young. Oh, Madge, we had some good times, didn't we?

Just please don't tell us you wrote 'Open Your Heart' about Dave Coulier, okay? Every so often, though, comes an artist or two you just can't wait to see hit that career wall. You can just tell that they have NO fucking IDEA that they won't always be 23 and that someday the young fans will just.move on. But will I feel sorry for a mid-fifties Taylor Swift having to wind herself up to yodel her way through a song she no longer identifies with at the grand opening of some new Soft Rock Resort and Casino in Istanbul a day before Christmas? Will you when you find out that YOUR favorite Taylor Swift song was written about Dave Coulier? Come on, you didn't see that one coming??

Okay, we've now reached the ADVICE portion of our sermon for today. Now, before you dismiss this tidbit of advice, thinking it'll never happen to you, let me remind you that you should be so lucky. First, don't release any song you won't feel stupid singing in thirty years.

Good problem to have, right? Ask The Bangles every night they have to play 'Walk Like An Egyptian'. Secondly, keep right on penning that bitter break-up song that will change your tax bracket forever, just promise never to tell ANYONE who it's about, okay? Last but not least, DRESS RESPONSIBLY!

Are those skin-tight pink leather pants something you wanna be greasing yourself into twenty years from now? I rest my case! Click here to enjoy of The Ten Best 'FRIDAY' Songs EVER!

'Friday Night' by The Darkness While most of your typical 'Friday' favorites joyously celebrate the end of a grueling work or school week and look forward to a night of meeting up with friends or, better yet, that specal someone. In the hands of The Darkness, though, 'Friday Night' is a wistful look in the rearview mirror as awkins finds himself still pining for the affections of another, who may or may not have known he existed at the time.

'See the lady I adore Dancing on the dancing floor Dancing on a Friday night God, the way she moves me To write bad poetry Dancing on a Friday night With you.' 'Cool One' by Starz 'Friday night and my work's all done/I'll get my baby, go and have some fun' begins this Stonesy rocker from easily one of the most underrated bands of the last century. The tasty riffage from twin guitar gods Richie Ranno and Brendan Harkin lays the foundation over which singer Michael Lee Smith spins a playful yarn of picking up his favorite gal, laying rubber in front of her dad, and spending some quality time in a dark theatre where 'She reached over and squeezed on my rocks/I lost it all in a popcorn box'.

For that line alone, this song deserves to be heard.and worshiped. 'Bad Girls' by Donna Summer 'Toot toot, hey, beep beep' begins the playful refrain to this odd ode to Friday nights from the viewpoint of a, ahem, street prostitute. 'Friday night and the strip is hot/Sun goes down and about to trot/Spirits high and babes look hot/Do you wanna get down?' Written by Summer, label head Neil Bogart originally suggested she give the track to Cher, whom he had signed to his label, but Summer held onto the song instead, saving it for what would be the biggest-selling album of her career. Following hot on the heels of 'Hot Stuff', 'Bad Girls' would also rocket to #1 in the U.S., but her dissatisfaction with being portrayed as a sexually-charged disco singer led her to leave Casablanca in favor of being the first artist signed to David Geffen's new imprint, Geffen Records.

'Just Got Paid' by Johnny Kemp 'Just got paid, it's Friday night' begins this 'monster jam' from Bahamian singer Johnny Kemp As one of the pioneers of the New Jack Swing movement in the late '80s, Kemp wrote the lyrics to this tune for Keith Sweat, but Sweat would later pass on the track. Realizing the song's potential, Kemp's own demo of the track was later released as-is by Columbia, became a Top 10 pop hit, and scored a Grammy nomination in 1988. Kemp has yet to make another album, but, considering N'Sync covered the song on their No Strings Attached album (U.S. Sales over 11 million), he probably doesn't need the money. Instead, Lorde merely did what many great pop songwriters before her have done and chose to write in the broadest terms possible, so as to reach the most people possible. 'Pop' is short for 'popular' after all.

And there is no culture that celebrates consumerism more than hip-hop culture, with its loathsome 'riches and bitches' mentality that has now been co-opted by suburban kids, soccer moms, and.Madonna. To suggest that a then-unknown 15-year-old New Zealand singer hoping to establish herself in the music industry would choose to write a racist pop song that would then be released by the international music division of a huge global media conglomerate, broadcast on commercial radio stations from here to the planet Mars, and heard by millions of people around the world (and Mars) and that you're the first person to catch it is truly one of the funnier things I've heard in a long time. It's a pop song, after all, not a masters thesis. See, unike hip-hop or rap music, where the goal is to jam as much braggadocio and misogyny into every line while still leaving the requisite space for a 'motherfucker' or two, pop vocals are more melodic and a priority is placed on saying the most in the fewest words possible. When Brett Michaels wrote 'Every Rose Has Its Thorn', everybody else on the planet who heard it knew he was painting a picture we could all relate to in the fewest colors possible. You, on the other hand, probably jumped to the conclusion that the singer had dedicated himself to years of intensive research and was unequivocally stating for the record that, indeed, EVERY rose did have a thorn.

Naturally, knowing that those projections that run along the stem of a rose aren't actually thorns, but prickles, you begged to differ, Also, anyone with the least bit of botanical experience knows that thornless roses may not be plenty, but they do exist. Take the Bleu Magenta, the Chloris, or the Goldfinch, for example. It was no doubt crystal clear to you that, at its very core, Michaels' research was intensely flawed and not yet worthy of publication. Therefore, I would kindly suggest that you shift your focus to bugging Bret Michaels and realize once and for all that the aspects of hip-hop culture that you seem to hold so dear no longer belong to you, but to the world. Kinda like rock & roll, which, as I'm sure you know, was based on the blues, jazz and gospel music - all musical genres that have their origin in the African-American community, but now belong to us all.

Yours truly, The Shit. #2 - Jann Wenner screams at an intern on their first day for not knowing how he likes his coffee. They burst into tears and immediately run back to their cubicle, completely oblivious to the fact that Mick Jagger is also in the room. Jagger turns to Jann and says, 'Well, that was mean-spirited.'

Stunned to his core, Jann Wenner immediately tosses Jagger out of his office. He immediately heads to Twitter and types out 'Just tossed @MickJagger out of my office and made an unpaid intern cry.' Before he did, though, he did a quick Google search.

Back in 1986, I remember opening the latest issue of NME and reading about this 'great new band' called Sigue Sigue Sputnik. They were cheeky in their 'Fleece The World' t-shirts, a sneering critique of Live-Aid's 'Feed The World' mantra. It was a sentiment I understood, but found to be just a tad too jaded for my taste. It was the '80s after all. SSS were soon everywhere. As with all overnight successes, the handful of years the band spent germinating underground, supporting Johnny Thunders, was never reported. All we heard was that Sigue Sigue Sputnik were the biggest band on the planet and, as a result, they would be selling commercial ad space between the songs of their debut album, Flaunt It.

The nerve of those guys. Not only were they proclaiming that 'the music' was secondary to 'the look', they had freakin' ads between their songs. Considering most of us were already fast-forwarding past commercials whenever possible, the idea of buying an album with commercials on it seemed absurd. Of course, in the 27 years since Flaunt It was released, Sputnik mastermind Tony James has come to look like freakin' genius, at least as far as predicting how Music and Commerce would become intertwined in ways that once seemed unimaginable. So, was Tony James really a genius decades ahead of his time? While I appreciate his tireless dedication to the premise, ultimately, I just don't think Spigue Sigue Sputnik had the songs.

Plus, ABC came along a year earlier employing much the same schtick and hiring two non-musical members based on their appearance alone. They'd also had great songs to back it up, scoring huge hits with 'Be Near Me' and '(How To Be A) Millionaire'.

In a way, forming Sigue Sigue Sputnik was the most 'punk rock' thing Tony James ever did. In doing so, he bypassed a myriad of other potentially high-profile opportunities that might have brought him more success, but at the expense of his integrity and self-respect. And, yes, that is a pink pineapple wig Tony's wearing. Technically, James could do no wrong in my book. As the guitarist for original UK punks Generation X, his street cred was forever solidified. Still, he was anything but high profile in those pre-internet days. I went literally years with my ear to the ground so as not to miss the faintest rumble of activity.

There were rumors that he was forming a band with Steve and Paul from the Pistols, or that he'd started a band with Stiv from the Dead Boys, but none ever panned out. Years drifted by with nary a whisper and then, BLAMMO, he and Sputnik were everywhere. For all the constant demanding of our attention, what did Sigue Sigue Sputnik really accomplish?

What's their legacy? I decided to try answering that question for myself by revisiting Flaunt It. After all, it had been produced by the almighty Giorgio Moroder, so how bad could it possibly be? Of course, that carries more weight now than it did then simply because Moroder's reputation has had thirty years to be carefully cultivated into the monolithic legend that it is these days. Fortunately for him, very few people remember that he produced Flaunt It.

Not that I think SSS gave him much at all to work with song-wise. The album is, for all intents and purposes, 11 variations on the same song ('Love Missile'), which wasn't really such a barn burner in the first place. Imagine reducing the very core of Eddie Cochran's sound to a single bass line and a Dixie Cup snare then photocopying it for the express purpose of making photocopies of each photocopy, until the original is rendered illegible. Thankfully, there is so much more to the Sigue Sigue Sputnik story that you and I might have never known if not for Tony James' affectionate (and detail-intensive) retelling of the entire story on the.

This admittedly riveting 'in his own words' glimpse into the world of one of punk's godfathers as he painstakingly dreams up his next musical project and takes it all the way to #1 is a must-read for any music nerd. Out of the many revelations, the one that sticks with me the most is how big a supporter Mick Jones from the Clash had been, going so far as to run sound for the band's early live shows. Can you imagine showing up to see Sigue Sigue Sputnik and one of the main guys from The fucking Clash is running sound? Naturally, when he got sacked by The Clash, his schedule opened up considerably, yet it seems to have never occurred to James to, I dunno, form a band with Mick Jones since both were exploring the same dub-oriented territory anyway.

Of course, Jones would go on to form Big Audio Dynamite (a name someone in the SSS camp came up with, it turns out) before eventually.some two decades later.forming Carbon/Silicon with, you guessed it, Tony James. Most us know them as 'who?' , but when we hear this song, we're transported to a time when style and love and music were all you needed to 'get lucky'.

And nobody was wearing helmets, if you catch my drift. The video is relatively new to us (thank you, YouTube!), but serves only to confirm the dreamy escapades taking place in our minds all these years. We're all dying to know if that's Isaac Hayes doing the low, sexy 'Thank God It's.' But we're in no hurry because, you know, we dancin', baby. On the serious side, knowing that 'Love & Kisses' is the name of the band responsible for this sweet-ass mega-jam will make you look like a genius at the next bar trivia event. The mad juxtaposition of dark themes awkwardly stitched to sugary pop confections was The Cure's main calling card.

Serious question: Is there a better modern-day pop songsmith than our beloved 'Bacharach in Black? Of course, we always wondered if and when they'd dispense with the foreplay, so to speak, and close the deal - unleash that 'K-Tel all-time-greatest-hits' of a song and take a stab at the brass ring of pop stardom. This time around, Robert Smith's make-up and electric-shock hairdo serve only to distract you while your ears go into sugar shock nirvana. It (almost) pains us to admit it, but everything about this song (and movie-format video) is pitch-perfect. The way we judge this stuff has always been 'Would it have been a hit in the '80s' and rarely is the answer ever yes (sorry P!nk and Avril and Zzz), but this one is different.

Of course, it's an homage to the decade, but so lovingly done (by usual suspects Dr. Luke and Max Martin) that it succeeds in turning back the clock and that's the one thing all great Friday songs have in common.

Now come on, let's go break the law. 'Friday On My Mind' by The Easybeats Equal parts 'Paint It Black' and 'Kicks', The Easybeats' supremely subversive 'Friday On My Mind' strikes gold with it's endless entendres, or are they? Whether he's singing about a girl or heroin (more evident in the Bowie ), the beauty is in the choice being left up to the listener. Easily the band's finest hour, the song (and album) would inexplicably go unreleased in the band's home country of Australia while topping charts around the globe. Main songwriters George Young and Harry Vanda would go on to play a much larger role in shaping rock history as producers for George's two younger brothers' band, AC/DC. Is there any artist cooler than Andrew Bird?

The guy has always had this wonderfully unique way of looking at the world. As a result, he has amazingly avoided the usual career obstacles by doing things in a way that's singular to the music that he is performing. It's never about him, always the song. In Bird's case, the songs are more than worth being placed upon a pedestal. Are they worthy of worship, though? Andrew Bird seems to think so! From the press release: Andrew Bird reprises his intimate “Gezelligheid” performances this winter at Chicago’s Fourth Presbyterian Church, and for the first time on the west coast, in San Francisco and Los Angeles.

Appropriating a Dutch term that loosely translates to “cozy,” the performances concentrate mainly on instrumental violin pieces amplified only by Bird’s signature giant Victrola horns Bird notes, “What I hope to do with these shows is adapt my music completely to the atmosphere of the space and the season. I want the audience to be both lifted and comforted as we head into another cold and dark winter. I feel the space should be sacred so the audience can experience my music in a different atmosphere.” On December 9 & 11, Tift Merritt will be joining Andrew for a portion of the evening’s performance. The Gezelligheid Concerts will take place in Chicago on December 9, 10 & 11 at Fourth Presbyterian Church, located at 126 East Chestnut Street, on the corner of Michigan Avenue and Delaware Place (across from the John Hancock Center).

Showtime is 8:00pm each night. Tickets Go On Sale Friday, October 4 at 10am.

All tickets seated general admission ($45 / $40) will be available online at eTix.com. To charge-by-phone call 800-514-ETIX (3849). TICKETS ON SALE THIS FRIDAY OCTOBER 4 @ 10AM.

Frontman Siddhartha Khosla of Goldspot performs in in 2012 Background information Origin, Genres Years active 2001–present Labels Union Records Website Past members Ramy Antoun, Seth McLain, Sergio Andrade, Derek Horst Goldspot is a -based band. Founded by singer/songwriter/producer and television and film composer, the group has since received critical acclaim for its debut album Tally of the Yes Men ( Tally), and sophomore release And The Elephant is Dancing. The band released its third full-length, Aerogramme, on August 20, 2013.

Contents • • • • • • • History [ ] The Los Angeles-based band Goldspot is named after the fizzy drink Gold Spot. According to an interview with Siddhartha Khosla (the band's core member), the drink was very popular back in India at the time. After a live performance on Harcourt's show, the band soon began playing shows across Los Angeles in venues like and Hotel Cafe. [ ] Harcourt championed the band, hailing them as his 'favorite band of 2005', [ ] and began playing tracks from Tally of the Yes Men in heavy rotation ('Rewind', 'Time Bomb', and 'Friday'). The band was founded by singer/songwriter Siddhartha Khosla. From 2005 to 2007, the band lineup consisted of Ramy Antoun (drums), Sergio Andrade (bass), Seth McLain (guitars, keys and backing vocals) and Derek Horst (guitars and backing vocals). The band signed a record deal in 2005 with a start-up, independent label, with distribution through.

[ ] Thanks to KCRW's heavy airplay they were able to sell 10,000 copies [ ] of their debut Tally of the Yes Men. Tally was co-produced by Jeff Peters and Goldspot. [ ] Respected radio stations KEXP and WTMD, along with other indie radio stations across the country, began to play the record in constant rotation. [ ] Eventually, the band signed a deal with major record label (Universal Music Group) in the. [ ] An alternate version of Tally was released in the UK in June 2007, featuring 's Bollywood Orchestra, and received plaudits from UK press like Q magazine, the Sunday Times, and The Guardian. The Sunday Times hailed Goldspot as 'the best band to come out of America in years'. [ ] Tally reached No. 10 in the alternative charts.

[ ] The debut single 'It's Getting Old' was the second most downloaded iTunes Single of the Week ever, behind Justin Timberlake. The follow-up single 'Friday' was BBC Radio 2's 'Record of the Week' [ ] and reached No. 21 in the UK airplay charts.

[ ] The band also released a Hindi version of the same track which reached No. 4 in the BBC Asian Network Charts. [ ] 'Friday's video appeared in regular rotation on MTV, VH1, 'The Hits', 'The Box', Q, and Sky television networks. [ ] Khosla also performed the single in.

Tally made several 'Top Albums of 2007' lists. [ ] Goldspot was named the No. 4 best new act of 2007, [ ] and Tally was named in the Sunday Times ' 'Top Albums of 2007'. Goldspot also played the Glastonbury (headlined by and ), O2 Wireless, and V festivals throughout the summer of 2007. [ ] The band has opened for Travis, Death Cab for Cutie, Franz Ferdinand, and Bon Jovi. [ ] Follow-up album And the Elephant is Dancing, produced by engineer Jeff Peters and Siddhartha, was released digitally on 2 November 2009. [ ] Music supervisor and influential DJ Nic Harcourt (KCRW) hailed Goldspot as 'one of my favorite bands of the moment', [ ] and called the band's new album 'a classic and timeless gem.it's as if never left India'.

[ ] The band appeared on NPR's Tell Me More with Michel Martin in April 2010 [ ] as well as influential radio shows KCRW's Morning Becomes Eclectic with Jason Bentley [ ] and WTMD (Baltimore) in 2010, [ ] where they performed songs off the new album. Songs from Elephants have appeared in dozens of major network television shows and films. The band's newest release, Aerogramme, on Khosla and co.' Hoboken Records/Nice Music Group recounts the travels of Khosla's family from India to the US in the late 1970s. Lead single 'The Border Line' received consistent airplay on US radio (including Sirius XM's 'The Spectrum' and several other Triple A-format stations around the country). The album was released to very positive reviews, including the Los Angeles Times ' pop music editor naming it the #1 album of 2013. Aerogramme was released under Sony India for several South Asian countries.

On May 1, 2014, Goldspot was nominated for a Vh1 India Music Award: 'Best Global Indian.' Television, film, and placements [ ] Khosla is currently the composer for NBC's This Is Us and Lionsgate/E!'

S The Royals. His recent credits include FOX comedy Grandfathered and feature films Fat Camp and Liv. He composed original songs for the musical film Basmati Blues and ABC series The Neighbors. He also wrote original songs for the series, including a Bollywood musical episode that aired on March 17, 2014. Khosla co-wrote the track 'Flirting' with which appeared on her 2009 album Come to Life. [ ] Discography [ ] Studio albums [ ] • Aerogramme - / (August 20, 2013), (India) (October 15, 2013) • (2010) • - / (2007), (India) (2008) (UK Alternative Charts No. 10) Singles [ ] • 'The Border Line' (2013) • 'Friday' (2007) (UK Alternative No. 21, BBC Asian Network No. 4) • 'It's Getting Old' (2007) (UK Alternative No. 10) • 'Ina Mina Dika' (2011) References [ ].