Rattle & Hum: U23D

My roommate and I saw U2-3D the other night, and I was expecting it to be good.

But I wasn't expecting it to be that good.


Some background on the film: It's a musical documentary of sorts, which combines footage from three South American dates on U2's recent "Vertigo" tour. It's a landmark technological achievement: the first live-action, multi-camera film to be shot, edited, and shown entirely in 3D.

The result is nothing short of a stunning piece of cinema. Towering, crystal-clear images paired with intricately remastered sound. Soaring camera angles that take the viewer from centerstage with magnetic frontman Bono, to deep within the thundering arena crowds -- and back again.

It's immersive. It's sensory overload. It's a remarkably distinctive concert experience.

The music didn't disappoint, either. U2 swept through their arena anthems -- 'Vertigo', 'Beautiful Day', 'Sunday Bloody Sunday' -- with theatrical relish. Slower jems like 'With or Without You' and 'One' were given their due depths as well.

Is this the new concert wave of the future? Will music fans now dismiss the idea of shelling out $100 for top seats, and instead opt to pay only $11.50 for the comfort of a 3D IMAX theatre that makes you feel like you're at the concert anyway -- minus the nightmarish parking, cramped floors, and the tall person blocking your view?

Maybe not. Nothing beats a live show.

But in the case of U23D, it's a very good alternative.

Black Crowes vs. Maxim

The Black Crowes have lashed out at Maxim magazine for reviewing their upcoming CD -- without actually hearing it first.

The review, which was published in Maxim's March issue, gave the album 2 and a 1/2 out of 5 stars, and claimed that the blues-rock group needed "room to grow."

Both The Black Crowes (via an official statement on their website) and the overall music community have directed heavy criticism towards the magazine this week, prompting Maxim editorial director James Kaminsky to attempt to clarify things in an interview with the Associated Press:

"This is a mistake. We have often run previews, which are based on the fact that an album is coming out ... but (those in the March issue) should not have had star ratings attached to (them)," said Kaminsky. "There was a bit of a breakdown that led to that happening and I'm looking into it and, as I've said, we've already put measures in place to ensure that this will not happen again."

Black Crowes manager Pete Angelus dismissed Kaminsky's statements as nothing more than "self-serving damage control."

"It comes as no surprise that Maxim has elected to apologize to their readers now that the world has been informed of their deception. However," said Angelus, "That is not full accountability."

Roundup: Tour Tidbits

• Just launched: Bon Jovi kicked off their 3-month nationwide tour last night in Omaha, Nebraska. Full dates here.

• Likely the last: It's the final touring round for The Police and the Spice Girls, say sources close to the groups.

• Dates announced: Alicia Keys, Kanye West, Paramore & Jimmy Eat World.

Spotlight: Sara Bareilles

Even if you don't recognize her name, chances are -- if you own a television or radio -- you've already heard of Sara Bareilles.

A 28-year-old singer/songwriter hailing from Eureka, California, Bareilles found her musical niche earlier this year when her debut piano-pop album, "Little Voice", shot to the top of the Billboard charts -- propelled largely by the success of lead single "Love Song."

So, how'd she do it? How did she transition from years of playing the local UCLA scene of coffeeshops and bars, to suddenly playing Saturday Night Live, and sharing a nationwide tour with Maroon 5?

Two words: song licensing.

Bareilles is the poster-child for internet endorsements. She's become a main spokesperson (songsperson?) for companies including Itunes and Rhapsody.

It all started back in June 2007, when Itunes featured "Love Song" as their Free Single of the Week. The following month, her debut album shot to #1 on the Itunes charts.

Then in October, Bareilles recorded an exclusive Itunes-only Live EP. That topped the charts, too.

In December, Bareilles signed on to appear in a series of commercials for Rhapsody, giving her even more mainstream exposure. Cue the album breaking into the Top 10 Billboard Charts, Bareilles doing the TV talk show rounds, and Rhapsody quickly booking her second single, "Bottle It Up", as the centerpiece of their next commercial -- which just hit airwaves last month.

These are exposure deals that virtually guarantee immense album sales and buzz for the artist. (Case studies: The Ipod commercial that launched Feist's "1,2,3,4" into American pop-culture; Grey's Anatomy -- largely responsible for The Fray's "How to Save a Live" climbing the charts.)

On the flip side, there's also a stigma attached to it. Licensing your songs to appear in DirecTV and Samsung commercials doesn't exactly scream musical credibility. (I'm talking to you, Beyonce.)

But good for Bareilles. She's talented, and deserves to be heard. It's often difficult to get your head above water in the current music industry, and Bareilles rode the endorsement wave until she did.

(Although it's too bad I can't get tickets to her sold-out shows anymore, where I'm willing to bet that 80% of the audience only knows "Love Song.")

New Releases: Feb. 12

Notable new releases this week include:

• Ryan Adams -- Everybody Knows
• Natalie Grant -- Relentless
• Buddy Holly -- 1957: The Complete Recordings
• Mighty Mighty Bosstones -- Medium Rare
• Kylie Minogue -- X
• The Smashing Pumpkins -- American Gothic

My pick:


Michael Jackson --Thriller 25
There's a reason why -- with more than 104 million sales -- 'Thriller" is the best-selling album in history. This re-release offers a handful of bonus tracks with new artists (Will.I.Am, Akon, Fergie) remixing some of MJ's classics, but most are forgettable. The real draw is the original tracks. They still retain their genre-revolutionizing distinctions: Eddie Van Halen's bass hook on "Beat It"; Jackson's vocals on "Billie Jean." Bottom line? It's an essential.

Cliff Notes: The Grammys.

If you didn't catch the Grammys this year, you're not alone. Sunday night's telecast only averaged about 18.2 million viewers -- its lowest ratings since 1992.

Here's what you missed:

Amy Winehouse: A Clean-Up Act
Winehouse took top honors, scoring five out of the six awards she was up for, including Record and Song of the Year for her smash soul hit (and self-fulfilling prophecy) "Rehab." After her request for a Visa was denied earlier this year, Winehouse was forced to perform and accept via satellite.

Also, in a quote that's sure to find itself mass-produced on t-shirts sometime soon, Winehouse would dedicate to her award to her imprisoned boyfriend.

"To my Blake! My Blake incarcerated!"

--
Kanye West: Predictably Unpredictable
West racked up four awards, including Best Rap album for "Graduation." He performed a juxtaposed pair of hits -- including an electric, pyro-laced version of "Stronger," followed up by a sparse, heartfelt tribute to his late mother, Donda. Later, in accepting his award, he addressed the orchestra below when they attempted to play him off stage:

"It would be in good taste to stop the music," he said, in typical Kanye West fashion.

And (perhaps realizing that he is, after all, Kanye West:) they did.

--
Beatles: Cirque De Universe
A Beatles tribute -- featuring the casts of Cirque de Soleil's "Love" and Julie Taymor's "Across the Universe" -- was a commendable (if not a bit rushed and cramped on that small stage) effort at paying homage to the Fab Four. An avant-garde "A Day in the Life" dazzled, and a gospel version of "Let it Be" wrapped up the set nicely, while Ringo Starr, Yoko Ono, and Olivia Harrison applauded from the audience.

Super Petty.

After this week's one-two punch of Super Bowl Sunday and Super Tuesday, one artist emerged victorious from both events:

Tom Petty.

Petty headlined the half-time event in the New York Giants-New England Patriots showdown. He churned out a greatest hits medley that included "Freefallin'" and "I Wont Back Down" -- a fresh, no-frills performance. It was a welcome break from previous years, where acts like Prince and Aerosmith went all-out with over-the-top costumes and enough spotlights to probably anger some global warming activists.

In contrast, Petty went back to basics and made his music front and center. The result? His "Greatest Hits" album immediately catapulting to #1 on the Amazon.com Classic Rock charts.



On to Super Tuesday, where Hillary Clinton's official campaign trail playlist -- mostly feel-good country, a la Rascal Flatts and (rocker-gone-rancher) Bon Jovi -- received yet another spin. But Senator Clinton's all-important Track One? The song that kicked off every single event, and played immediately after her Tuesday night victory speech in New York? That's right. Sir Petty. "American Girl."

So, to sum up:

1) The Giants' record is Freefallin' -- to the bank.
2) Hillary Clinton wants to remind you that she's an American Girl.
3) Tom Petty is the ultimate good luck charm for New Yorkers.