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Post by wal on Jun 22, 2015 11:02:57 GMT -5
time.com/3929027/adam-lambert-the-original-high-album-review/?xid=tcoshareReview: Adam Lambert’s The Original High Is an Actual Pop AlbumKatherine St. Asaph @katstasaph 11:35 AM ET After two LPs that didn't quite deliver on his potential, Lambert finally finds collaborators who help him draw out his talents Former American Idol runner-up turned glam soft-rocker Adam Lambert has had some trouble, as Idol finalists often do, settling on a sound. His last studio album, Trespassing, is faintly remembered for its two lead singles: the stodgy power ballad “Better Than I Know Myself” and energetic piece of Bruno Mars showmanship “Never Close Our Eyes.” Neither did much on the charts, and neither represents the album all that well. To get a better sense of this slept-on if uneven release, one must revisit the album tracks, like Pharrell-produced “Kickin’ In,” or Sam Sparro-Nile Rodgers collaboration “Shady”: funky, sexy, and quite ‘70s. None of that sounds particularly unusual—Pharrell, after all, produced a huge swath of 2013’s pop music, and Rodgers, with his fellow disco-era artists, has graduated from session-musician legend to marquee Top 40 guest—but look at the date. Trespassing was released in 2012, a full year before ubiquitous songs-of-the-summer “Blurred Lines” and “Get Lucky,” and well before everyone from Maroon 5 to Ed Sheeran had begun churning out disco-funk. Rising pop artists, who are both too early in their career to be pigeonholed and too green not to be on the most cutting of edges, often record albums that sound eerily prescient years on, from the coquettish retro-pop of Ariana Grande’s Yours Truly to Icona Pop’s shouty, gonzo electro. Adam Lambert, it turns out, may merely have been ahead of his time. Lambert has since switched labels over “creative differences”—here, a euphemism for his label pushing him to release an album of ‘80s covers, which is both a godawful idea and well short of Lambert’s ambitions. While Lambert has the voice—and religiously devout fan base—to coast on a post-Idol career of Broadway spots and franchise compilations, his ambitions are the charts, the higher the better. So it’s little wonder that the first two tracks on The Original High cast Lambert as an L.A. sleaze antihero—an imaginary genderflipped Lana Del Rey narrative, perhaps, where “God and James Dean” haunt “the summer back in Hollywood”—and let him revel in sex, drugs, EDM and the sounds of the moment. Nor is it much surprise who’s responsible: unsinkable pop juggernaut Max Martin and his protégés Shellback and relative EDM-world newcomer Ali Payami. Whatever one thinks of Martin—his first go-round with Lambert, “Whadaya Want From Me,” was a second-tier single from cowriter P!nk—on The Original High he’s a godsend. He allows Adam Lambert up to record actual pop songs rather than dated power ballads. Read more
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Post by Q3 on Jun 22, 2015 11:03:38 GMT -5
What is Apple streaming music service doing differently that promts Taylor to say in her letter that they may be the first service to finally get it right? NO free streaming I guess. The first 3 months are free, but after that you can only stream when you pay. Unlike Spotify, Deezer or Rdio for instance where you have free streaming available as well. Spotify and the other legal streaming services pay royalties to the labels and publishers on their free service. Apple tried to get the labels to give them the music for the special 3-month free trial royalty free. They backed down because no one was agreeable with this -- not just Taylor Swift. (She just makes the biggest headline.) Here is a good collection of royalty payments.... thetrichordist.com/2014/11/12/the-streaming-price-bible-spotify-youtube-and-what-1-million-plays-means-to-you/My conclusion is that right now music streaming costs $10 a month and almost all the services have free options -- I think the price will need to go up if the music industry is to remain vital. |
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Post by wal on Jun 22, 2015 11:07:45 GMT -5
BRETT KISSEL @brettkissel 37m37 minutes ago Highlight from the #MMVAs last night! Had a great conversation with @adamlambert - one of the nicest guys ever.  |
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Post by bamafan on Jun 22, 2015 11:07:53 GMT -5
I'm tempted to RT this...lol....would be kinda a long and $$ trip to DC. Don't know if it's local market only. So far 95 RTs. They don't give a date, etc. DC's 107.3 @dcs1073 2h2 hours ago Meet Adam Lambert! RT this tweet for your chance to win! We'll be randomly choosing 2 Twitter winners!! #AdamOn1073  i would hope that only people in their local area and demographic enter. they aren't playing ghost town and the attendees may hold some sway Sent from my HTC One_M8 using proboards I was just being silly.....I'm not going to enter. It's day after tomorrow anyway. At least we know he'll be in DC on Wed, June 24th. And I imagine there will be some entrants from outside the area....there always is. |
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Post by wal on Jun 22, 2015 11:12:17 GMT -5
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Post by theosgma on Jun 22, 2015 11:12:29 GMT -5
time.com/3929027/adam-lambert-the-original-high-album-review/?xid=tcoshareReview: Adam Lambert’s The Original High Is an Actual Pop AlbumKatherine St. Asaph @katstasaph 11:35 AM ET After two LPs that didn't quite deliver on his potential, Lambert finally finds collaborators who help him draw out his talents Former American Idol runner-up turned glam soft-rocker Adam Lambert has had some trouble, as Idol finalists often do, settling on a sound. His last studio album, Trespassing, is faintly remembered for its two lead singles: the stodgy power ballad “Better Than I Know Myself” and energetic piece of Bruno Mars showmanship “Never Close Our Eyes.” Neither did much on the charts, and neither represents the album all that well. To get a better sense of this slept-on if uneven release, one must revisit the album tracks, like Pharrell-produced “Kickin’ In,” or Sam Sparro-Nile Rodgers collaboration “Shady”: funky, sexy, and quite ‘70s. None of that sounds particularly unusual—Pharrell, after all, produced a huge swath of 2013’s pop music, and Rodgers, with his fellow disco-era artists, has graduated from session-musician legend to marquee Top 40 guest—but look at the date. Trespassing was released in 2012, a full year before ubiquitous songs-of-the-summer “Blurred Lines” and “Get Lucky,” and well before everyone from Maroon 5 to Ed Sheeran had begun churning out disco-funk. Rising pop artists, who are both too early in their career to be pigeonholed and too green not to be on the most cutting of edges, often record albums that sound eerily prescient years on, from the coquettish retro-pop of Ariana Grande’s Yours Truly to Icona Pop’s shouty, gonzo electro. Adam Lambert, it turns out, may merely have been ahead of his time. Lambert has since switched labels over “creative differences”—here, a euphemism for his label pushing him to release an album of ‘80s covers, which is both a godawful idea and well short of Lambert’s ambitions. While Lambert has the voice—and religiously devout fan base—to coast on a post-Idol career of Broadway spots and franchise compilations, his ambitions are the charts, the higher the better. So it’s little wonder that the first two tracks on The Original High cast Lambert as an L.A. sleaze antihero—an imaginary genderflipped Lana Del Rey narrative, perhaps, where “God and James Dean” haunt “the summer back in Hollywood”—and let him revel in sex, drugs, EDM and the sounds of the moment. Nor is it much surprise who’s responsible: unsinkable pop juggernaut Max Martin and his protégés Shellback and relative EDM-world newcomer Ali Payami. Whatever one thinks of Martin—his first go-round with Lambert, “Whadaya Want From Me,” was a second-tier single from cowriter P!nk—on The Original High he’s a godsend. He allows Adam Lambert up to record actual pop songs rather than dated power ballads. Read more Wow. This is a REALLY good, well written review. Is it really Time as in Time Magazine consortium? Didn't see a star rating |
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Post by Q3 on Jun 22, 2015 11:20:08 GMT -5
time.com/3929027/adam-lambert-the-original-high-album-review/?xid=tcoshareReview: Adam Lambert’s The Original High Is an Actual Pop AlbumKatherine St. Asaph @katstasaph 11:35 AM ET After two LPs that didn't quite deliver on his potential, Lambert finally finds collaborators who help him draw out his talents Former American Idol runner-up turned glam soft-rocker Adam Lambert has had some trouble, as Idol finalists often do, settling on a sound. His last studio album, Trespassing, is faintly remembered for its two lead singles: the stodgy power ballad “Better Than I Know Myself” and energetic piece of Bruno Mars showmanship “Never Close Our Eyes.” Neither did much on the charts, and neither represents the album all that well. To get a better sense of this slept-on if uneven release, one must revisit the album tracks, like Pharrell-produced “Kickin’ In,” or Sam Sparro-Nile Rodgers collaboration “Shady”: funky, sexy, and quite ‘70s. None of that sounds particularly unusual—Pharrell, after all, produced a huge swath of 2013’s pop music, and Rodgers, with his fellow disco-era artists, has graduated from session-musician legend to marquee Top 40 guest—but look at the date. Trespassing was released in 2012, a full year before ubiquitous songs-of-the-summer “Blurred Lines” and “Get Lucky,” and well before everyone from Maroon 5 to Ed Sheeran had begun churning out disco-funk. Rising pop artists, who are both too early in their career to be pigeonholed and too green not to be on the most cutting of edges, often record albums that sound eerily prescient years on, from the coquettish retro-pop of Ariana Grande’s Yours Truly to Icona Pop’s shouty, gonzo electro. Adam Lambert, it turns out, may merely have been ahead of his time. Lambert has since switched labels over “creative differences”—here, a euphemism for his label pushing him to release an album of ‘80s covers, which is both a godawful idea and well short of Lambert’s ambitions. While Lambert has the voice—and religiously devout fan base—to coast on a post-Idol career of Broadway spots and franchise compilations, his ambitions are the charts, the higher the better. So it’s little wonder that the first two tracks on The Original High cast Lambert as an L.A. sleaze antihero—an imaginary genderflipped Lana Del Rey narrative, perhaps, where “God and James Dean” haunt “the summer back in Hollywood”—and let him revel in sex, drugs, EDM and the sounds of the moment. Nor is it much surprise who’s responsible: unsinkable pop juggernaut Max Martin and his protégés Shellback and relative EDM-world newcomer Ali Payami. Whatever one thinks of Martin—his first go-round with Lambert, “Whadaya Want From Me,” was a second-tier single from cowriter P!nk—on The Original High he’s a godsend. He allows Adam Lambert up to record actual pop songs rather than dated power ballads. Read more Wow. This is a REALLY good, well written review. Is it really Time as in Time Magazine consortium? Didn't see a star rating Yes, it is the real Time. This reads like a 3/5 star review and is really well written. The reviewer writes some really interesting reviews. |
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Post by wal on Jun 22, 2015 11:20:32 GMT -5
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Post by wal on Jun 22, 2015 11:25:45 GMT -5
Nadine ♐ citygirl36 15m15 minutes ago Adam in my local paper \o/  |
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Post by Q3 on Jun 22, 2015 11:35:43 GMT -5
Does Adam have pollen allergies? (Otherwise I am not sure why he is interested in local honey.) I don't know, but this is the second time he mentions pollen allergies. First time was somewhere in Europe where he said something about the air being heavy with pollen. He was right, those days were pretty bad for people with allergies (I live with one, and he is an excellent pollen-o-meter). Haven't heard Adam about it before this. The only place I have ever lived pollen allergy-free was coastal California -- West of the 405 in LA and in Malibu. It is only of many, many things I miss! |
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