As long as we’re looking to Philebrity for news, we should note that GQ has named Philly musician Kurt Vile its “Rocker of the Year.”
Billboard reports: “Bruce Springsteen has announced he’ll release a new single on Nov. 25. Titled ‘High Hopes,’ the vibrant song is actually a cover of a track by short-lived Los Angeles band The Havalinas, and fans will note that Springsteen included an earlier version on the 1996 documentary, ‘Blood Brothers.’”
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There’s something about seeing shows at Tin Angel that leaves me, as Whitney would say, so emotional, baby. The cozy, narrow room. Romantic, candle-lit tables. The music. The last time I saw a show there, a Girls Rock Philly affair, I was literally moved to tears during one singer’s rendition of Minnie Riperton’s “Loving You.” On the stage she stood, hitting all those high notes, while I sat below sobbing like a baby, enamored by the gorgeous sound that was coming out of her mouth. I had a similar experience last night when seeing Joshua Thomas.
From the creative genius who brought us a mixtape that overlaid Mark Morrison’s “Return of the Mack” with Hall and Oates’s “One on One” comes a work of even greater genius. Welcome to a revolution in sound. An audiosensual journey of cosmic proportions. It’s DJ Scott Melker’s Ballin’ Oates and it just dropped.
In a new video interview, Hall & Oates seem pretty non-plussed by the idea of entering the Rock and Roll Hall of Fame.
Philadelphia plays home to a handful of gay singer-songwriters, but few possess the soul and raw talent of Brewerytown’s Joshua Thomas (formerly billed as Josh Schurr). His first and latest album, Halfway, has become a mainstay on my Spotify queue. It’s a beautifully haunting set of songs that finds the 25-year-old crooning softly over acoustic piano and guitar. The title track also serves as his official coming out. I asked him about that and a host of other things this week when I shot him a few questions in anticipation of his live show on Nov. 14 at Tin Angel.
Before I start my rant on Lady Gaga’s just-released ARTPOP, I need to make one thing clear: I’m no Little Monster. Don’t get me wrong, I lived for Gaga during The Fame-era. The girl had me dreaming of disco sticks for days on end. One of my favorite earlier Gaga songs is “Fashion,” a super gay (and super under-appreciated) track from the film Confessions Of A Shopaholic. It’s hard to believe that was only five years ago. Back then, Gaga’s music felt new and had a fresh sound that had all us gay kids bluffin’ with our muffins. Then things started to go south. I was fine with the meat dress at the VMAs, but that weird egg hatch at the Grammys? Then came Born This Way, which, title track aside, was a long and exhausting production of preach-y lyrics and pranc-y beats. Throw in those weird American Horror Story-worthy faces she makes on stage and her recently announced plans to perform in space, and we have a performer who’s taking this fame-is-art-art-is-fame thing way too far. I find myself longing for the days of sick beats and poker faces and, ARTPOP is none of those. It’s simply too much art and not enough pop.
Behold Eminem’s new song “Legacy,” off The Marshall Mathers L.P. 2. Behold it because he not only name-checks B-Dawk, but a whole lot of other random Eagles stuff too.