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Showing posts with label Kenny. Show all posts
Showing posts with label Kenny. Show all posts

Wednesday, March 21, 2012

Lionel Richie Duets With Kenny Rogers at SXSW

Lionel Richie performs at the Billboard Showcase during SXSW at ACL Live in Austin, Texas.

Lionel Richie may not be a typical SXSW buzz band, but the R&B icon used his set at ACL Live’s Moody Theater – where he anchored Billboard’s showcase – to remind the music industry just exactly who he is and where he’s been. The performance proved he’s still got some of the magic that made him one of the most successful male solo artists of the 1980s, following his stint in one of Motown’s most successful acts, the Commodores.

"Why has it taken me this long to make it to South By Southwest?" he asked at the beginning of his hit-heavy set, before launching into a series of Commodore classics including "Easy (Like Sunday Morning)" and, later, "Brick House." Shortly after coming on strong, he told the crowd that he was going to change his set around for an unplanned solo piano segment. "In fact, I think I want the band to leave the stage," he said. "Just me; just you." He then tickled the ivories for a stirring renditions of "Still" and "Oh No."

Other bits of the night appeared to be either spontaneous, or at least unexpected, such as when the band launched into a jam of Van Halen’s "Jump" in the middle of Richie’s own "Dancing on the Ceiling."

But the true highlight came when Richie invited Kenny Rogers to the stage. "I’m about to bring out one of my dearest friends and we made many records together," said Richie. Turning to Rogers, he said, "Kenny, having you up on this stage is about the best thing that could happen to either of us." He then recalled that the first time he met Rogers, he told the music legend that one day he wanted to be as big as him. "I’m still not there," he joked – kinda. The pair performed "Lady," after which they embraced.

Richie has a new album coming out later this month, Tuskegee, but chose to dig deep into his Commodores catalog, as well as pull out crowd pleasers from his solo career including an encore of "All Night Long (All Night)."

Nonetheless, he made his purpose at this relatively intimate show at his first SXSW clear: "We’re about to go on a world tour," he said. "And this is a warm-up to the warm-up to the warm-up."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Tuesday, March 20, 2012

Lionel Richie Duets With Kenny Rogers at SXSW

Lionel Richie performs at the Billboard Showcase during SXSW at ACL Live in Austin, Texas.

Lionel Richie may not be a typical SXSW buzz band, but the R&B icon used his set at ACL Live’s Moody Theater – where he anchored Billboard’s showcase – to remind the music industry just exactly who he is and where he’s been. The performance proved he’s still got some of the magic that made him one of the most successful male solo artists of the 1980s, following his stint in one of Motown’s most successful acts, the Commodores.

"Why has it taken me this long to make it to South By Southwest?" he asked at the beginning of his hit-heavy set, before launching into a series of Commodore classics including "Easy (Like Sunday Morning)" and, later, "Brick House." Shortly after coming on strong, he told the crowd that he was going to change his set around for an unplanned solo piano segment. "In fact, I think I want the band to leave the stage," he said. "Just me; just you." He then tickled the ivories for a stirring renditions of "Still" and "Oh No."

Other bits of the night appeared to be either spontaneous, or at least unexpected, such as when the band launched into a jam of Van Halen’s "Jump" in the middle of Richie’s own "Dancing on the Ceiling."

But the true highlight came when Richie invited Kenny Rogers to the stage. "I’m about to bring out one of my dearest friends and we made many records together," said Richie. Turning to Rogers, he said, "Kenny, having you up on this stage is about the best thing that could happen to either of us." He then recalled that the first time he met Rogers, he told the music legend that one day he wanted to be as big as him. "I’m still not there," he joked – kinda. The pair performed "Lady," after which they embraced.

Richie has a new album coming out later this month, Tuskegee, but chose to dig deep into his Commodores catalog, as well as pull out crowd pleasers from his solo career including an encore of "All Night Long (All Night)."

Nonetheless, he made his purpose at this relatively intimate show at his first SXSW clear: "We’re about to go on a world tour," he said. "And this is a warm-up to the warm-up to the warm-up."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Wednesday, February 22, 2012

Kenny Powers and the Unlikely Rise of Danny McBride

Danny McBride as Kenny Powers in 'Eastbound & Down.' Danny McBride as Kenny Powers in 'Eastbound & Down.'

Inside a cottage with a quaint white porch, just yards north of a quiet stretch of Hollywood Boulevard, Danny McBride sits staring at himself on a television screen, declining the opportunity to eat shrimp from another man's butt hole. He's in an editing room, considering a scene from the third season of his brilliantly raunchy HBO comedy, Eastbound & Down. "I'm not like these characters that I portray," McBride insists, and then shrugs. "But I definitely have played a bunch of fucking assholes."

None is a greater asshole than Kenny Powers, the character McBride plays on Eastbound: a loudmouth, racist meathead with a busted baseball career and limitless self-regard. McBride, on the other hand, is a seemingly gentle, quick-witted screenwriter who stumbled into an acting career.

Here, in this friendly frat house of a production company, Rough House Pictures, which McBride shares with some old friends, including director David Gordon Green and Eastbound co-creator Jody Hill, McBride, 35, is clearly the king of the slacker-film nerds. He is dressed casually, in dark corduroys, an unbuttoned blue shirt and sneakers. A half-dozen similarly garbed staffers are nearby comparing notes on the previous evening's prank phone calls – a drunk editor made a round of calls just before midnight, pretending to be McBride in crisis mode, which meant deepening his voice and adopting a bad Southern accent. The joke ended when the editor, a little too sauced, mistakenly dialed McBride. "That's your impression of me?" McBride asks. "How drunk were you?" McBride was home because he now has a five-month-old son, Declan; a year or two ago, he probably would have still been at the production office, pulling another all-nighter. "I feel most like myself in here," McBride says, talking triple-time after excessive early-morning consumption of Diet Dr Pepper. "I'm surrounded by guys I've known a long time – we just hang out and crack dirty jokes."

On Eastbound & Down, McBride is executive producer, co-creator and co-writer of all the episodes, and the star. He brings a demented intensity to Kenny Powers, a washed-up major-league relief pitcher who nurtures delusions of returning to the big time. "There have been many great leaders throughout history," Kenny declaims. "Jesus was dead, but then came back as an all-powerful god-zombie."

Like any true narcissist, Kenny is convinced everyone else on the planet worships him; if he's not a stand-in for the United States, he at least feels like an American antihero for our times. Or as Kenny puts it, "If there's one thing I hate, it's losing. If there are two things I hate, it's losing and getting cancer." McBride says that he and co-creator Hill "grew up around these alpha-male rednecks and all these dudes with this crazy confidence that didn't really have anything to back it up. Kenny's an amalgamation of the people that we were intimidated by growing up."

Kenny Powers is a character whose life goals haven't changed since he was 16. While Kenny expresses the self-indulgent section of McBride's brain, McBride brings a vulnerability to Kenny to keep him from becoming unwatchably vile. Unlike most American TV characters, Kenny never pays a price for his racism, or his cocaine consumption. McBride says, "The beauty of it is having a character this fucked up, but not using him to teach anyone any lessons."

Kenny rocks a spectacular mullet, courtesy of extensions to McBride's actual hair. "We based it on what haircut would look terrible under a baseball hat," McBride explains. Kenny's other defining quality: his deep love for his Jet Ski. Some of the show's funniest sequences are of Kenny being contemplative while motoring around a lake.

The third season of Eastbound finds Kenny living in Myrtle Beach, South Carolina, playing for a minor-league team, hoping to get called up to the majors. He's also a father, which doesn't mean he's matured – he fashions diapers out of duct tape and declares, "Hand me my son. I have a life to ruin." For all the slapstick humor – like when Kenny tries to clean out a gunshot wound with margarita mix – Eastbound can be remarkably dark. McBride says, "My favorite stuff on the show are the things that aren't jokes, like when this miserable man takes a gun out on the baseball field and shoots a soccer ball. Even when we're filming it, the extras think they're going to see something funny, but then people are silent, like, 'What did we just take part in?'"

In the second season, Kenny fled to Mexico, where he tracked down his father, played by Don Johnson. "Those guys are doing something unique and brave," Johnson says of the Eastbound team. "Stella Adler describes acting as a children's game, played with adult rules. But the difference with Danny is that he's playing a children's game with children's rules. That means there aren't any!"

As a young child, McBride was quiet to the point of invisibility: He stopped wearing his favorite cowboy boots when they garnered too much attention. He grew up in the small city of Fredericksburg, Virginia, a magnet for Civil War tourism. "I didn't get into trouble," McBride says. "I had a big imagination." Even as a boy he wanted to go to film school, despite not knowing anybody who was obsessed with movies the way he was. "Before we had HBO," he says, "I would sit with a boombox and record the audio of the scrambled movies. I remember riding around my neighborhood on my BMX bike, listening on my Walkman to Mr. Mom."

Around sixth grade, McBride started filming movies in his backyard. His mom, Kathy Rudy, recalls a film where Danny's friend Jeff jumped off the porch and broke his arm: "So you saw Jeff lying on the ground, screaming, and somebody is still filming."

When McBride played these movies recently for his wife, Gia Ruiz, he grew uncomfortable – he hadn't realized how bleak they were, filled with jokes about child abuse and murder. Around the time they were made, his parents split up – could that be the reason? "Quite possibly! I was lucky that my stepdad, Doug, came on the scene and has been an awesome dude." McBride's mom and stepdad both work as civilian support at Quantico Marine Corps Base. Asked what qualities he inherited from his parents, McBride talks about how his mom did sermons for children at church, in the form of puppet shows. "She doesn't flex that muscle now, but I think my interest in telling stories comes from her."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Friday, February 17, 2012

Kenny Rogers Sues Capitol Records Over Royalties

kenny rogers Kenny Rogers performs at Hard Rock Live! in the Seminole Hard Rock Hotel and Casino in Hollywood, Florida.

Kenny Rogers has filed a lawsuit in the U.S. District Court of Tennessee alleging that Capitol Records has failed to pay him royalties for music sold as digital downloads or ringtones. The suit also alleges that the label has not paid the country star any portion of the monetary awards it has won in piracy lawsuits against companies such as Napster and Kazaa.

Rogers' original recording contract was with United Artists in 1975, but Capitol took it over after an agreement in 1977. According to that contract, royalty rates for all recorded works is set at "one-half of company's net royalties from each source." The singer's suit insists the label's refusal to pay appropriately for digital downloads is "part of a conscious decision by Capitol Records and others in the music business to deprive artists of their proper royalties."

Photos: Random Notes
Rogers is not the first to pursue this sort of lawsuit over a label neglecting to honor a royalty agreement when it comes to digital sales. The outcome of a lawsuit last year on behalf of Eminem set a precedent for establishing digital downloads as a "sale," not differentiated from traditional physical formats. Other artists, including Peter Frampton and Chuck D of Public Enemy, have pursued lawsuits in the wake of that decision.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Sunday, January 29, 2012

Kenny Chesney Leads 47th Annual Academy of Country Music Awards Nominations

Kenny Chesney Kenny Chesney performs at the 45th annual CMA Awards.

Kenny Chesney is the top nominee at the 47th Annual Academy of Country Music Awards, with nine nods including Entertain of the Year, a category he has won four times since 2004. The singer is also up Male Vocalist of the Year and as both artist and producer for Album of the Year for Hemingway's Whiskey.

Jason Aldean is the second most-nominated artist, with nods for Entertainer of the Year, Male Vocalist of the Year, Album of the Year and Single Record of the Year for "Don't You Wanna Stay," his hit duet with Kelly Clarkson. Lady Antebellum is just behind Aldean with five nominations, including Vocal Group of the Year, which they have won the past two years. Taylor Swift leads in the female categories with three nominations overall, including her third consecutive nomination as Entertainer of the Year.

The ACM awards ceremony will be broadcast live from the MGM Grand Garden Arena in Las Vegas on April 1st on CBS. The show will be hosted by Blake Shelton and Reba McEntire.

The major nominations for the 47th Annual Academy of Country Music Awards are as follows:

ENTERTAINER OF THE YEAR

Jason Aldean
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift

MALE VOCALIST OF THE YEAR

Jason Aldean
Kenny Chesney
Brad Paisley
Blake Shelton
Chris Young

FEMALE VOCALIST OF THE YEAR

Sara Evans
Miranda Lambert
Martina McBride
Taylor Swift
Carrie Underwood

VOCAL DUO OF THE YEAR

Love and Theft
Montgomery Gentry
Steel Magnolia
Sugarland
Thompson Square

VOCAL GROUP OF THE YEAR

The Band Perry
Eli Young Band
Lady Antebellum
Rascal Flatts
Zac Brown Band

ALBUM OF THE YEAR

Chief – Eric Church (EMI-Nashville)
Produced by:  Arturo Buenahora, Jr., Jay Joyce

Four the Record – Miranda Lambert (RCA)
Produced by: Chuck Ainlay, Frank Liddell, Glenn Worf

Hemingway's Whiskey – Kenny Chesney (BNA)
Produced by: Buddy Cannon, Kenny Chesney

My Kinda Party – Jason Aldean (Broken Bow Records)
Produced by: Michael Knox

Own the Night – Lady Antebellum (Capitol Records Nashville)
Produced by: Lady Antebellum, Paul Worley
SINGLE RECORD OF THE YEAR

"Crazy Girl" – Eli Young Band (Republic Nashville)
Produced by: Mike Wrucke

"Don’t You Wanna Stay" – Jason Aldean with Kelly Clarkson (Broken Bow Records)
Produced by: Michael Knox

"Red Solo Cup" – Toby Keith (Show Dog-Universal Music)
Produced by: Toby Keith

"Tomorrow" – Chris Young (RCA)
Produced by: James Stroud

"You and Tequila" – Kenny Chesney Featuring Grace Potter (BNA)
Produced by: Buddy Cannon, Kenny Chesney

SONG OF THE YEAR

"Crazy Girl" – Eli Young Band
Composers: Lee Brice, Liz Rose
Publishers: Cake Taker Music (BMI), Mike Curb Music (BMI), Sony/ATV Tree Publishing (BMI), Sweet Hysteria Music (BMI)

"Home" – Dierks Bentley
Composers: Brett Beavers, Dierks Bentley, Dan Wilson
Publishers: Big White Tracks (ASCAP), Chestnut Barn Music (BMI), Chrysalis Music/BMG Rights (ASCAP), Chrysalis One Songs (BMI)

"Just A Kiss" – Lady Antebellum
Composers: Dallas Davidson, Dave Haywood, Charles Kelley, Hillary Scott
Publishers:  Dwhaywood Music (BMI), EMI Blackwood Music, Inc. (BMI), EMI Foray Music (SESAC), Hillary Dawn Songs (SESAC), Radiobulletspublishing (BMI), String Stretcher Music (BMI), Warner-Tamberlane Publishing Corp. (BMI)

"Threaten Me With Heaven" – Vince Gill
Composers: Amy Grant, Vince Gill, Dillon O’Brian, Will Owsley
Publishers: Grant Girls Music (ASCAP), Vinny Mae Music (BMI), Willie-O Music (ASCAP)

"You and Tequila" – Kenny Chesney Featuring Grace Potter
Composers: Matraca Berg, Deana Carter
Publishers:  Deanaling Music (ASCAP), Hannaberg Music (BMI), Songs of Universal Inc. (BMI), WB Music Corp. (ASCAP)

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


Amazon Music and MP3 Center

Kenny Chesney Leads 47th Annual Academy of Country Music Awards Nominations

Kenny Chesney Kenny Chesney performs at the 45th annual CMA Awards.

Kenny Chesney is the top nominee at the 47th Annual Academy of Country Music Awards, with nine nods including Entertain of the Year, a category he has won four times since 2004. The singer is also up Male Vocalist of the Year and as both artist and producer for Album of the Year for Hemingway's Whiskey.

Jason Aldean is the second most-nominated artist, with nods for Entertainer of the Year, Male Vocalist of the Year, Album of the Year and Single Record of the Year for "Don't You Wanna Stay," his hit duet with Kelly Clarkson. Lady Antebellum is just behind Aldean with five nominations, including Vocal Group of the Year, which they have won the past two years. Taylor Swift leads in the female categories with three nominations overall, including her third consecutive nomination as Entertainer of the Year.

The ACM awards ceremony will be broadcast live from the MGM Grand Garden Arena in Las Vegas on April 1st on CBS. The show will be hosted by Blake Shelton and Reba McEntire.

The major nominations for the 47th Annual Academy of Country Music Awards are as follows:

ENTERTAINER OF THE YEAR

Jason Aldean
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift

MALE VOCALIST OF THE YEAR

Jason Aldean
Kenny Chesney
Brad Paisley
Blake Shelton
Chris Young

FEMALE VOCALIST OF THE YEAR

Sara Evans
Miranda Lambert
Martina McBride
Taylor Swift
Carrie Underwood

VOCAL DUO OF THE YEAR

Love and Theft
Montgomery Gentry
Steel Magnolia
Sugarland
Thompson Square

VOCAL GROUP OF THE YEAR

The Band Perry
Eli Young Band
Lady Antebellum
Rascal Flatts
Zac Brown Band

ALBUM OF THE YEAR

Chief – Eric Church (EMI-Nashville)
Produced by:  Arturo Buenahora, Jr., Jay Joyce

Four the Record – Miranda Lambert (RCA)
Produced by: Chuck Ainlay, Frank Liddell, Glenn Worf

Hemingway's Whiskey – Kenny Chesney (BNA)
Produced by: Buddy Cannon, Kenny Chesney

My Kinda Party – Jason Aldean (Broken Bow Records)
Produced by: Michael Knox

Own the Night – Lady Antebellum (Capitol Records Nashville)
Produced by: Lady Antebellum, Paul Worley
SINGLE RECORD OF THE YEAR

"Crazy Girl" – Eli Young Band (Republic Nashville)
Produced by: Mike Wrucke

"Don’t You Wanna Stay" – Jason Aldean with Kelly Clarkson (Broken Bow Records)
Produced by: Michael Knox

"Red Solo Cup" – Toby Keith (Show Dog-Universal Music)
Produced by: Toby Keith

"Tomorrow" – Chris Young (RCA)
Produced by: James Stroud

"You and Tequila" – Kenny Chesney Featuring Grace Potter (BNA)
Produced by: Buddy Cannon, Kenny Chesney

SONG OF THE YEAR

"Crazy Girl" – Eli Young Band
Composers: Lee Brice, Liz Rose
Publishers: Cake Taker Music (BMI), Mike Curb Music (BMI), Sony/ATV Tree Publishing (BMI), Sweet Hysteria Music (BMI)

"Home" – Dierks Bentley
Composers: Brett Beavers, Dierks Bentley, Dan Wilson
Publishers: Big White Tracks (ASCAP), Chestnut Barn Music (BMI), Chrysalis Music/BMG Rights (ASCAP), Chrysalis One Songs (BMI)

"Just A Kiss" – Lady Antebellum
Composers: Dallas Davidson, Dave Haywood, Charles Kelley, Hillary Scott
Publishers:  Dwhaywood Music (BMI), EMI Blackwood Music, Inc. (BMI), EMI Foray Music (SESAC), Hillary Dawn Songs (SESAC), Radiobulletspublishing (BMI), String Stretcher Music (BMI), Warner-Tamberlane Publishing Corp. (BMI)

"Threaten Me With Heaven" – Vince Gill
Composers: Amy Grant, Vince Gill, Dillon O’Brian, Will Owsley
Publishers: Grant Girls Music (ASCAP), Vinny Mae Music (BMI), Willie-O Music (ASCAP)

"You and Tequila" – Kenny Chesney Featuring Grace Potter
Composers: Matraca Berg, Deana Carter
Publishers:  Deanaling Music (ASCAP), Hannaberg Music (BMI), Songs of Universal Inc. (BMI), WB Music Corp. (ASCAP)

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Tuesday, January 24, 2012

Kenny G's Wife Files for Divorce

Kenny G Kenny G and wife Lyndie Benson

It's a sad day for easy-listening saxophonist Kenny G: his wife has filed for divorce.

The musician's wife of 20 years, Lyndie Benson-Gorelick, filed papers with the Los Angeles County Superior Court yesterday, citing irreconcilable differences as the reason for separation. The couple has two sons.

With more than 75 million albums sold, Kenny Gorelick is allegedly worth around $50 million. Both parties have already retained lawyers: the musician has hired Laura Wasser, who has previously represented Britney Spears and Kim Kardashian, and Benson-Gorelick has hired Gary Fishbein, who has previously worked for Nikki Sixx.

Kenny G has enjoyed a bit of a resurgence with younger audiences lately; in the past few years, he has collaborated with Weezer and Foster the People, the latter via a surprise cameo on the band's Saturday Night Live appearance.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


Amazon Music and MP3 Center

Monday, January 23, 2012

Kenny G's Wife Files for Divorce

Kenny G Kenny G and wife Lyndie Benson

It's a sad day for easy-listening saxophonist Kenny G: his wife has filed for divorce.

The musician's wife of 20 years, Lyndie Benson-Gorelick, filed papers with the Los Angeles County Superior Court yesterday, citing irreconcilable differences as the reason for separation. The couple has two sons.

With more than 75 million albums sold, Kenny Gorelick is allegedly worth around $50 million. Both parties have already retained lawyers: the musician has hired Laura Wasser, who has previously represented Britney Spears and Kim Kardashian, and Benson-Gorelick has hired Gary Fishbein, who has previously worked for Nikki Sixx.

Kenny G has enjoyed a bit of a resurgence with younger audiences lately; in the past few years, he has collaborated with Weezer and Foster the People, the latter via a surprise cameo on the band's Saturday Night Live appearance.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


Amazon MP3 Download Center

 
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