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Showing posts with label Voice. Show all posts
Showing posts with label Voice. Show all posts

Thursday, March 14, 2013

‘Voice’ Star Jamar Rogers Rocks At Yahoo!

Jamar Rogers was one of the breakout stars of "The Voice" Season 2--and if the show rules that later took effect in Season 3 (no team quotas, iTunes sales carrying more weight) had existed that season, there's little doubt that he would've made it to the finale alongside his worthy Team Cee Lo comrade, Juliet Simms. Conspiracy theorists have even suggested that the rule changes of Season 3 were created simply to prevent contestants as talented as Jamar from being robbed in the future. It's not that implausible a theory, really. So, is it too late to demand a Season 2 vote recount?

But anyway, Jamar has kept plenty busy since making "The Voice's" top eight last year--touring, releasing four singles, prepping two EPs, and even playing a music cruise with his pals from his brief stint on "American Idol" Season 8, Kris Allen and Danny Gokey. Thankfully, he made time between gigs and recording sessions to stop by Yahoo! Music's HQ, too, to perform some of his new original tunes. Even just in a tiny room, accompanied by a single acoustic guitar, Jamar's amazing (wait for it) voice came shining through:

Jamar also chatted with Reality Rocks about his time on "The Voice," his time on "Idol," what he's been up to since, and how he's using his life experience (as a recovering drug addict living with HIV) to help others. It was one of the most in-depth interviews I've done in a while, and I hope you enjoy it as much as I did:

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Wednesday, March 13, 2013

‘Voice’ Star Jamar Rogers Rocks At Yahoo!

Jamar Rogers was one of the breakout stars of "The Voice" Season 2--and if the show rules that later took effect in Season 3 (no team quotas, iTunes sales carrying more weight) had existed that season, there's little doubt that he would've made it to the finale alongside his worthy Team Cee Lo comrade, Juliet Simms. Conspiracy theorists have even suggested that the rule changes of Season 3 were created simply to prevent contestants as talented as Jamar from being robbed in the future. It's not that implausible a theory, really. So, is it too late to demand a Season 2 vote recount?

But anyway, Jamar has kept plenty busy since making "The Voice's" top eight last year--touring, releasing four singles, prepping two EPs, and even playing a music cruise with his pals from his brief stint on "American Idol" Season 8, Kris Allen and Danny Gokey. Thankfully, he made time between gigs and recording sessions to stop by Yahoo! Music's HQ, too, to perform some of his new original tunes. Even just in a tiny room, accompanied by a single acoustic guitar, Jamar's amazing (wait for it) voice came shining through:

Jamar also chatted with Reality Rocks about his time on "The Voice," his time on "Idol," what he's been up to since, and how he's using his life experience (as a recovering drug addict living with HIV) to help others. It was one of the most in-depth interviews I've done in a while, and I hope you enjoy it as much as I did:

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Friday, April 6, 2012

'The Voice' Recap: Ass Back Home

ashley the voice Ashley de la Rosa performs on 'The Voice.'

"It's not tough, it's sucky," Blake Shelton tells Carson Daly toward the beginning of last night's show. Not a big fan of Gym Class Heroes, this guy. Just kidding: Gym Class Heroes are fine. Everyone's fine. Shelton was referring not to the rap-rockers' Voice cameo, but to the difficulty of sending home two members from one's own team, which is something both he and Christina Aguilera are about to do.

Just a quick sartorial update before we delve into who went home and why: Cee Lo has ditched Monday night's red jumpsuit apparatus (and luscious locks) for a thoroughly spike-studded red leather jacket look I call "punk rock porcupine." Meanwhile, Xtina has already grown weary of suffocating her breasts with so much irksome fabric; after one night away, they're back in a tight orange dress bearing summer cleavage.

At the top of the hour, the aforementioned Gym Class Heroes and Neon Hitch (whose costume includes wings coming out of her chest) perform a song that is actually called "Ass Back Home." Toward the end, Team Adam emerges from the audience to do background vocals, and the band's lead singer, Travie McCoy, says "I'm home, baby," in an Austin Powers voice, because why not. None of this is nearly as exciting as hearing Carson Daly say the words "Ass Back Home" with host-y enthusiasm.

Before the eliminations begin, though, Blake and Xtina take their teams on separate field trips that will ostensibly help prepare them for long-term music careers. It seems like a good idea, since The Voice is basically a finishing school for pop artists. The only problem is that both destinations here are wildly outdated. Demonstrating music industry savvy with a terrestrial radio station and a late-night talk show in 2012 is like preparing J-school students for writing careers by taking them on a tour of The Sacramento Bee and a 'zine your cool uncle made in high school.

Photos: 'The Voice' Season 2

"I wanted to show my team that there's nothing like the power of radio," Shelton says, escorting his crew into Go Country 105. Admittedly, country music still seems to carry some influence via radio, but only one member of Team Blake is a country singer. Also, while it's nice to see all of Team Xtina cutting loose on The Tonight Show With Jay Leno, nobody really walks into Tower Records and purchases a compact disc by a band they saw on Jay Leno these days. Because none of those things exists anymore. This has been the "Raining on Parades" hour. Now back to your regularly scheduled programming.

Next, Carson Daly announces how the eliminations will work. The three artists on each team with the most votes will automatically move on, leaving the remaining three to vie for one spot on next week's show by singing a song. On Team Blake, America wants Erin Willett, Jermaine Paul and RaeLynn to stick around. It's endearing to see feisty 17-year old RaeLynn run off stage screaming with excitement.

Over on Xtina's team, when Carson says "America's first save is . . . ," the camera is lingering on Jesse Campbell. Surely this is a coincidence, but I like to think it's the work of a lazy camera operator who saw the show Monday and just KNEW Jesse would be the first one picked. (He was very good.) After Jesse is, in fact, saved, Lindsay Pavao and Chris Mann are also in the clear. Xtina doesn't look happy when Lindsay Pavao's name is called, which is interesting, because she made the same face during her performance the previous night. Did anybody else notice this?

Since the elimination episode is one hour instead of two, the contestants only get a brief period to make an impression with their songs. Naia Kete does a perfectly competent take on "If I Were Boy," but Blake echoes Xtina's complaint from the previous night that he wished she would've done a reggae song. "They wouldn't let me!' the lady doth protest, but the damage is already done.

Charlotte Sometimes does the Goo Goo Dolls' hit, "Iris." This girl has a tremendous amount of personality when she sings, and she's fully capable of putting just the right nuance in her voice. However, that nuance slips away a couple times during this performance, and consistency really counts here.

Finally, Jordis Unga does the Rolling Stones' "Wild Horses," which is a smart choice, since it gives her a chance to show off some more subtle work than she did on Monday night. It's a less diva-riffic side of Jordis, and it seems to suit her. When Carson asks the other judges who they'd save, they all pick Jordis (even though Xtina accidentally almost says Charlotte.) Blake agrees with them.

Over on Team Christina, Ashley De La Rosa comes out swinging. She is the first of the singers trying to get saved who doesn't sing a bummer of a song, instead opting for Grace Potter and the Nocturnals' rocker "Paris (Ooh La La)." She runs through the crowd, smiles, vamps, and just appears to be having fun. Do the other contestants know they're allowed to do this? Sera Hill sings "Vision of Love," and it's pretty good, but it doesn't stray from her Mary J. vocal toolkit. Moses Stone caves in to Adam and Blake's request on Monday night that he sing instead of rap, and he does a very respectable "Falling to Pieces." If Ashley hadn't kicked so much ass, he'd be the easy winner.

Cee Lo chooses Sera, because he is completely checked out this week. Adam and Blake both pick Ashley, for whom the live crowd is going nuts at this point. After a long preamble, Xtina finally picks Ashley too. Then everybody gets together and hugs in the middle of the stage like it's the end of Saturday Night Live.

Next week: Time for Teams Adam and Cee Lo to step up to the plate. What will Cee Lo wear for the occasion? (Shots for you if you guessed: "something insane.")

Last episode: Go Nuts, Go Apebits

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Wednesday, April 4, 2012

'The Voice' Recap: Go Nuts, Go Apebits

Lindsey Pavao performs on 'The Voice.'

"It's a whole new ballgame," Adam Levine says at the top of The Voice's first live show this season. As if to underline the point, he and the other judges look way different than before. Adam's hair is shorn off, Christina Aguilera is svelter and more sensibly cleavaged, and Cee Lo has donned a Rick James wig and red Brady Bunch jumpsuit with fringed sleeves. Okay, I guess Cee Lo doesn't look that different. (Keep doing you, Cee Lo!)

All the members of Team Christina and everyone from Team Blake must perform a song, vying for viewers' votes, and it's up to the home audience to call in and vote for who they want to keep around. Because the stakes are higher now, the performances have much more sophisticated backing music and production values, giving them the feel of VMA show pieces rather than recitals at the school from Fame. Let's look at Team Blake first.

Soft-spoken stud Jermaine Paul kicks things off with a Bon Jovi classic. "I feel like I am living on a prayer," he says about the difficulty of supporting his kids with music money. After emerging from beneath the staircase like a secret agent leaving headquarters, he belts out a powerful version of the song, darting around the crowd and getting all up in their mix. Xtina thinks he sounded great but she didn't connect with the song choice. Blake disagrees and dares her to check iTunes in an hour for how the song is selling, which is some pretty tame fighting words, but I'll take it.

"We're gonna punch America in the face with country!" says blonde, teenage sparkplug RaeLynn. (Why is everybody on this show intent on punching us in the face with some form of music? Leave our face alone!) RaeLynn does a fun country cover of Maroon 5's "Wake Up Call." She puts a lot of gusto into it, stomping her feet and grinding her hips, but the deep, guttural voice she uses at times doesn't sound natural. "You're a sassy little thing," Christina says, and she means it as praise. Blake tells her she is representing the new generation of country well, whatever that means.

Photos: 'The Voice' Season 2

Pop-reggae princess Naia Kete has a distinct voice, but Blake instructs her to remain faithful to Adele's vocals on "Turn the Tables," which she does as best she can. Despite an entire violin section, it's not a very showy performance. There's a fine line between subtly restrained and a little bit dull, and I'll leave it to a gloriously passive-aggressive Christina Aguilera to describe the results: "Um, it was cool. I actually would've liked more of a reggae choice if that's her thing. There were some moments in there that weren't great. Cee Lo?" Ouch.

Jordis Unga is the kind of singer who probably self-identifies as "fierce." Before the performance, she asks Blake whether they can rig actual fireworks to go off when the beat comes in on "Alone" by Heart. Jordis' vocal fireworks should suffice, though. She wails every note she can, but saves a big Roman candle for the end. "That was the opposite of playing it safe," Blake says, approvingly.

Erin Willett is a powerhouse vocalist who has proven adaptable to different styles. Here she sings Stevie Wonder's "Living for the City" in the middle of what appears to be a Broadway show about a Memphis speakeasy. It's an appropriately funky rendition of the song, which she starts off singing at a piano, and she nails every one of her runs. Blake rightly singles it out as the best technical vocal performance of the night.

Charlotte Sometimes says she wants to showcase her ability to arrange songs, not just sing them. "I want to make it a little more haunting because this song is so sassy," she says of Paramore's "Misery Business." Fittingly enough, the stage is flooded with smoke like a fogbank in a Friday the 13th movie. Charlotte has an odd vocal style here, somewhere between talking and singing on the verse. Adam says she had some flatness and pitch issues, but Xtina and Blake are both on board with the artistry of it.

Over on Team Xtina, we're reintroduced to the vaguely Bradley Cooper-esque Chris Mann. He's the opera singer who used to try to shrink his voice down to fit in, but decided to just be himself on this show. Here he puts an operatic spin on "Bridge Over Water" (because of course he does), with plenty of vibrato at every turn. There is nothing shrunk-down about it. All the judges are impressed.

"Since I proved myself with singing in the battle rounds, I'm gonna show the other things I can do tonight," says rapper Moses Stone. He does Kanye West's "Stronger" as a kind of rock song, growling through the verses with lots of intensity. The lyrical censoring is a hilarious distraction, though (my personal favorite: "Go nuts, go apebits.") Adam thinks Moses has more potential as a singer than a rapper, and Blake agrees. Xtina uses this as teachable moment about how the whitebread gentleman folk of The Voice know nothing about hip-hop, where a rapper who can sing now has an advantage. Point Xtina.

Lindsay Pavao covers Gotye and Kimbra's recent hit "Somebody That I Used to Know." She says she wants a trip-hoppy, dubstep-sounding beat, but thankfully there are no major bassdrops on the synth-heavy song. There are, however, backup dancers in porcelain doll masks, some with beaks and bowler hats. It's the closest The Voice comes to an opera written by The Knife. Christina looks a little bored during the proceedings but after it's over she has nothing but effusive praise. "I can listen to her all day," she says.

Soul singer Sera Hill says it's her time to shine, and she literally does – her necklace looks like a chandelier. She has a Mary J. thing going on, both vocally and with her white ladybusiness suit. Voice contestant James Massone already did Drake's "Find Your Love" earlier this season, but not with disco guitar licks and a chorus line of shirtless dudes in jeans, which Blake Shelton seems taken aback by. "You know you liked it," says Xtina. "I have to admit I did," he says.

It's nice for Alanis Morissette that she is still the arbiter of teenage bitterness, even for so-called Millenials. "This is your moment to get a little angsty with it and have a little grrr," Xtina says to 17-year old Ashley De La Rosa before her performance of "Right Through You." Ashley nicely channels Alanis' particular vocal lilt, ably backed by two guitarists dressed like 1993, and so many lasers. Adam votes her the most improved. Xtina agrees, and she and Adam have a truce for once. (It is disrupted two seconds later.)

Finally, good-guy-with- great-voice Jesse Campbell closes the show with a dynamite version of "What a Wonderful World." Before the performance, Xtina accuses Jesse of holding back slightly, which he takes as a personal challenge to buh-ring it in full force. He kind of scrubs the pathos off of a very emotional song, but then he has one hell of a showstopping final note and it doesn't matter. All the judges are blown away, with Adam calling Jesse the one to beat. Cee Lo does him one better, saying, "Your voice is almost as beautiful as my hair."

Tomorrow: Whoever gets the three lowest votes from each team has to sing to stay on, with the coaches sending home two from each team. Who do you think will get the boot?

Last episode: Let's Keep on Rocking

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Friday, March 30, 2012

'The Voice' Recap: Let's Keep On Rocking

The Line and Moses Stone battle on 'The Voice.'

Let's get ready to Voiceball! It's the last night of the battle rounds, and everyone is hungry for the final remaining spots on their respective teams. As bad as all the contestants want to make it, however, not everybody thinks they deserve it. Considering the underlying issue in several of these rounds, perhaps The Voice should consider changing its name to The Confidence.

Right out of the gate, young Bostonite body shop worker James Massone looks like he's awaiting the results of a pregnancy test from the moment he hears that his song is "True Colors." Cee Lo and guest coach Ne-Yo spend time encouraging the dude to get out from under his nerves and wail on this Cyndi Lauper tune, whether he knows it well or not. Suddenly he's ready to prove himself. James' competition, WADE, has a strong church singer's voice and natural talent to spare. That's probably why he spells his name in all caps. He seems more comfortable here, but not as comfortable as Cee Lo, who lets his emotions burst forth like a geyser in the cool of the night.

"Okay, I surrender," Cee Lo says, crying during rehearsal. Can someone please make a .gif of him taking off his glasses to reveal that he's been crying, and then post that .gif in the comments and also across the Internet? Anyway, during the actual performance, James comes out in a red varsity jacket like Cee Lo's, but his is monogrammed and has chrome sleeves for some reason. He has a voice that can be thin and reedy, but also bolder and emphatic. Overall, he sounds more distinctive than WADE. The crowd does a really stilted arm-sway thing which they give up on fairly early. Adam Levine looks unapologetically bored. When it's time to pick a winner, Cee Lo is as pained as before. It's kind of adorable. "I had big plans for you, WADE. I was going to make you Soul Brother #2 behind me," he says. This is his way of letting WADE know that James won.

Photos: 'The Voice' Season 2

Next up, it's piano-playing prodigy Nicolle Galyon against sultry nursing student Mathai. (I'm just going to stop drawing attention to who has just a single name at this point – clearly, having a surname has become passé.) Nicole is excited at first because Sara Bareilles' "Love Song" has a piano lead, which is right up her alley. Anyone who has seen a reality show before, though, will recognize this excitement as foreshadowing that she is not going to be allowed to play piano during the battle. "That was a good idea in our minds, but let's forget it," coach Adam says during a piano-involved rehearsal. Now Nicolle is no longer confident, which is a problem, because Mathai is just brimming with femme-swagger. Mathai plays to the crowd in her canary yellow dress, drawing out her notes well and just looking like she's having more fun than Nicolle. If she isn't confident here, though, Nicolle's self-assurance collapses for sure when Cee Lo straight-up says that her voice was "generic." Adam chooses Mathai, but overall he's as unmoved as he looked during Cee Lo's round. "I wasn't that happy with it in general," he says. Yikes.

What would a battle episode be without at least one unusual pairing? These things are often the brainchildren of Cee Lo, but tonight it's Xtina's turn to take a walk on the bonkers side. She pits rapper Moses Stone against country duo the Line to sing "(I Can't Get No) Satisfaction." Guest coach Lionel Richie and his arrowhead mustache approve of Moses. "You've got the Voice!" he zings, giving everyone in the room imaginary high fives. On the other hand, Jewel seems dead set on crossing the Line. First she tells them not to be so much like a wedding band, and then, bringing up the fact that the Line used to date each other, she says, "Somebody obviously wasn't satisfying someone – let's see some of that tension!" Whoever is making .gifs of Cee Lo, if you could throw in every reaction shot when the Line hear something they don't like, that would be terrific.

During the performance, Moses explores the space and looks at Xtina for approval. Haley from the Line wields a tambourine, even though we can't hear it. Moses gets a little rap break, which sounds out of place, but he makes the stronger impression. Adam and Blake argue that while Moses was a better performer, the Line seem to have the better voice for the show. "The voice doesn't have to be a specific thing on this show," Xtina says, and picks Moses. Haley is pissed and refuses to speak on camera.

Although Adam initially chooses "Rich Girl" for Orlando Napier and Karla Davis, he soon switches to the Commodores' "Easy," because neither contestant knows the Hall & Oates song. (What is the world coming to?!) During rehearsal, Orlando sways from side to side like Ray Charles, which is fitting for his throwback vibe. Adam and guest coach Alanis Morissette go deep on the psychology, giving a name to Karla's inner child who likes to belt out tunes. "Bertha is the big girl inside me," Karla says. Meanwhile, Robin Thicke teaches Orlando how to use vowels to project, which we can actually hear in the contestant's bluesy timbre. None of the judges seems that impressed, and Adam gives it to Karla, who did indeed have some nice, fluttery inflections. Her dad is so pumped he practically tears down the doors to hug her in the green room.

"Jordan is country as dirt," Blake Shelton says of his contestant, and he means it as a compliment. Shelton does no favors for Jordan, though, by pairing him with earthy soulstress Naia Kete to sing a reggae-infused Jason Mraz number. Naia has long spindly dreadlocks down to her butt and a series of increasingly complicated headbands. A reggae-lite pop song is right in her pocket. Jordan is so nervous, he can't even enjoy being in the presence of his crush, Miranda Lambert. But then something happens (classic second act structure!), and he learns how to sing the song. "I'm not letting Naia walk out of here easy," he says. But he scrapes all the twang off his voice for the battle, and it doesn't sound natural. Naia has the more dynamic vocal sound, and her smile is magic. Blake pays some lip service to how Naia's nerves seemed to put her off, but it seems obvious when he picks her to win. 

When Cee Lo starts crying again during Justin Hopkins and Tony Vincent's rehearsal, you sympathize with him – "Yes, they are butchering an important Journey song" – but then Cee Lo reveals that these aren't sadness tears. Rather, he's in awe. The two contestants are well matched in that they're both pros. Justin used to be in Carson Daly's house band and Tony Vincent, whose guyliner and bald dome make him look a bit like Handsome Nosferatu, has been a rocker on Broadway for over a decade. Justin's gritty voice sounds more natural with this song, as Tony's is a bit more theatrically overwrought. (You can take the singer out of Broadway, but you can't yada yada.) Both contestants finally match each other on the whoa-oh-ohs at the end, which sound great. The judges all agree that Tony is more versatile, and Cee Lo eventually chooses him. Justin takes the news like a champ, though. "Let's keep on rocking," he says. "That's what we do."

Next week: Now that the battles are over, it's time for the live shows, where the stakes are high, the cleavage is low, and Cee Lo has a cat. So, basically, samesies.

Last episode: One-Name Wonders

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Saturday, March 24, 2012

'The Voice' Recap: One-Name Wonders

Erin Martin battles the Shields Brothers on 'The Voice.'

The big question after last week's episode was whether this show could possibly produce a stranger performance than the misguided, torturous Nirvana cover that left all who heard it in dire need of a hug. This week, we already have the answer: "Yes, of course. And furthermore: duh!" Unsurprisingly, the most wonderfully weird battle on the show so far arrives courtesy of Team Cee Lo.

Former model Erin Martin has a voice that splits the difference between Macy Gray and CocoRosie, which is an otherworldly combo. Her competition is the shambling Shields Brothers, who came to the show to "punch America in the face with rock & roll." God bless Cee Lo for making this unlikely binary and having them sing "What's Love Got to Do With It," for some reason.

When we first glimpse the three contestants learning the song together, Erin keeps making requests about the arrangements in a way that either no performer has done before, or the show's producers have elected not to reveal. It doesn't exactly paint her in a noble light, but when you hear the song, it's clear she was right to question how her voice was being used. This is the first battle wherein the song sounds like two completely different songs, neither of which sounds like the actual song it's supposed to be.

The Shields Brothers, whom celebrity guest Babyface accurately describes as "Wayne's World," seem to vocally confuse Tina Turner with Warrant. Erin tries to use her Sunday afternoon voice in a Saturday night context, and it still sounds slow and affected, with an odd, upturned squeal on the last note of the chorus. The weirdness ante is only upped by Erin's wardrobe, which is a Queen of the Damned ensemble, complete with comically oversize shoulder pads that look like goth pup tents. It's hard to pick a winner, because neither contestant really did "better" than the other. Cee Lo makes a good point, though: Erin does seem like her voice can do more things than the Shields'. He picks her.

The night's most bizarre performance was preceded by its cutest. The mononymous Pip looks like a tiny lesbian Harry Potter in a bowtie, but he sounds like a legendary Broadway belter. Here he must battle Nathan Parrett, who looks like the most sensitive shirtless greeter at Hollister. Together they perform Amy Winehouse's "You Know I'm No Good," minus her particular damaged flair. Pip has a big stage presence for such a little guy. Nathan is somewhat cowed by his competition, and his nervousness shows. Over a particularly toothless backing track, Pip draws his notes out like a vintage lounge singer and smiles big. Nervous Nathan sounds clear and strong, but he's a little outclassed here. Adam picks Pip.

Just like Pip, Jonathas only has the single name. Unlike Pip, however, he has a pompadour-mullet and an anatomically correct tattoo of a woman's face on his bicep. Jonathas confessed a long-standing crush on Xtina during the auditions, and here they duet together as he prepares to take on Ashley De La Rosa with "No Air" by Jordin Sparks. Guest coach Lionel Richie comes off like an acting coach this week, continually harping on Jonathas about staying in character. Apparently, his character is someone who is also in love with Ashley De La Rosa, because they look awfully comfortable with each other out on that stage. Ashley has a great big voice hiding beneath her slinky looks, and Xtina ends up picking her and breaking Jonathas' heart forever.

Keeping the one-name train a-rolling, up next is the insufferably spelled ALyX, who has to get in the vocal ring with Jermaine Paul, the studly, fashionable former background singer for Alicia Keys. Although Carson Daly dubs her "the fearless pop singer with the big personality," ALyX's personality here is restricted to being told repeatedly by both Blake Shelton and his lovely wife, Miranda Lambert, to "just have fun out there," because that seems impossible for her. While Jermaine Paul gives his all on Billy Ocean's "Get Out of My Dreams," ALyX fails to make an impression beyond her sheer, polka-dotted ghost-sheet blouse and the fact that she yells, "Sometimes you just gotta say 'What the hell!'" after the song is over. (After the Shields Bros and Erin Martin, though, we're fresh out of "what the hell," ALyX.) Blake picks Jermaine.

Rounding out the show are two incredible performances. First, the more traditionally viable Angel Taylor takes on Katrina Parker, who is the embodiment of this show: a sultry vocalist trapped in the life of an office worker (with the body of Adele, to whom Xtina compares her). Together, they sing Leona Lewis' "Bleeding Love," which definitely has the word "bleeding" in the title and is about a specific kind of love. (Both contestants talk about how they can personally relate to the pain of the song during rehearsal.) These two sound great together, and both really lean into the song. The audience goes crazy after the big finish. It feels like one of the toughest calls of the whole series, and sure enough, when Carson gets to Adam, he is slunk down deep into his very owl-like sweater, not wanting to be called on. Ultimately, he chooses Katrina, who did indeed sound more confident, and perhaps more consistent, throughout the battle.

The final performance of the night pits powerhouse songstress Erin Willet against the more countrified Gwen Sebastian on "We Belong Together" (Pat Benatar's, not Mariah Carey's). "What sucks about this is one of you is not gonna go on," Blake reminds the contestants redundantly at the outset. Although her performance in rehearsal leaves Miranda Lambert floored, Gwen is afraid that Erin will go out and own the stage. Erin similarly impresses during rehearsals, but guest coach Kelly Clarkson wisely advises her to save her wail for when it's really heartfelt and there's a purpose for it.

The battle takes on some additional gravitas, however, when Erin learns just before the battle that her father, who is in the hospital, has taken a turn for the worse and may not last more than 24 hours. It was his wish, though, that Erin stay and take the chance she'd worked so hard to earn. "I hope he knows I'm doing this for him," she says. Buoyed by her personal trauma, Erin rises to the performance and commits wholeheartedly. Gwen gives it all she's got, too, with a resilient, raspy twang whenever it seems she's been overpowered. After the duet, Gwen smiles and nods at Erin in a really genuine way, and then they hug. No other pair on this show has shown so much mutual respect.

"Seriously," Blake says afterward, "I wish it wasn't that good." Nobody envies him having to send Gwen home, but Erin did manage to edge her out just a little, and so that's what he must do. "I couldn't have lost to a better performer," Gwen concedes.

Next week: It's the final week of battles, and the previews show Cee Lo crying. Why so sad, Cee Lo?

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Saturday, March 17, 2012

'The Voice' Recap: Thinking Outside the Heart-Shaped Box

Jamar Rogers and Jamie Lono battle it out on 'The Voice.'

Sometimes festival programmers present two similar-sounding groups at the same time to make sure the audience is evenly divided. The festival-goer must choose between Fleet Foxes or My Morning Jacket, and there are so many factors to consider. Some of the battles on The Voice can be equally difficult to gauge.

Of course, at other festivals, Radiohead is playing at the same time as Matisyahu and it's a no-brainer. Tonight's episode was mostly like that.

The proceedings get off to a promising start with what Christina Aguilera dubs The Battle of Power: Geoff McBride vs. Sera Hill. Geoff is the 51-year-old "last chance" case with solid gold Stevie Wonder pipes, and Sera is the diva-in-training whose Mary J. Blige cover so moved Xtina during her audition that the two ended up dueting. Tonight the contestants sing Aretha Franklin's "Chain of Fools," an appropriately soulful choice. Celebrity advisor Lionel Richie freaks out about how powerful Geoff's voice is, doing a pantomime of being literally blown away by some high notes. "There's not even a microphone!" he says, faux-bbergasted (which is a fun word I just invented—pass it on!). Meanwhile Jewel advises Sera to bring "more story" to her performance, whatever that means. The two power vocalists sound complementary and nuanced together. They fight for who holds the last note longest, with Sera holding it to the point of desperation. Ultimately it works, though, and Xtina picks her as the winner.

Next up is bubbly Charlotte Sometimes against the more reserved Lex Land. Blake Shelton has forced this pair to sing Foster the People's "Pumped Up Kicks" together, and the piano guy looks embarrassed playing it. Not that it's a bad song, or even one we've all heard just about enough of — it's just not exactly a vocal showcase. "I'm not as talented as her," Charlotte says of Lex. "And she's got better boobs." Luckily for Charlotte, this isn't a boobs contest (although, again, Xtina doesn't seem to be aware of such).

Charlotte has a refreshing lack of BS about how much she respects her opponent. "I want to beat Lex so badly," she says. "I want to win. I want her to lose." Charlotte is very comfortable on stage, and the moment she starts singing, you remember her slinky voice and why all four judges turned around during her audition. Lex has a terrific voice as well, but here she's all over the place — sometimes sultry and low, sometimes loud and more boisterous than the moment calls for. Blake picks Charlotte.

Cee Lo makes an astute song choice for his contestants with the Faces' "Stay With Me." Rocker girl Juliet Simms, who'd be played in a movie by Lizzie Caplan, has been told she sounds like a female version of Rod Stewart — which she does — and it's the kind of song Sarah Golden can do something folky with, too. As soon as the two are in a room together rehearsing, it's clear Sarah won't be able to keep up with Juliet's wailing, so she doesn't try. Celebrity advisor Babyface tells Sarah to keep it country, which makes her happy.

Meanwhile, Ne-Yo schools Juliet on the importance of picking the right spot in the song to flex her chops. At the battle, Juliet commits the night's biggest fashion WTF moment, coming out in leather booty shorts, the kind of halter a swashbuckling hippie would wear and a Janis Joplin headband so big it looks a hat with a convertible top that blew off. Sarah, meanwhile, looks dapper in formal menswear. Their fashion choices are just as different as their approaches to the song, which Juliet kind of dominates. Cee Lo picks her.

The next two singers have similar styles but couldn't be more different people. Whitney Myer is a spritely redhead barely out of her teens, and Kim Yarbrough is a 50-year-old woman in the mold of Aretha. "We're both powerhouse singers, only her house is bigger than mine," Whitney says, and I honestly can't tell if it's a dig at Kim's weight (feel free to weigh in, so to speak, in the comments). Adam and Alanis Morissette caution Whitney not to try to overpower Kim, and instead embrace her own uniqueness. Alanis also tells her to be "present," meaning . . . don't walk away mid-song?

Meanwhile, Kim makes a series of "bitch, please" faces while listening to Adam Levine and Robin Thicke say strange things about her voice (e.g., "She sings like she's hanging off the edge of a cliff, and that's where the tension lies"). When the two sing Mary J. Blige's "No More Drama," it really is like a boxing match. Whitney's the scrappy upstart with more energy, but Kim holds steady, unleashing the big guns when necessary, as though swatting away a fly. "I truly felt like I was watching one of those diva concerts," Blake says, before declaring Carson Daly the winner. Adam is the decider, however, and he gives it to Kim.

Whereas everything about the previous match made almost too much sense, Team Xtina's next round is bizarre from top to bottom. The battle of the haircuts pits curly fro'd Lee Koch against Skrillexian Lindsey Pavao, and they probably shouldn't have been paired off. His voice has a lilting bite to it like early Dylan, hers a more ethereal quality. But Nirvana's "Heart-Shaped Box" was just not a song built for two. And hearing Jewel dissect the lyrics to help Lee connect with the material gave 13-year-old me an embolism. "'I wish I could eat your cancer.' That meant something to Kurt, and he sold it when he sang it," she says, before telling Lee he needs to enunciate.

Xtina and Lionel Richie take turns telling Lindsey she needs to get out of her own head, until she starts saying it herself. The duet sounds like a contest to see who can make a Nirvana song sound less so, and they both win the crap out of it. Lindsey's falsetto works better, though. Cee Lo compares Lee to Jesus and picks him to win. Blake admits he's never heard the song before, but maybe he just didn't recognize it here? Xtina ends up picking Lindsey because she's more versatile, which makes a lot of sense.

How can you have a conversation with a person wearing bright red glasses without thinking "You're wearing bright red glasses!" the entire time? Such is the problem with Jamie Lono, an affable goofball you want to root for, even if you can't take him seriously. Here he faces off against his rocker friend Jamar Rogers, and it's not much of a competition. Jamie's voice cracks twice during rehearsals, stumping Babyface to the point where the best advice he can offer is "Do what your voice tells you." Jamie's not half bad, though, with a soulfulness that belies his Williamsburg sweater. Jamar has the sweeter, more traditionally viable voice, though, and he's more consistent. Picking a winner here is as easy as deciding between Radiohead and Matisyahu at Bonnaroo.

Jamar cries after he's declared the winner, calling himself "the luckiest guy in the world." Jamie cries after his loss because he's happy for his friend. It's a bittersweet moment for both. Lest we walk away feeling bummed out, Jamie tells Cee Lo with all apparent seriousness, "Your coaching did not go in vain, and I'll take it to heart every day of my life." And all is right with the world.

Next week: The battle rounds are still going strong. Will there be an ickier performance than last night's Nirvana debacle?

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Friday, March 9, 2012

'The Voice' Recap: And In This Corner

Once more into the breach, dear friends. On my signal, unleash hell. You see what I'm getting at. But here's Adam Levine with the last word: "You guys are going to be singing in harmony and secretly trying to destroy each other."

After a month of blind auditions, The Voice has entered its second stage. Each of the judge-coaches (joaches? cudges?) has 12 contestants at the outset. Over the next several weeks, though, that number is going to get halved as contestants are pitted against each other for duets, to determine who passes on to the live rounds and who will watch at home, probably while eating Haagen-Dazs Spiced Caramel Biscuit ice cream.

A freshly bearded Adam Levine, who suddenly looks like Christian Bale, sentences former Mouseketeer Tony Lucca and grandma's boy Chris Cauley to the singing pit of destiny first. Their song is U2's "Beautiful Day," though it will most assuredly not be a beautiful day for one of these bros after he's unceremoniously given the heave-ho. Who will it be?

I can't tell if Chris is subtly throwing shade when he describes his competitor thusly: "On paper, Tony has the advantage, because he's been on the Mickey Mouse Club and has that TV experience." Probably not, but he does have a point. Considering Tony's experience on that show (where he co-starred with Christina Aguilera), there is no way the producers will want to cut him loose.

Each coach gets to bring in two pros to help the contestants learn their songs. Tony gets Alanis Morissette and Chris gets Robin Thicke. It's kind of funny to hear them discuss singing in such clinical terms – not only vocally, but also psychologically. "Is there a range where you're scared of going?" Alanis asks. Amazingly, Tony doesn't burst into tears and talk about measuring up to his father.

In case we didn't get the battle aspect, the contestants must perform inside a boxing ring. I half expect them to start fighting for real, but the closest they come is faux-glaring; these two like each other. It's a pretty close call, but Tony edges Chris out and Adam votes him on to the live shows. "I was a fan of your music before," Chris says to Adam, "but now I'm a fan of you as a man." It's a heartfelt sentiment, but it's also fraught with hilarious erotic undertones I cannot ignore in good conscience.

Over on Team Blake, it's late-blooming powerhouse Adley Stump vs. 17-year-old farmer's daughter supreme RaeLynn. The contestants' advisors give them exact opposite advice – Miranda Lambert tells RaeLynn not to try to compete with Adley in belting a song out, while Kelly Clarkson advises Adley to take it down a notch if she needs to meet RaeLynn on a style level. They both seem to want it badly, but Adley has that quiet look of possibly unhinged competitive determination in her eyes, like Kobayashi when he ate 69 hot dogs at Coney Island.

Adley confidently sings "Free Fallin'" poised from beneath a giant curly blowout, wearing some kind of enormous brooch on a necklace. RaeLynn looks like Disney's Country Princess (who would definitely be named RaeLynn), but her timing is slightly off and she seems to turn up the twang on certain notes, which seems insincere. RaeLynn tries to rise to her competitor's power level, but Adley seems to pick her off like a flea. RaeLynn looks like she's going to cry. Cee Lo and Xtina vote for Adley, but in a surprise move, Blake goes with RaeLynn.

I didn't think it was possible that Xtina could bear more cleavage than she did with her previous outfit, but this week she is experimenting with inner-sideboob, which is some next-level business. She's also wearing a flat hat that looks like a tiny Frisbee with sparkles.

On her team, operatic Chris Mann takes on raw talent Monique Bonabou, dueling on Celine Dion's "The Power of Love." Chris takes care to mention that he doesn't know that he's intimidated by Monique, which is as close as he gets to humble. Lionel Richie and his arrow-shaped mustache come by to advise Chris. Monique seems immeasurably relieved when her coach, TV's Jewel, tells her, "Sometimes all that training can keep a person from singing with their heart."

These two forget that they're in a boxing ring as they sing this love ballad to each other, but they know what they're doing. Chris has the more theatrical, professional voice, but Monique really holds her own . . . until he sort of blows her away with a couple of perfectly nuanced runs near the end. Chris wins it.

"Christina helped me work on some of my doubts about myself," Chris says afterward, but it's hard to picture him ever having any doubts about himself.

"I want to see you fight," Cee Lo says, simply, to his battling contestants, Cheesa and Angie Johnson. These two are pretty evenly matched. Neither is classically trained, but they both have impressive natural ability. Angie Johnson has the better backstory, with her military service and YouTube fame. Will that be enough to seal the deal?

Cee Lo greets guest coach Kenneth "Babyface" Edmonds while wearing Santa Claus' red silken pajamas for some reason. Meanwhile, Cee Lo's other guest, Ne-Yo, advises Angie to go for Cheesa's throat." "Do you know I'm in the military?" she asks. "The finger's got to stay off the trigger 'til I'm ready to shoot." Look out, Hawaiian Beyonce! Guard your jugular!

A glammed-out Angie stares down Cheesa on "Total Eclipse of the Heart," which I can't hear without thinking of that scene in Old School. They both seem to want it just as badly, and neither blows the other out. After the performance, Adam hems and haws for a while when Carson Daly calls on him, and he decides kind of arbitrarily – "I don't know, Cheesa?" My thoughts exactly, and also Cee Lo's: Cheesa wins. Which is awesome, because then Cheesa's family goes all-out in the Cutest Celebrating Family competition, with a crying dad for the win.

"The one thing I expect from a rocker is to make me go, 'Yeah! Yeah!'" Blake Shelton says, holding up the devil horns sign with his hands. "Whatever these things are? I want to have them up." Just when you thought you couldn't love this dude anymore. Hopefully someone has told him those things are meant to be devil's horns.

Team Blake's Brian Fuente and Jordis Unga face off on a real rocktacular rock song: Alanis' "Ironic." Less-attractive Bradley Cooper lookalike Brian approaches the song from a different angle than Jordis; he's more restrained at first, until letting loose on the chorus. Cee Lo likes Brian's aggressive nature, but Blake surprises by saying that neither contestant really brought it. Ultimately, he found Jordis a little better, though, and she advances on.

Finally, two members of Xtina's team have to duke it out over "Ain't Got Nobody." It's pastor's son Anthony Evans against single dad Jesse Campbell. Both have strong gospel roots, but since Jesse got all four judges to turn around with his audition song, Anthony assumes the underdog role.

These two sound great together, the two voices complementing each other. About halfway through the song, though, Jesse steps his game up and puts a rat-a-tat stutter in the word "baby." Instantly, it becomes a serious battle. Anthony meets Jesse's upped ante, and they just keep heightening and topping each other. Xtina is in an unenviable position having to pick a winner here. When she does, it's Jesse. Anthony does a good job holding it together, but you can tell he's hurting. War is never pretty.

Next week: Will Adam still have a beard? Will Xtina explore the mythical under-cleavage?

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Friday, March 2, 2012

'The Voice' Recap: 'Novackaine' and Other Anesthetics

Sera Hill performs for the judges on 'The Voice.'

It's the final night of blind auditions, and things are getting seriously competitive. How competitive, you ask? (And frankly it's a little weird for you to ask, considering that if you're reading this, you probably watched already.) It's so competitive that when Christina Aguilera and Blake Shelton each need only one more person to fill out their teams, they watch the other closely, waiting to buzz in until the other looks like they definitely will. The better to potentially snatch away an in-demand vocalist!

At the start of the show, Adam Levine, Blake, and Xtina all need two more songbirds in their respective menageries, and Cee Lo Green needs three. That means tonight we'll see a certain cutthroat pickiness in our judges. Up first is Whitney Meyer, whose curly red hair, tough-girl jacket and psychedelic earrings make her look like Little Orphan Annie of the Lower East Side. She belts out her best Alicia Keys on "No One," with just the right amount of grit. Adam spins his chair around first, and soon enough everyone follows. "I'm glad I pushed my button early because I got to watch you perform," Blake says in his convincing Southern drawl. "Choose me, don't choose me — I'm a fan of yours." Blake is the most flattering of the judges. I want him to critique my recaps. "You can win this whole thing," Adam counters. "I promise I'll do everything in my power to make that happen." Xtina groans at this line. "We're all forces to be reckoned with in the music industry," she says, "but I'm simply the best." The impassioned plea that follows seems like it will end in Xtina bursting into song, but alas, that doesn't happen until later. Whitney chooses Adam.

David Dunn is a David Boreanaz-lookalike college student with a pregnant wife, trying to make it as a musician against the wishes of his supportive-but-practical parents. He sings "The Man Who Cannot Be Moved," which ends up being ironic when no judge will budge for it. Dunn does manage to inspire the biggest crowd reaction for a no-turnaround all season, though.

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Thank God for The Shields Brothers. These two goofballs live on a Virginia farm with their parents and don't have a ghost of a chance at winning, but they're surely going to be fun to watch. "We want to punch America in the face with rock & roll," Shields #1 says, "because we think America needs to be punched in the face with rock & roll." I'm already on board. Shields #1 plays guitar on "Dancing With Myself" while the blonder, portlier Shields #2 bounces around with boundless playful intensity. Cee Lo is feeling it and he turns around pretty early. He's the only one.

I may be a real Grinch over here, but did anyone else find The Lorax interstitials kind of obnoxious? It just seemed a bit of a conceptual stretch to have Zac Efron and Betty White on the set via terrible green-screen work, with White doing "Let's Get It On." The movie should've tied in with Parks and Rec instead, where the Lorax and Ron Swanson could compare 'staches.

The mono-named Cheesa is a Hawaiian girl in a varsity jacket who does an incredibly low, almost-baritone take on "If I Were a Boy." On the chorus, she sounds like a different person, though, wailing away. Cee Lo waits until the very last note to press his button, and is rewarded for his efforts with lots of flirtation via shimmying and seductive smiles.

Lex Land is next, and seriously, what is with everybody's name? This show is a screenwriter's flea market. Music counselor Lex looks like Maggie Gylenhaal with some extra insulation. She chooses the popular Bonnie Raitt cover "I Can't Make You Love Me," and right away, her voice sounds like a pro's. It's a sultry lower register, with a quiet strength. Everyone turns around except Xtina. After the judges turn, Lex gets a little nervous, but it's okay because she's already in. "There's these little things in your voice I'd like to steer you away from," Adam says. "Because I was hearing Sade — some cool, simple thing — rather than the big thing Adele does." Blake concurs. "I heard three different singers there," he says. "I pushed my button first!" Cee Lo repeats plaintively, like a child. Lex chooses Blake.

Anyone who comes across as too cocky before their performance is dead meat. Instead of describing hip-hopera oddball Cameron "Novackaine" Novack's performance, I'm just going to list some of his comments preceding it. "I've been called a jack of all genres," he says, which is weird, since literally nobody has ever been called that. "I would consider myself a triple threat only if that's as high as you can go." Well, he is indeed threatening. "The Voice is a show for real artists." And also sandwich artists. "I'm bringing something I haven't seen anyone else do." Because everyone else has more sense! "If a coach doesn't hit the button, I'd be shocked." "People should definitely be worried about me." "Right now, I can visualize myself winning The Voice." Ultimately, it will have to remain a visualization exercise. Keep reading The Secret, Novackaine!

Orlando Napier has "good guy" written all over him, despite having been to jail. "You just opened up so many doors for me," he says to Carson Daly, who has just invited him to be on the show. "I've been whittling away at doors for the last five years, and this could be that golden door." Aside from his door-whittling obsession, Orlando also sings. In a band, with his father! He wears an oversize black fedora that makes him look more like a scarecrow than a member of the Rat Pack. His soulful, Joe Cocker-ish voice on "Waiting on the World to Change" inspires Adam to turns around, making him the first judge to fill out his whole roster.

"I'd like to be a musician who bakes, not a baker who's a musician," says Lee Koch, a baker whose feathery blond locks and beard seem to be eating his face from beneath a derby hat. He sings a perfectly serviceable cover of "Like a Rolling Stone," and Xtina waits for the harmonica solo at the very end to be convinced. "It was the harmonica that did it!" she says. "There's more where that came from!" he replies. After giving Xtina a heartfelt thanks for choosing him, they share a sweet moment and a hug.

"My biggest fear is that I get to the end of the song, look up and see the backs of all four chairs," says tonight's other single-named singer, Wade. With his just-different-enough take on "Rehab," it's a fear that never becomes reality. Although Cee Lo looks like he's not feeling it, he ends up turning around. "It was like a Stax version of a Motown-inspired Amy Winehouse song," he says. Now that Adam has a full team, he can appeal to every contestant, basically saying, "I woulda picked you, but my hands are tied.

Southern sorority sister Adley Stump may have just recently learned to sing, but her voice sure packs a wallop. With blonde hair spilling out of a golden leopard headband, she comes across as brassy and confident (and very cute) with a rockin' take on country jam "Last Name." I love that her mom says embarrassing stuff like, "When she was potty training, she sang her ABCs for Skittles," and "I hope I don't have to go over and turn someone's chair around." Moms! This is the contestant who inspires the competition I mentioned earlier. Blake admits that Xtina's interest was what pushed him over the edge. Xtina then goes on about Adley's chops, until Blake asks what that means. "You don't know because you're not a real vocalist," she says – just kidding, but maybe not just kidding? "If you're looking to work with a vocalist, I will sit and dissect with you on a vocalist level," Xtina says. Blake counters strong, though, with a subtle appeal toward his roots. "Country music is about telling a story," he says. "Not the vocal Olympics Xtina is talking about putting you through." Hmm. In Xtina's defense, this show sort of is the vocal Olympics. But we've already established Blake is a charmer. Adley chooses him.

A lot of singers are shown through montage trying to get to the final slot in Xtina's crew. It's not until smoothly-coiffed Sera Hill finally raises the rafters with "I'm Going Down" that she is moved. And boy, is she ever moved! Xtina grabs a mic and heads to the stage for a climactic duet. Sera looks like she's about to die of Happy, but she still tries to hold her own against the all-powerful white heat that is Christina Aguilera's proper singing voice, a reminder of why this judge is duly qualified for her job.

Next week: The auditions are over. Let the games begin!

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Friday, February 24, 2012

'The Voice' Recap: Just Ducky?

the voice charlotte Contestant Charlotte Sometimes from NBC's 'The Voice.'

"My mother and father came to this country looking for the American dream. If the judges turn around, the dream lives on," says straw-hat-wearing Eric Macek, just before his oddly Celtic-sounding take on "Free Fallin'" (weird, since he's Russian.) Eric is the third contestant to dedicate his song to his parents, who may be getting deported back to Russia soon. It seems mandated that contestants bring their parents, and that they also have a seriously depressing story. Not that it always helps. After some intense close-ups of Blake Shelton's hand near the button, in the end, none of the judges bites.

First up is Ducky and, whoops, your name is Ducky. His girlfriend even has red hair! It's not red like Molly Ringwald's Pretty in Pink hair – it's magenta – but still! Ducky has the kind of mustache you can twirl, and his pallor and fedora make him look like a silent movie cowboy villain. During his "Tighten Up," the judges argue over who should take him. Nobody does. They can't seem to admit this is on purpose, though. "We wish we'd have pushed our button," Xtina says.

Jonathus learned English from listening to music; winning this contest would be the American Dream. The moment he starts singing "U Got It Bad," it's clear he might have a shot. Beneath his dead-on vocal impression of Usher, there seems to lurk some talent. The judges can't see his pompadour or his sick dance moves, but Cee Lo and Xtina both buzz in. "I want to package you and do the right things by you," Xtina flirts, not even waiting for the crowd to chuckle before chiding, "You guys are perverted!" Cee Lo doesn't miss a beat: "She's got 'package' on her mind." After young Jonathus admits he's had the hots for Xtina since fifth grade (ouch!), he picks her as his coach.

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Monique Benabou, who is adorable, has a parental sob story having something to do with cancer. I hate to give it short shrift but, you know, something like 40% of the contestants on this show have cancer in the immediate family. With her curly brown hair and feather earrings, Monique looks like a contemporary of Neneh Cherry and Jody Watley. During her "Mr. Know It All," Blake persuades Xtina to pushes the button. Monique looks super-happy and grateful. Blake compliments Xtina when explaining why she was the right mentor: "We may fight sometimes, but I still think she's the best female vocalist of her generation." Aww, you guys!

Carson goes to retrieve Naia Kete while she and her band are playing a show in the park. Naia is wearing a blue dress and matching head scarf to contain the snake den of dreads on her head. Her entire family is engaged in a competition for whose dreads are the most rad. (Mom wins by a lock.) When Naia starts singing "The Lazy Song," Blake turns almost immediately, followed by Cee Lo. "Hello, Earth Angel. I pushed my button for you," Cee Lo says. (I forgot to mention Naia is a total stunner.) "Cee Lo, you push all my buttons," she says, and the show ends, because it is perfect. Just kidding. "The minute you started singing, it made me smile," Blake says. "I fell in love with your voice. I think you probably have ideas of what to do with it and I wanna hear those." He manages to win her over and totally deserves it. Dude's a serious charmer.

Charlotte Sometimes – aside from being a huge fan of the Cure and watching teachers roll their eyes while taking attendance – has overcome a jaw disease to get to where she is today, vocally. And how! With a fluttery timbre on OneRepublic's "Apologize," she makes all the judges turn around. "Charlotte Sometimes? I want you all the time," Christina says (She'll be here all week.) "When you opened up, it was like a flower," Cee Lo says. "It was beautiful." I'm not even gonna touch that one. Adam goes about complimenting Charlotte the wrong way, telling her she may not the best at everything, but she has one simple thing that could be refined. Tonight's Teflon Don, Blake Shelton, manages to woo her by mentioning that similar-sounding Xenia from last year now has a record deal.

Tony Vincent is a Broadway lifer, as attested by cast photos from Rent and American Idiot. He wears more eyeliner than his wife, and beneath that bald pate is a big ego. "I chose The Voice as the platform for the next step of my career," he says, because he likes their emphasis on vocal talent. Sure. During a very theatrical take on "We Are the Champions," Tony bites hungrily into every word. Cee Lo is the only one who turns. "It takes guts to come out and do Freddie Mercury," he says.

The next contestant is a "Christian artist" trapped beneath the heavy shadow of his father, a well-known preacher who has written "like 40" books. Anthony Evans talks about the pressure to measure up to daddy, while literally taking a long hard look in the mirror. He sings "What's Going On?" with an appealingly wobbly vulnerability to his voice. Xtina turns her chair at the last possible moment, impressed by how Anthony was "hitting some of those runs and executing sharp" at the end.

Jamie Lono is a puppy with stringy blonde hair, a red shirt that looks like a pajama top and a Scottish plaid tie. He works in a sandwich shop, and his parents went broke paying for the lung operations he had when he was a kid. (The Sadness Gods are appeased.) Adam pushes his button almost immediately into "Folsom Prison Blues." Cee Lo follows suit. "I wanna make sure you never have to make sandwiches again," Adam promises, echoing Josh Krajcik's burrito-making storyline from The X-Factor, for those of us who watched that show. I can't make heads or tails of what Cee Lo means by "I would like that type of energy and surround it in ability," but he wins the kid's vote.

Next up is another blast from the past of someone involved in the show. Justin Hopkins was a guitarist in the Last Call With Carson Daly house band. He looks exactly like Chris Hardwick, who I just realized also looks exactly like Josh Lucas. Hopkins' slightly sped-up version of "Babylon" catches the attention of "old soul brother Cee Lo Green," who swoops in to claim him. "I got to so selfishly watch your talent for so long," Carson says afterward, but even a celebratory Hopkins doesn't look quite convinced that Carson ever noticed anything.

"I'm a 6-foot, 300-pound white guy and I sing Sixties soul music," says the rock-eating creature from The Never Ending Story, whose name turns out to be Eric Tipton. After that intro, though, how surprised was I when bearded, bespectacled Tipton busts out some Hall & Oates? It's not a very exciting rendition, either; nobody turns around. The judges blame their disinterest on a song choice so iconic that they can't get past the original version, which is a perfectly serviceable lie.

Mathai is another beautiful young singer of indiscernible ethnic background. Her story is that she's choosing music over med school, and her cover of "Rumour Has It" leaves me inclined to agree with this choice. Her voice is very strong, but it also flutters and purrs. Everybody turns except Xtina, who seems to judge young female singers on a sliding scale against her former self. "Attention: we are looking at a star," Blake says. "You don't sound like anyone else I've ever heard before," Adam says, bringing out the big guns. "I'm really desperate to have you on my team because I love you," he says. Cee Lo tells her she's beautiful, which fails to dissuade her from picking Adam.

Next week: The blind auditions train has almost reached the terminal. But not yet!

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Friday, February 17, 2012

'The Voice' Recap: Picky, Picky, Picky

jordis the voice Jordis Unga performs before the judges on 'The Voice.'

"It is definitely stiffer competition this year, and I think we're all being that much more guarded and that much more picky," Christina tells one of the blind auditions late in last night's episode of The Voice. If there was a running theme to the episode, that was it. There were moments when the four judges, especially Adam Levine, seemed like your annoying vegan friend who can't ever find anything to eat at any restaurant you visit. Or maybe the food was just mostly gross?

Each judge has 12 spots to fill, and though it doesn't seem like anybody has a strategy, some patterns are beginning to emerge. Blake tends to choose country folk, and furthermore: duh. Adam has gone mostly for powerhouse vocalists. Christina seems fixated on diversity. And Cee Lo often goes for rockers or anyone dripping with personality. These patterns are based strictly on those contestants the judges have successfully "won," which renders them basically meaningless considering the judges also bid on a lot of other contestants and lost. Hmm. It feels weird to talk about people like human chattel, but whatevs.

The first contestant is Sarah Golden and, oh boy, is there a dramatic build-up around her face. She talks about how she'd been signed twice before, but her looks rendered her unmarketable. In interviews, her face is blacked out; when she's walking toward the stage, it is blurred out. We have no choice but to assume deformity. When we finally do get to see Sarah – only after Cee Lo buzzes his chair midway through her solid take on Lady Gaga's "You and I" – she has a totally normal face. Maybe a bit boyish and round, but by no means noticeably flawed. So was this a fakeout by the show's producers, or is this what "TV-ugly" looks like? Either way, my indignant sense is tingling. Adding to the depressing nature of this moment, Sarah is the first female contestant Cee Lo doesn't aggressively flirt with. She ends up choosing him to be her coach anyway.

Elley Duhe is a 19-year-old with a County Fair JonBenet vibe. Incredibly, her father, a teacher, encouraged her to drop out of high school in her senior year to pursue a singing career – a move I call "Operation: Whoops." Elley is a bit "pitchy," as they say, and is done no favors by a particularly toothless instrumental track of Duffy's "Mercy." No judge presses a button for her, but she seems to have the best attitude of any losing contestant yet. Keep plugging away, Elley! Or go back to school!

Next up is a 19-year old boy named Pip, who is immodestly babyfaced, with suspenders and a bow tie to match. He also has a mature and very theatrical voice, which he flexes on "House of the Rising Sun." Adam is first to press his button, then Blake, followed by the other two judges. Blake asks Pip how he'd like to be the one male in his all-female henhouse so far, which seems like the wrong way to go about this. "I've got time and attention," Christina counters. "When she wakes before noon she has time and attention," Blake says. Ultimately, Pip chooses Adam, which causes Christina to slag off Adam as a salesman. Really, he's no more unctuous than any other judge.

Erin Willett is another of the sob-story contestants, and I'm a little frightened to see how hers will play out over the course of the show. Her father, the man who taught her how to sing, has pancreatic cancer, but he still came out to watch her sing "Give Me One More Chance" with a bold, powerful voice. The only person who presses is Blake, but that's all she needs to make it on the show. I truly hope her father makes it through the season.

Big, hulking football guy David Grace does a precisely adequate cover of "Sweet Home Alabama," and the judges are unmoved. Afterward, Xtina does that thing where she recuses herself from not choosing him by explaining she was trying to get the other judges to do so. There's something so sad when a contestant who doesn't make it on the show finally gets backstage, and the family is all like, "Hey, Champ, you did great!"

Katrina Parker gets a personal invitation to be on the show from Carson Daly, who comes to her office. It's a little gross, though, that every singing competition show demonizes the day jobs these contestants have, despite having an audience comprised of people with similar jobs. (THESE POOR PEOPLE WITH THEIR TERRIBLE LIVES, JUST LIKE YOURS!) Katrina's raspy version of Joan Osborne's "One of Us" makes an impression on Adam, though, and he picks her.

Former kickboxer Jeff McBride wears sunglasses indoors, not to curry favor with bespectacled Cee Lo, but because he had his retina scratched when someone put a thumb in his eye in seventh grade. Jeff's a skinny baldheaded dude who resembles Robert Townsend. Christina buzzes in early on his committed performance of "Higher Ground." Just like last week, though, we once again witness Christina promising a black dude, "I may not look like Cee Lo, but I've got soul too." "Everybody know you've got soul, girl," Cee Lo says diplomatically. "I had one person in mind, and right now it's Christina," Jeff says, which makes no sense when you dissect the statement, but good for Jeff.

Erin Martin is an interesting case. She's absolutely gorgeous, which she claims counts against her since nobody takes her music seriously. She defines her own look as "Egyptian warrior princess," which is no fun because it's my job to come up with descriptions like that for her headband and necklace. Her voice sounds like Norah Jones multiplied by the power of Bjork, but it seems rather forced, like she aspires for uniqueness. At times, the affect really shows, and she drifts into babytalk. Everyone but Adam presses their button. "You look like a wonderful creature of a woman," Cee Lo says to her. "And your voice is so great and unique and bizarre and great." Blake also goes on about her unique voice, but she chooses Cee Lo. The victorious judge then delivers a strange James Bond villain monologue to the camera while stroking a cat: "I think it was fate that we meet. She was given to me. I deserve her."

James Massone is a golden-throated 23-year old who works in a body shop with his family in Boston. He sounds like Good Will Hunting and looks like he's 12. He also has a very confusing story about four rappers getting gunned down once upon a time. He's tangentially involved, but it changed his life forever? I don't know. Adam's the only one who doesn't turn around during James' sterling take on "Find Your Love." The boy's own impressive showing makes him cry, adorably. Luckily some more casual racism follows. "He's white!" Adam exclaims, with mock-shock. "Yeah, but he's got soul," Christina says. Oh, boy. (Why is "soul" a code word for "audio blackness"?) James eventually chooses Cee Lo, who is starting to get a full dance card.

Winter Rae waits tables at a bowling alley and is happy with her job, because they let her look the way she looks, which is: asymmetrically shaven blue pixie cut, neck tattoos and thigh-high boots. She seems like a perfect contestant for the show, but she falters in two ways – by bringing along a human name-drop (Perez Hilton), and asking the audience for a round of applause as her song starts. The judges probably didn't like that. Nobody turns around. "I loved your soul!" Christina says afterward, confusing me further.

Chris Cauley gets points right out of the gate for naming his bluegrass-artist grandma as his number one influence. "She's like June Carter, a real sweetness in her voice," Carson Daly observes of her, accurately. Chris sings a gritty but pitch-perfect "Grenade," during which Adam looks conflicted and upset. He finally turns his chair, long after Cee Lo has already done so. Adam explains why it took him so long to turn around: he wanted to be sure, and after one perfectly executed falsetto note, he knew. Chris chooses Adam.

The final contestant is Jordis Unga, who comes from intriguing stock. Her dad is Tongan; mom is Swedish. He's wearing flower-laden tribal garb; she's wearing leopard print. Jordis doesn't look more like one parent than the other – she's got big eyes, and a bigger smile. She totally sticks to the script on "Maybe I'm Amazed" and really brings down the house. Everyone turns around except Adam. The celebration dance Jordis' dad does in his flowy muumuu after she wins is the best thing I've ever seen! Watching the three judges compete over her is easily the most exciting part of the show. "I picked you," Cee Lo says, underselling. "I picked you. Simple." Blake flatters her: "You're the type of voice I've been waiting for. Your voice makes me want to push myself to be better as a singer." Christina mentions again that she has time and attention to give, and suggests that unlike Cee Lo, she won't be out touring. This prompts Blake to mentions that he took the winner from his team last year on tour with him. Ultimately, though, Jordis says she picked Blake because he pressed his button first. Fair enough!

Next week: Even more blind auditions? How is that possible?

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


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Sunday, February 12, 2012

Gavin DeGraw Is Rooting For Angel Taylor On 'The Voice'

Gavin DeGraw poses for a portrait at the American Music Awards. Gavin DeGraw poses for a portrait at the American Music Awards.Michael Caulfield/AMA2011/Getty Images for AMA

At the end of night two of blind auditions on The Voice, a singer named Angel Taylor captivated the judges, audience and internet with her rendition of Adele's "Someone Like You." Gavin DeGraw didn't see the audition, as he is currently on tour in Germany, but the singer-songwriter isn't shocked at all by Taylor's impact on the show.

"It doesn’t surprise me that if she was on it, she would kill it. She’s amazing, she was on tour with me and she was the opening act for me a few years ago," DeGraw tells Rolling Stone. "I met her out in Portland, Oregon, really fucking cool. Some people you say hi to and it’s okay, but she’s legitimately cool the way you want a star to be cool. I love her, she’s fantastic, great singer."

Taylor and the other aspiring vocalists of The Voice are trying to get to the level of DeGraw, who is about to kick off another round of U.S. tour dates next month on the strength of the smash single "Not Over You." But DeGraw has his own artists he hopes to one day emulate. His career role model – Kid Rock.

"I think Kid Rock has the most amazing fucking career. He says anything he fucking wants on stage, anything at all, he doesn’t care. He celebrates freedom of speech like none other. He does anything he wants musically, he’s not bound to any style, he’s not bound to anything," DeGraw says. "I went and saw him play this show in Nashville at the Ryman, maybe 1,800 people, maybe less, and I thought to myself, 'He has the perfect career. He can do anything he wants on stage.'”

The question then for DeGraw is how does he get to that point himself? For him, the key is the follow up to "Not Over You." "Pop art is shock art and the next thing I need to do is shock something, I need to do something different than what just worked," he says. "You drop a single that they would never expect you to drop. Next song to drop I think would be 'Sweeter,' the title track. If you drop 'Sweeter' next, that’s 180 degrees from that, that’s just sexy, but it’s masculine and sexy, it’s totally different, that’s Black Keys meets Sly and The Family Stone."

And if the song takes off the same way that "Not Over You" has? "If that works now I’m sitting in a good place and I can say, 'Cool, this shit is working. People want you to change it up.' And if they don’t then people really don’t want you to change it up," he says laughing.

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


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Gavin DeGraw Is Rooting For Angel Taylor On 'The Voice'

Gavin DeGraw poses for a portrait at the American Music Awards. Gavin DeGraw poses for a portrait at the American Music Awards.Michael Caulfield/AMA2011/Getty Images for AMA

At the end of night two of blind auditions on The Voice, a singer named Angel Taylor captivated the judges, audience and internet with her rendition of Adele's "Someone Like You." Gavin DeGraw didn't see the audition, as he is currently on tour in Germany, but the singer-songwriter isn't shocked at all by Taylor's impact on the show.

"It doesn’t surprise me that if she was on it, she would kill it. She’s amazing, she was on tour with me and she was the opening act for me a few years ago," DeGraw tells Rolling Stone. "I met her out in Portland, Oregon, really fucking cool. Some people you say hi to and it’s okay, but she’s legitimately cool the way you want a star to be cool. I love her, she’s fantastic, great singer."

Taylor and the other aspiring vocalists of The Voice are trying to get to the level of DeGraw, who is about to kick off another round of U.S. tour dates next month on the strength of the smash single "Not Over You." But DeGraw has his own artists he hopes to one day emulate. His career role model – Kid Rock.

"I think Kid Rock has the most amazing fucking career. He says anything he fucking wants on stage, anything at all, he doesn’t care. He celebrates freedom of speech like none other. He does anything he wants musically, he’s not bound to any style, he’s not bound to anything," DeGraw says. "I went and saw him play this show in Nashville at the Ryman, maybe 1,800 people, maybe less, and I thought to myself, 'He has the perfect career. He can do anything he wants on stage.'”

The question then for DeGraw is how does he get to that point himself? For him, the key is the follow up to "Not Over You." "Pop art is shock art and the next thing I need to do is shock something, I need to do something different than what just worked," he says. "You drop a single that they would never expect you to drop. Next song to drop I think would be 'Sweeter,' the title track. If you drop 'Sweeter' next, that’s 180 degrees from that, that’s just sexy, but it’s masculine and sexy, it’s totally different, that’s Black Keys meets Sly and The Family Stone."

And if the song takes off the same way that "Not Over You" has? "If that works now I’m sitting in a good place and I can say, 'Cool, this shit is working. People want you to change it up.' And if they don’t then people really don’t want you to change it up," he says laughing.

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


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Friday, February 10, 2012

'The Voice' Season 2 Recap: The Search Is On for the Next Big Thing

Wednesday, February 8, 2012

Carson Daly on Embracing 'The Voice'

carson daly 'The Voice' host, Carson Daly.

The latest issue of Rolling Stone goes behind the scenes of NBC's hit singing competition The Voice, which returned last night for its second season after the Super Bowl. We caught up with the show's host, MTV and NBC late night veteran Carson Daly, to chat about how he became a part of the show despite not being a fan of other singing contests.

I was told that you had some trepidation about signing on to a music show after your time at TRL.
I never watched Idol. The early days of Idol for me, coming from MTV and TRL and having been a music director at KROQ in Los Angeles, I was at the center of breaking music in popular culture. At that time, it was radio and MTV. When reality television really hit, I just had a backlash towards reality. It seemed like a cheap way to make a product. And then when music reality and Idol hit, I just didn’t watch it, it seemed novelty. And of course the story of Idol, this is one of the greatest stories in television history.

I was inside NBC pitching them, and I’m like, “Oh hey, I could be the new Barbara Walters.” I could hustle this fucking network for years, I’m not even shy to tell you. I was in a meeting with them and they were like, “We think we have a show for you,” and they gave me the Dutch version of The Voice. I’m good now – if you had put that in front of me five years ago, I would have taken it out of desperation. Now I’ve got a good radio career going again, my family is first and foremost, I’m older, I’m wiser, I don’t need to reach for lower hanging fruit anymore, I’m not scared to say no. But I watched the tape [of the Dutch show] and I really did like it. I saw that this mixed martial arts fighter, this tatted-up guy who sang Kings of Leon, and it blew me away. I thought the chairs were a little gimmicky at first and then I was like, it’s a great hook for popular culture, because people just get on board with that. The show has depth and it is a really important device to separate us from Idol and X Factor.

Have you been approached about doing other shows like this?
At this point, I don’t even remember. I’m on at 1 in the morning on NBC, I love that gig – I get to put bands on. No one even knows I’m there. Literally. I think they write me a check and didn’t realize I was there, until The Voice. I love Last Call. It took me a little bit to figure out that I wasn’t going to be that guy in a suit telling monologue jokes.

I stumbled into this format for Last Call that I really like, inspired by cable and Dave Attell’s Insomniac. I love being out on the street. I was like, fuck it, I’m going to do the late night show that I genuinely want to watch and it’s just me interviewing random people, in any sort of scenario. It’s like This American Life, story telling, a sense of discovery and new music. The plate tectonics of media have shifted where NBC had to become a new media company from an old media company. And there were guys like me in the building who had to operate like new media. I had to work in the new model because I’m forced to work in it.

[The success of The Voice] is still so new for me. I’ve been here for almost ten years, I’ve never gotten more Christmas cards from NBC people. It’s swanky. It’s crazy.

One of the things that is different about your role on the voice is that Seacrest on Idol kind of would get into fights with the judges and you are more in your own space.
The good thing is that I’m not influenced by Ryan. I’ve never really watched Idol. I know it seems like the cool thing to say but I really haven’t. I’m not working off the frame of reference of Ryan. I mean, I’ve read about catfights, but this show’s model is different.

When the live episodes of The Voice hit, you really seemed like you were in your zone.
I don’t really know how to do them. I don’t care if I go to my grave with people never understanding my talent, but it can be difficult to work in a very big arena like a live show on NBC. I mean, it’s pretty stressful. The network is going all in on this move, and I know what it’s like to be the traffic cop of that. There are a lot of moving parts, but if I can make it look easy and effortless and talentless to some degree, if you will, then I have done my job, and if nobody really understands that, it’s fine. Because I know if I ever put an IFB on someone criticizing me and put them in the center of that circuit, they’d probably shit their pants.

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


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Carson Daly on Embracing 'The Voice'

carson daly 'The Voice' host, Carson Daly.

The latest issue of Rolling Stone goes behind the scenes of NBC's hit singing competition The Voice, which returned last night for its second season after the Super Bowl. We caught up with the show's host, MTV and NBC late night veteran Carson Daly, to chat about how he became a part of the show despite not being a fan of other singing contests.

I was told that you had some trepidation about signing on to a music show after your time at TRL.
I never watched Idol. The early days of Idol for me, coming from MTV and TRL and having been a music director at KROQ in Los Angeles, I was at the center of breaking music in popular culture. At that time, it was radio and MTV. When reality television really hit, I just had a backlash towards reality. It seemed like a cheap way to make a product. And then when music reality and Idol hit, I just didn’t watch it, it seemed novelty. And of course the story of Idol, this is one of the greatest stories in television history.

I was inside NBC pitching them, and I’m like, “Oh hey, I could be the new Barbara Walters.” I could hustle this fucking network for years, I’m not even shy to tell you. I was in a meeting with them and they were like, “We think we have a show for you,” and they gave me the Dutch version of The Voice. I’m good now – if you had put that in front of me five years ago, I would have taken it out of desperation. Now I’ve got a good radio career going again, my family is first and foremost, I’m older, I’m wiser, I don’t need to reach for lower hanging fruit anymore, I’m not scared to say no. But I watched the tape [of the Dutch show] and I really did like it. I saw that this mixed martial arts fighter, this tatted-up guy who sang Kings of Leon, and it blew me away. I thought the chairs were a little gimmicky at first and then I was like, it’s a great hook for popular culture, because people just get on board with that. The show has depth and it is a really important device to separate us from Idol and X Factor.

Have you been approached about doing other shows like this?
At this point, I don’t even remember. I’m on at 1 in the morning on NBC, I love that gig – I get to put bands on. No one even knows I’m there. Literally. I think they write me a check and didn’t realize I was there, until The Voice. I love Last Call. It took me a little bit to figure out that I wasn’t going to be that guy in a suit telling monologue jokes.

I stumbled into this format for Last Call that I really like, inspired by cable and Dave Attell’s Insomniac. I love being out on the street. I was like, fuck it, I’m going to do the late night show that I genuinely want to watch and it’s just me interviewing random people, in any sort of scenario. It’s like This American Life, story telling, a sense of discovery and new music. The plate tectonics of media have shifted where NBC had to become a new media company from an old media company. And there were guys like me in the building who had to operate like new media. I had to work in the new model because I’m forced to work in it.

[The success of The Voice] is still so new for me. I’ve been here for almost ten years, I’ve never gotten more Christmas cards from NBC people. It’s swanky. It’s crazy.

One of the things that is different about your role on the voice is that Seacrest on Idol kind of would get into fights with the judges and you are more in your own space.
The good thing is that I’m not influenced by Ryan. I’ve never really watched Idol. I know it seems like the cool thing to say but I really haven’t. I’m not working off the frame of reference of Ryan. I mean, I’ve read about catfights, but this show’s model is different.

When the live episodes of The Voice hit, you really seemed like you were in your zone.
I don’t really know how to do them. I don’t care if I go to my grave with people never understanding my talent, but it can be difficult to work in a very big arena like a live show on NBC. I mean, it’s pretty stressful. The network is going all in on this move, and I know what it’s like to be the traffic cop of that. There are a lot of moving parts, but if I can make it look easy and effortless and talentless to some degree, if you will, then I have done my job, and if nobody really understands that, it’s fine. Because I know if I ever put an IFB on someone criticizing me and put them in the center of that circuit, they’d probably shit their pants.

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


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Monday, February 6, 2012

Week in Review: The Stars of 'The Voice' Return to TV

rs1150 cover The judges of 'The Voice' on the cover of Rolling Stone issue #1150.Mark Seliger for RollingStone.com

The latest issue of Rolling Stone goes behind the scenes of The Voice, NBC's white-hot singing competition featuring Christina Aguilera, Adam Levine, Cee Lo Green and Blake Shelton. We posted an excerpt of Brian Hiatt's cover story, in which the four stars speak openly about working together despite having little in common. "Just look at the four of us," says Levine. "It's just so wrong and so amazing."

Photos: The Disco Biscuits Take Their Fans to Paradise

The Voice will return after the Super Bowl on Sunday. In anticipation of the big game, we put together a gallery of famous New York Giants and New England Patriots fans, and looked back over the best halftime performances in the history of the game.

Photos: The Queen's Next Rock Royalty?

We also talked to rising star Lana Del Rey about the backlash to her debut album Born to Die, interviewed Leonard Cohen about his latest album Old Ideas, chatted with The Cult's Ian Astbury about their intense new album Choice of Weapon, discussed the fireHOSE reunion with Mike Watt, investigated troubled Megaupload co-founder Kim Dotcom and reviewed hot concerts by Van Halen and Skrillex in Los Angeles. Plus, we reviewed all the latest albums, analyzed the pop charts and looked back on this week in rock history.

The Greatest Animated Music Videos

In pop culture, Peter Travers tossed January's worst films into the Scum Bucket, and we recapped the latest episodes of Glee, Jersey Shore and American Idol.

Photos: Random Notes

Our question for you this week is: Who should play the Super Bowl halftime show next year? You can answer on our website, at facebook.com/rollingstone or on Twitter using the #weekendrock hashtag.

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


Amazon Music and MP3 Center

Week in Review: The Stars of 'The Voice' Return to TV

rs1150 cover The judges of 'The Voice' on the cover of Rolling Stone issue #1150.Mark Seliger for RollingStone.com

The latest issue of Rolling Stone goes behind the scenes of The Voice, NBC's white-hot singing competition featuring Christina Aguilera, Adam Levine, Cee Lo Green and Blake Shelton. We posted an excerpt of Brian Hiatt's cover story, in which the four stars speak openly about working together despite having little in common. "Just look at the four of us," says Levine. "It's just so wrong and so amazing."

Photos: The Disco Biscuits Take Their Fans to Paradise

The Voice will return after the Super Bowl on Sunday. In anticipation of the big game, we put together a gallery of famous New York Giants and New England Patriots fans, and looked back over the best halftime performances in the history of the game.

Photos: The Queen's Next Rock Royalty?

We also talked to rising star Lana Del Rey about the backlash to her debut album Born to Die, interviewed Leonard Cohen about his latest album Old Ideas, chatted with The Cult's Ian Astbury about their intense new album Choice of Weapon, discussed the fireHOSE reunion with Mike Watt, investigated troubled Megaupload co-founder Kim Dotcom and reviewed hot concerts by Van Halen and Skrillex in Los Angeles. Plus, we reviewed all the latest albums, analyzed the pop charts and looked back on this week in rock history.

The Greatest Animated Music Videos

In pop culture, Peter Travers tossed January's worst films into the Scum Bucket, and we recapped the latest episodes of Glee, Jersey Shore and American Idol.

Photos: Random Notes

Our question for you this week is: Who should play the Super Bowl halftime show next year? You can answer on our website, at facebook.com/rollingstone or on Twitter using the #weekendrock hashtag.

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


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