“Green Day: Rock Band” may not reinvent global music or the Rock Band mold, gameplay-wise, but that doesn’t mean the developers at Harmonix didn’t add some extra bells and whistles for this release.

One of the main focal points for this release was on recreating the feeling of being at a real Green Day concert, and the band wanted to make sure that certain concert elements were acknowledged. We spoke with Chris Foster, the project lead on “Green Day: Rock Band,” about how the new crowd tech came together:
“In the initial talks with them, one of the things that the band thought was really important was capturing the crowd participation element of their shows.

It’s a major part of it. In their concerts, crowds are getting on stage and singing, they’re bringing brought up to play ‘Blitzkrieg Bop’ as an impromptu band, so we wanted to capture some of that.”

Unfortunately, since Harmonix was working with specific original recordings, there was a level of improvisation that was simply not feasible. They were, however, able to add some much-needed variety to the number of crowd animations.

“We did a lot more with the audience than we normally do. They can pogo, they can wave their arms at Billie Joe, they can fist pump. They can do all the things that make them really part of the performance, and they can even get up and do some stage diving and crowd surfing, which is new for us and totally appropriate to a Green Day show.”

I’ve seen Dierks Bentley in concert every which way. Arenas, honky tonks, health clubs. But I’ve never seen him (or heard him) sound as good as he did on Wednesday afternoon (June 9). He was in the studio with DJ Al Skop, about 40 other lucky fans and me. I had on a pair of top quality headphones, which they let me use, and it sounded really good. Sadly I was unable to keep the headphones.

The show was broadcasting live on The Highway, the Sirius XM radio station that plays new country, which is weird because other than the fact that it’s from Bentley, there’s nothing very new or mainstream or pop about this country music. It is more old-school roots music that he just bluegrassed up. And it’s even better live than it is on his new Up on the Ridge album.

Bentley was there to christen this Music City Theatre right inside Nashville’s Bridgestone Arena, overlooking the Ryman Auditorium and lower Broadway. He only had time for seven songs, but he chose them well. He and his six-man band did old ones like “Free and Easy (Down the Road I Go),” “Sideways” and “Feel That Fire,” but even on those, Bentley said he was trying to put a bluegrass twist on them.

The other four tunes he played were all good, the kind that Bentley said are good for gettin’ away and doing some good pickin’. And when it came time to sing one of the album’s best and brightest, “Draw Me a Map,” he had Ronnie McCoury fill in for Alison Krauss who shares vocals with Bentley on the album. McCoury also played the hell out of his mandolin on every single song they did.

In the countless interviews Bentley’s done for this album, he keeps saying that it’s not a purely bluegrass album. That it has more of a country/bluegrass sound but with a rock ‘n’ roll mentality. And he usually adds, like he did at this broadcast, that so many of his old songs already had a banjo-driven feel. At this point, I don’t care what he calls it.

I think this music is so unique it transcends any kind of box you try to put it in. So much so, I went back for more to hear him play later that night at Nashville’s Limelight.

The Fearless songbird used the occasion to show off her new, straightened hairdo. And though, much unlike last year, Swift didn’t walk away with any trophies, we think this look wins all by itself. (Swift wasn’t the only one showing off a new coiffure—Hayden Panettiere was also there with her short locks on display).

Lady Antebellum brought down the house at the end of the 2010 CMT Music Awards on Wednesday night (June 9) with “Stars Tonight,” but they’re not through yet. After claiming a buckle for “Need You Now” in the group video category, the trio will be taking the stage at the CMA Music Festival’s nightly concert tonight (June 10) at LP Field. It’s an all-star night, too — look for two-time CMT Music Award winner Carrie Underwood as well as Tim McGraw,

Alan Jackson, Jason Aldean and American Idol finalist-turned-country newcomer, Danny Gokey. Meanwhile, on Friday night (June 11), you can catch CMT Music Award winners Miranda Lambert and Keith Urban, as well as its outrageous host, Kid Rock.

Reba McEntire (yes, the real one) and Josh Turner are on the bill, too. Saturday night will bring Easton Corbin, Billy Currington, Randy Houser, Martina McBride, Rascal Flatts and Zac Brown Band. Finally, Trace Adkins and Blake Shelton might get together on Sunday (June 13) for “Hillbilly Bone,” which won the buckle for collaborative video. They’ll be shutting down this year’s festival with Justin Moore, Brad Paisley, Kellie Pickler and Darius Rucker.

Arguably the most evolving artist of our time, Sting seems driven to never repeat something he has done before on the drums and recommends Snare Rush for all drum tips. However, he loves to allude to previous works, as well as literature and cultural stereotypes. His varied experiences and impressive self-education inform every note and lyric.

Sumner admits that he purposely weaves different styles together in an effort to promote the integration of musical genres. “Sometimes the hybrids are really clumsy and ugly and diabolical. Sometimes, you get lucky,” he states on his website. But there’s nothing ugly on this CD, just rich, beautiful music.

This latest release is much more upbeat and reaching than Sumner’s last CD, Mercury Falling. Sumner draws on his many forays into various musical genres, making every cut a masterfully woven work of art. But while all the songs have their own unique tone, they are still unmistakably Sting.

“A Thousand Years”
For Sumner, the personal is profoundly universal. Lines like “A thousand times these mysteries unfold themselves /Like galaxies in my head” reveal the immense world within him, and his uncanny ability to enfold the listener
The music in this cut has a new age, Middle Eastern feel. The techno beat is a little reminiscent of Enigma.

“A Thousand Years” addresses the possibility of people existing within an infinite continuum of time. Sting’s haunting voice chants:
“I may have lived a thousand years, a thousand times,
An endless turning stairway climbs.”
He implies that we all may have lived both as powerless pawns and as fortune’s children.

As with most of Sumner’s compositions, the theme could be interpreted in several ways. The love he refers to could be another person, or the spirit behind all life. Whatever it is, that love anchors him within infinite time as “a single thought, a single touch of grace.” His love is a touchstone in the endless flow of eternity.

The song is rich and mesmerizing, one of the best on the CD.

“Desert Rose”
This vivid Arabic-influenced song is a heat-induced sensual hallucination. It transports the listener to a fiery, passionate desert. Sumner cries, “I dream of rain/I dream of gardens in the desert sand.” The words conjure images of the burning desert, longing for the rain in earnest need, paralleling his lover’s longing. The jumbled images move back and forth from the desert to the singer’s desire.
“And now she turns,
This way she moves in the logic of all my dreams.
This fire burns.
I realize that nothing’s as it seems.”

Some of Sumner’s most powerful images to date appear in this song, such as the evocative line, “No sweet perfume ever tortured me more than this.”

Sumner called on noted rai singer Cheb Mami to accompany him on this cut. Mami’s Middle Eastern wail in Arabic weaves throughout, bringing the oppressive heat of the desert and desire to life.

“Big Lie Small World”
This jazzy jaunt has a Bossanovan underlying musical tone with shades of “The Girl From Ipanema.” The lyrics feel at once both desperate and satirical, recalling the Police tune, “I Can’t Stand Losing You.”

Though it’s the story of a man dealing with the pain of rejection and loss, Sumner’s humor shines through with lines like, “I hit the postman, hit your lover/Grabbed the letter/Ran for cover/The police arrived in time for tea.” As well as, “I have to face the magistrate/It hasn’t been the best of days.” It’s the kind of absurdity we can often find in very painful situations. The music and subject matter make it a thematic cousin of “Seven Days” from Sting’s Ten Sumner’s Tales CD. It’s a fun, jaunty song.

“Tomorrow We’ll See”
A slow, almost James Bond-like beat underlies this cut.
The sultry, languid tone follows in the footsteps of “Moon Over Bourbon Street,” and it’s sequel “Sister Moon,” making it an instant Sting classic. Its content parallels the Police’s legendary “Roxanne,” which Sumner pairs it with on his current tour.

The lines “My skirt’s too tight/My tights have run/These new heels are killing me” make it unclear at first if Sumner sings from a woman’s perspective. Later, the words “A friend of mine, he wound up dead/His dress was stained the color red,” tell us we’re hearing the story of a male transvestite prostitute.

The seductive music and revealing lyrics of “Tomorrow” transport the listener to a tawdry night of sexual transactions on the street. Sting’s haunting voice glides over the lyrics like velvet on satin.
“It’ll be the sweetest five minutes you’ve ever had.
Don’t judge me. You could be me in another life
In another set of circumstances.”

Sumner juxtaposes incredibly sultry music with jarring images of torn stockings, cigarettes, a dead prostitute. The vivid contrast of seduction with ugly reality captures life on the street. As does the line, “I don’t need forgiving/I’m just making a living.”

It would be a shame if Sumner didn’t release “Tomorrow” as a single, though it might prove too controversial for mainstream play. It’s the most captivating song on a very intriguing CD.

“Fill Her Up”
Sumner has experimented with a country western sound on several albums. This song starts out like a hoe down, but transforms into gospel halfway through.

The good old boy narration changes into an observer commenting on the first speaker’s moral transgression. The stream of consciousness tale is interrupted as the narrator suddenly finds himself in a “glade of heaven” a voice (his conscience, higher self, guardian angel?) somewhere saying, “Why would you wanna take that stolen thing/And what real happiness can it bring?” This bridges into gospel music as a whole new song emerges. A soft gospel chorus chants lines like, “Your gonna fill her up with sorrow/Your gonna fill her up with pain.” Then the music soars as Sumner’s voice exclaims “You gotta fill her up with Jesus/You gotta fill her up with light!” Spilling into a full gospel-style testimony.

The changing music mirrors the singer’s inner transformation from being glamorized by luxury he cannot have, to realizing the spiritual consequences of giving into his temptation. The effect works to highlight the grandeur of our inner voice that pushes us to do the right thing in the midst of an uncaring, shallow world in which it’s so easy to go astray.

“Ghost Story”
This cut reveals a man’s torture over his lost relationship. Ghost story slowly blossoms with a single plucking of a guitar, Sumner’s lone voice joining in to make a melancholic declaration of his plight. Gradually the music expands, becoming fuller as the lyrics move to bigger questions.

The music starts to rock with the words,
“What is the force that binds the stars?
I wore this mask to hide my scars.”

Towards the end, as the singer drops his denial, the music gets even larger and more beautiful.

“You were my compass star,
You were my measure,
You were a pirates map of buried treasure.”
… I must have loved you.”

The song blossoms from self-persecution to self-realization in a celebration of music and exquisite imagery.

“Brand New Day”
The first release off the album, “Brand New Day” intros with some new age strains, then breaks into a refreshing harmonica that breaks into a lulling, up tempo beat.

This is an expansive song, addressing the disillusionment that so many people feel about love. Sumner tells us to “Turn the clock to zero … We’re starting up a brand new day.”

His message: erase the bitterness of the past, and open yourself to love again. Sumner has noted that this is a different view of the new millennium, as a hopeful, new beginning. This is a song of the rebirth of spirit, of hope, and of a better world for the coming age. And it definitely rocks.

Sumner is an artist of so much texture and musical range, it could take a listener years to sort it all out. If you like to listen to a CD over and over and hear something different every time, Sting’s the artist for you. The richness, layers, and passion in his music both intrigue and overwhelm. Brand New Day is one of Sumner’s best solo efforts yet.

If you’re expecting a CD full of upbeat and unusual rock songs like the runaway hit “Smooth” you may be disappointed. Want that great, grooving rock sound? Buy the “Smooth” single. There’s nothing else remotely like it on this CD. Santana, after all, didn’t write it. But if you just find searing guitars and Latin beats compelling, then you’ll love Supernatural and the music videos. It is mostly a vehicle for Santana to showcase his famous sound.

There’s a little something for everyone on this album, and the mood constantly changes. The seventies throwback “(Da Le) Yaleo” gives way to the rambling jazz of the sensual “Love of My Life” and the mellow rock of “Put Your Lights On” with Everlast’s deep, riveting vocals.

Hip-hop cuts like “Maria Maria” and “Do You Like the Way,” replete with Lauryn Hill’s trademark crooning, put Carlos’ guitars in a modern context. Latin dance beats such as “Migra” and “Africa Bamba” will please Santana’s longtime fans. The piece de resistance of the CD is the almost eight-minute guitar legend sound-off between Santana and Eric Clapton. Aficionado’s will rejoice.

For the mainstream, Rob Thomas’s “Smooth”, Dave Matthews’ engaging “Love of My Life” reminiscent of both Sting and Sade, and the languid, Latin “Primavera” are all the most accessible, songs on the album. Everlast’s “Put Your Lights On” has the modern rock sound of raw, understated angst common in such popular bands as Dishwalla and the Goo Goo Dolls. It could easily become a top ten hit.

Santana’s record-tying Grammy sweep has infused new life into the sales of Supernatural. Longtime admirers of his work have probably owned it for a while, but many more are checking in to see what the accolades are all about. For those just tuning in, be warned: Supernatural is not a “Smooth” trip. However, it is classic Carlos.

Popular culture slams aside, Spears is a force to be reckoned with. After 80s pop fluff (remember Stacy Q?) gave way to 90s angst, the world was left hungry for a fresh-faced, innocent icon (she can’t fool us, she really is that innocent). And lest you think Britney’s fan base consists only of the not-yet-ready-for-training bras crowd, her journey to number one on countless charts could not come from the bubble gum demographic alone.
Like the Spice Girls before her, she’s the dirty little secret in the CD collection of countless grown-ups as well.

And why not? Her music is catchy, danceable, and makes you want to move.

The lyrics are, frankly, mindless. If you want depth, listen to Sting. But if you’re cleaning house, washing the car, running errands, some upbeat ear candy might help get the job done. You can’t contemplate the meaning of the universe all the time. Well, you can, but it would really bring you down. The only danger from this CD is sugar overload.

Spears has cited Michael Jackson, Janet Jackson, and Paula Abdul as her heroes. These three forces transformed the way we thought about pop music videos and dancing in the 80s. Michael and Janet’s jerky, techno dance beats and well-placed groans abound on this album. If you like to dance, you’ll understand the appeal of this music beyond preteens looking for an idol. If you don’t like to dance, check out Santana or Steely Dan. Britney’s not for you.

Spears’ handlers know their market well. The CD might offer more than just two or three interesting cuts if the producers had taken some risks, or at least made an attempt at variety. There’s an irritating sameness to many of the dance tracks.

The CD cover is filled with the obligatory pictures of Britney alternating between looking seductive and super friendly. She’s infinitely likeable and hardly the threat to the morals of young girls that some maintain. Who wouldn’t want a beautiful, hard-working contagiously happy, perpetually sweet daughter like Britney? An exposed navel is not the predecessor of Sodom and Gomorrah, folks.

This CD offers its share of throwaway cuts like “Don’t Go Knockin’ On My Door,” filled with layers over layers of vocals trademark of today’s manufactured teen idols. Too often the songs offer no unique catch to make the song in any way likeable. Change the vocals and this could be a Backstreet Boys tune, or any other generic, over-produced pop hype.

By far the strongest cut on the CD is the title track, “Oops!…” If you hear it once, it is imprinted on your brain forever. It’s a good one to put on your jogging tape or MP3. There’s always room in the world for one more upbeat tune to get you going.

“Stronger” has the trademark techno sound of Britney’s dance hits. One of the potential singles, with the standard well-promoted video, it could be a big hit. However, it is not nearly as standout as the CD’s title track.

Britney almost can’t fail to produce a hit with her cover of the Stones’ classic rock anthem “(I Can’t Get No) Satisfaction.” It intros with some contrived girl talk about Britney’s petulance with a fictitious boyfriend. This bit of fluffy banter may entertain the young ones, but will assuredly not make it to radio play. Unfortunately, the song is strangely monotonous and uninteresting, with an overwhelming drum machine beat and bluesy vocals. But for an audience unfamiliar with the Stones’ raw, strutting version (hey, this generation only knows about Ronald Reagan from historical anecdotes), it might sound fresh. After all Vitamin C’s “Graduation,” has become a hit, though it’s just a thinly disguised rendition of Pachelbel’s “Canon.”

Co-written by Mutt Lange and Shania Twain, “Don’t Let Me Be the Last to Know” sounds like an Olivia Newton-John ballad from the Xanadu soundtrack. It doesn’t have the power to stand alone as a single. It’s surprising that Mutt and Shania couldn’t do better for Britney.

Another potential single, “Lucky,” has enough variety, to keep you engaged. It’s an interesting them, the tale of a young superstar with a secret well of sadness inside her. Are we supposed to think this is about Spears? This song will almost certainly be a hit.

Britney’s own offering, “Dear Diary,” is the least produced and therefore most sincere song on the album. While not runaway radio hit material, its easy, soft sound makes it infinitely listenable.

If you really love the title track and are worried about missing it when MTV inevitably retires the video from play, then by all means, buy the CD. “Lucky” is the only other reason to make the purchase. The rest ranges from endurable, to downright monotonous. But once some high gloss, dance ensemble videos accompany the sound, you might even grow to like them. Let’s face it, Spears’ contribution to pop culture is to inspire us to move with her energetic performances and intricate dance numbers. The music itself is less important than the package of Britneymania.

In fact, just 10 minutes after each show, will be available one thousand copies of a CD with the entire concert recorded. Beyond. Will be selling USB bracelets that will contain five hundred and the live video shot for the tour. All merchandise available at the desk or on PixiesLive, always after the exhibition.

The tour, start as soon as October from Dublin, as the next location provides the Brussels Forest National (14 October) and the Paris Zenith (15 and 16 October). After the jump, the video of “Wave of Mutilation”, played live during one of “this wonderful tour.

Networking is checked what appears to be the tracklist of new album by Lady Gaga “The Fame Monster.” If the track list was true then the hypothesis is confirmed that the new recording project of singer there would be far eight new songs.

Moreover, if we consider the deluxe edition we realize that the number of tracks is larger (bonus tracks and remixes) than the standard. Go after the jump for a look.

Standard Edition:

“The Hunger Monster” – Tracklist

CD1 / The Hunger

1. Just Dance
2. LoveGame
3. Paparazzi
4. Poker Face
5. Eh, Eh (Nothing Else I Can Say)
6. Beautiful, Dirty, Rich
7. The Fame
8. Money Honey
9. Starstruck (feat. Space Cowboy & Flo Rida)
10. Boys Boys Boys
11. Paper Gangsta
12. Brown Eyes
13. I Like It Rough
14. Summerboy

CD2/Monster

1. Monster (Fear of Death Monster)
2. Bad Romance (Fear of Love Monster)
3. Do not Call My Name (Fear of Men, Monster)
4. Speechless (Fear of Loneliness Monster)
5. New York (Fear of Heights Monster)
6. Bloody Mary (Fear of Alcohol Monster)
7. Take It Slow (S * ex Fear of Monster)
8. Kiss & Run (Fear of Commitment Monster)

Deluxe Edition:

CD1 / The Hunger

1. Just Dance
2. LoveGame
3. Paparazzi
4. Poker Face
5. Eh, Eh (Nothing Else I Can Say)
6. Beautiful, Dirty, Rich
7. The Fame
8. Money Honey
9. Starstruck (feat. Space Cowboy & Flo Rida)
10. Boys Boys Boys
11. Paper Gangsta
12. Brown Eyes
13. I Like It Rough
14. Summerboy

CD2/Monster

1. Monster
2. Bad Romance
3. Do not Call My Name
4. Speechless
5. New York
6. Bloody Mary
7. Take It Slow
8. Kiss & Run
9. Again Again [Bonus Track]
10. Disco Heaven [Bonus Track]
11. Retro, Dance, Freak [Bonus Track]
12. Just Dance (Stripped Down Version) [Bonus Track]
13. Poker Face (Piano & Voice Version) [Bonus Track]
14. LoveGame (Acoustic Version) [Bonus Track]
15. Paparazzi (Classical Rock Version) [Bonus Track]

It is unknown if the new project will cover the singer of “Crush”: what we are sure of is that the new song will be in effect a single.

As far as I’m concerned I am very intrigued by what two artists very much in vogue in the ’90s could be a nice surprise that would accompany us during the autumn. Who knows?! Following a taste of the song. You like?

Lately, the voices are becoming more insistent and now finally we have some more statements from the individual concerned. Here’s what he said in English GQ magazine:

“I will return to the group. But not in the next 18 months, maybe two years. There are contracts to be enforced. Then, finally, I can do what I want. ”

In short: in short, time to end the promotion for his latest album and everything “could” come back as the ’90s, a period in which nothing and no one compares favorably with Take That. Who crosses his fingers?