Released next week on the TNP label, Making It is the culmination of a life in art and music (and a good bit of theatre, too.)

By Michael Toland

When last we heard from Stew, erstwhile leader of underground indie pop darlings The Negro Problem, he was busy conquering Broadway with his metafictional musical Passing Strange. Several awards (including a Tony for Best Book of a Musical) and one Spike Lee-directed film later, it seemed the long-struggling songwriter had finally found his niche in the popular consciousness, along with success his fans justifiably felt was long deserved.

As brilliant as Passing Strange is, it seemed to close the book on any further records with Stew's much-missed band. Not so, as it happens - he and his stalwart musical partner Heidi Rodewald merely folded TNP into their current endeavors. Originally commissioned as a song cycle by St. Ann's Warehouse, Making It picks up where Passing Strange left off - not so much literally, as it doesn't continue the first musical's story, but metaphorically, as it surveys the changes in Stew's life following artistic and financial success. That includes the damage done - the romantic relationship between Stew and Rodewald disintegrated as their professional one thrived, a situation chronicled with genteel bitterness in "Love is a Cult" (sung, in a smart twist, by Rodewald herself) and the duet "Leave Believe." "Love is a great gig/But the pay is crap" indeed. Meanwhile, "Speed" laments both the use and loss of its title drug (an ambivalence toward drugs Stew has explored before), while "Therapy Only Works If You Tell the Truth" rolls its eyes at its narrator's emotional reticence. "Treat Right," "Suzy Wong" and "Pretend" take on the creative process itself, connecting Making It thematically and more explicitly to its predecessor.

Musically Stew and Rodewald hit a new peak, deftly mixing the psychedelic pop that's TNP's usual stock-in-trade with the musical sophistication acquired from writing for Broadway. Lush melodies slow-dance with quirky textures and vice versa, each musical universe merging with the other. Stew's lyrics likewise combine the streamlined approach of stage lyrics with his love of wordplay; the latter gets the better of him occasionally (cf. "Black Men Ski"), but otherwise this is his most trenchant storytelling yet. That's indicative of Making It as a whole, frankly, as Stew and the Negro Problem apply every lesson learned in a lifetime of art and music to a record that feels like coming home after a long, fulfilling journey.

From the Josephine The Outlaw King project.

By Fred Mills

Now THIS has gotta be our favorite recent video: "Nolita Growled," by A Brokeheart Pro, a/k/a Cali rocker Jeannette Kantzalis (who you might remember from the late, great grrrl-garage combo The Chubbies). It's a steamysleazysexycool slice of film noir-meets-Latin-rock-twang, and part of her larger, forthcoming book/film/album project Josephine The Outlaw King. More on that soon...

UPDATE: Hypebot is reporting that as of 9:50 am this morning (ET) both the Universal and the Warner Music websites were still down.

Tango down! The timing of all this, coming a day after the anti-SOPA/PIPA forces successfully managed to undermine Congressional support for the controversial piracy bills, is definitely not a coincidence.

By Fred Mills

First comes love, then comes marriage, then comes the Department of Justice with... well, you know. Yesterday, Jan. 19, the hugely popular file-sharing site MegaUpload was shut down by the U.S. Justice Department and federal prosecutors charged its founder along with company executives with internet piracy. Response was swift - from hacker group Anonymous, that is. Before the end of business yesterday, the hacktivist organization had attacked and disabled the DoJ website along with the sites of Universal Music Group, the RIAA and the Motion Picture Association of America (MPAA).

Reports at Billboard.com outlined the Thursday events, noting that "an indictment accuses MegaUpload.com of costing copyright holders more than $500 million in lost revenue from pirated films and other content... the Justice Department said in a statement said that Kim Dotcom, formerly known as Kim Schmitz, and three others were arrested Thursday in New Zealand at the request of U.S. officials. Two other defendants are at large." Based in Hong Kong, the CEO of the business is producer (and husband of Alicia Keys) Swizz Beats, but he is not listed as among the indictees. (Read the 72-page indictment.)

MegaUpload has been around since 2005 and had become one of the world's most popular enablers of sharing large digital files, and it had also become semi-notorious in the entertainment industry due to it being championed by a number of high-profile musicians and celebs such as Kanye West and Will.I.Am.

Many of the files transferred at the site were no doubt legitimate and legal, but as one might expect from a site where music and film files are common currency, many of them also contained copyrighted material that can't legally be shared unless authorized by the copyright holders, typically record labels and movie studios. As Billboard points out, "MegaUpload is considered a ‘cyberlocker,' in which users can upload and transfer files that are too large to send by email. Such sites can have perfectly legitimate uses. But the Motion Picture Association of America, which has campaigned for a crackdown on piracy, estimated that the vast majority of content being shared on MegaUpload was in violation of copyright laws.The website allowed users to download films, TV shows, games, music and other content for free, but made money by charging subscriptions to people who wanted access to faster download speeds or extra content. The website also sold advertising."

At any rate, Billboard goes on in a second report regarding the Anonymous attacks, quoting a DoJ spokesman as saying, "We are having website problems, but we're not sure what it's from." Anonymous operative Barrett Brown then reportedly confirmed to British website RT , "It was in retaliation for Megaupload, as was the concurrent attack on Justice.org." As noted above, the RIAA, the MPAA and the Universal sites also went down.

At the Anonymous Twitter account, AnonOps tweeted, "One thing is certain: EXPECT US! #Megaupload" and followed that shortly later with "Tango down! http://universalmusic.com & http://www.justice.gov// #Megaupload".

Read a comprehensive, updated account of all this also at Billboard.biz.

R&B singer felled by complications from leukemia. See classic videos, below.

By Fred Mills

Blues and soul giant Etta James has died today in California at the age of 73, following a long battle with leukemia. Lupe De Leon, her manager, first confirmed the news to CNN, saying, "This is a tremendous loss for the family, her friends and fans around the world. She was a true original who could sing it all - her music defied category. I worked with Etta for over 30 years. She was my friend and I will miss her always."

James had undergone a series of health problems over the course of the past two years and had stopped performing as of January of 2010 not long after being diagnosed with the blood cancer. Still, she was able to complete one final album, The Dreamer, which was released last November.

A musical force of nature, James was discovered by R&B bandleader Johnny Otis (who also passed away this week) and soon stormed the R&B charts in 1955 with the bawdy "The Wallflower (Roll With M, Henry)" and went on to become a mainstay of the Chess Records stable of artists, continuing to cut R&B and soul hits (must-listen: steamy ballad "At Last," and the oft-covered "I'd Rather Go Blind"). Over the course of her long career she notched six Grammy Awards and was inducted into the Rock and Roll Hall of Fame. She was even portrayed onscreen by Beyonce in the 2008 film Cadillac Records.

James also had a tumultuous life that included weight issues and a lengthy addition to heroin. Much of that life was chronicled in her autobiography Rage To Survive which - title instructive - was a raw, candid, at times harrowing but ultimately inspiring, volume, and one of the greatest-ever music books.

Identity of Twitter account not verified yet.

By Fred Mills

There's Friday afternoon music biz news, and then there's Friday afternoon music biz news. The NME is reporting that disgraced glam rock star and convicted child sex offender Gary Glitter (aka Paul Gadd) is announcing a comeback for 2012 via the Twitter account Twitter.com/OfficialGlitter. The purported Glitter tweeted today, "You've been waiting for it. I'm pleased to announce my comeback album will be called "Still Shining". Out later in the year!"

That Twitter account includes the above photo plus a header that reads,The Official twitter of Gary Glitter. Managed and updated by me. The leader. New album #StillShining, coming soon! Other tweets said that an autobiography and tour are in the works, and a string of tweets this morning involved back-and-forth messages between "Glitter" and various fans. He also posted YouTube links, requests for photos of memorabilia, and - in one pointed missive - tweeted "#ThingsICantStand people not letting me put my past behind me and letting me move on with my music. #stillshining #GlitterGour #ff"

The NME has apparently tried to verify that it is indeed Glitter or his management but indicated that there has not been any response yet to the paper's request for comment.

Glitter was convicted in 1999 of child porn possession, serving four months; later, while living in Vietnam, he was convicted of child sexual abuse.

Redemption City is the name, profundity is the game!

By Blurt Staff

Wow - out of the blue, this morning, January 19th, Joseph Arthur delivered a free double-album's worth of material. Titled Redemption City, it's available now at his website (www.josepharthur.com) as a two-part download, either in MP3 or FLAC format. He will also be appearing on the Late Show with David Letterman tonight.

Arthur posted some comments about the album as well - see below. (Photo credit for above: Jean Baptiste Toussaint.

From Joseph Arthur:

Please don't take the method or the freedom of this release

to be any judgment on its value.

I think it's top notch,

but it's great to take advantage of what the internet is actually good at -

IMMEDIACY.

This is the first time I've released something while still

inhabiting its space,

I'm alive in the nowness of it!

Join me there or here or here and there.

Around the time I was putting out Redemption's Son,

I met Peter Beard in Montauk.

Lucky enough to stay with friends at the old Andy Warhol

house,

where the Rolling Stones had rehearsed.

A bunch of us were there

partying, playing cards, trying to do yoga,

but mostly partying.

It was fun.

(Thank you Rene and Suzy.)

One night I told Peter the name of my record that was

about to come out

"Redemption's Son," I said.

"Too religious," he said.

He was probably right but that's what it was called, though

it wasn't out yet.

The next day he said, "I thought of a better title for you."

I asked, "What?"

He paused for drama and then said,

"Redemption City."

911 had just happened,

it was a crazy title and I instantly liked it better than

"Redemption's Son",

but it was too late,

that record was already on its way to stores.

(that's where we used to get music back in the day.)

But I held onto that title.

I made a giant painting of a city when I opened the

‘Museum of Modern Arthur'

and called it "Redemption City"

but somehow its destiny is to be a title of a record.

Peter Beard is a deep cat,

animal blood on huge beautiful prints must awaken the

favor of the gods

because his will for this title has chased me down the years,

and a few years ago I set about making it.

The record inspired by the title.

What would a city of redemption sound like?

What kind of characters would inhabit it?

The files for this record date back to '09 and one track

further than that.

I work on it, get burned out and then reopen it weeks later.

I built a studio (with the help of Matt Becker) in Brooklyn

to make it,

and it's the only record I've made where I've done

everything on it,

played all the things that make all the noise, drums, bass,

synths and guitars,

produced it mixed it, you name it.

Not that i haven't been helped.

Jen Michel used to come around and listen to tracks and

say,

"Man, this is the record."

she wanted this one out for awhile,

but it wasn't ready;

a few more buildings had to go up and a few more roads

had to be paved.

Carla Podgurecki snapped the cover photo one night on

my roof overlooking the city of NYC

and Merrit Jacob came in at the end of it all and helped

me make final mix choices

and nudged the thing along in the right direction towards

home.

Actually, that's an understatement; he became the partner I

needed to help find the finish.

Finally, it was mastered by the great Fred Kevorkian.

It's been one hell of a process,

and I hope you like it.

If you do, pass it along and spread the word!

We've set this up so you can just have the record.

You can donate,

pay what you want,

or nothing at all.

Passing it on, spreading the word, is better than money,

but records are hard to make and expensive so if you dig it,

Dig in!

PS

There is lots of interesting low-end stuff on this record so...

I'm talking to you with the laptop on your chest listening to

this thing,

lazy in your bed and not wanting to connect it to fancy

headphones or decent speakers

for shame!

PPS

Part 1

Is complete as a record and for those who are generally

against the idea of an artist making a double record (of

which there are many) you can stop there and you have it.

Part 2

Is the deep cuts,

Which would have otherwise remained on the cutting room

floor or else been leaked out over time in various ways,

fragmented beings with no brothers or sisters or home.

I think both parts serve to strengthen the whole.  They are

relating to each other and breathing back and forth.

They are each other's shadow and hold hands when no one

is watching.

It's true that often less is more but sometimes more is more

and that is something that, in this case, will be down to

taste.

With the Internet and new ways of releasing music it seems

that the doors are open to broader perspectives on what's

too much.

Here you have both a double and a single record,

depending on how you want it or your level of interest.

Also it's not important (or possible!) to listen to all of it in

one sitting.

Take in Part 1 and then move slowly into part 2.

It's a city.

There are lots of avenues and side streets,

Abandoned buildings and bodegas,

Cars parked on the side of oblivion with cats in them.

Come in and walk around.

So without further ado,

for Peter Beard and the others who helped me get here,

Welcome to

Redemption City.

Guest-star studded tour of Oz to feature Fleshtones, Sonics, Died Pretty, Hard-Ons and others.

By Fred Mills

Everybody's fave stoneage romeos, the mighty Hoodoo Gurus - one of the greatest-ever bands to stomp outta Australia, period - are planning on marking their 30^th anniversary this year with a series of Australian shows in April. Prior to that they will issue a hits anthology, Gold Watch: 20 Golden Greats; it will hit stores March 16 and will contain a new, previously unreleased track "Use-By Date." Full tracklisting below.

Back to those concerts, however: they will feature a slew of special guests, including garage legends the Fleshtones (with whom the band has had a long relationship) and Sonics, Red Kross, Japan's 5.6.7.8.'s, and Oz legends Died Pretty,  the Hard-Ons and the Lovetones, plus several others. Talk about a blowout. Those dates and the list of performers are below.

Tour Dates:

4/20 - Brisbane - The Tivoli (with The Sonics and The 5.6.7.8's)

4/22 - Sydney - The Enmore (with The Sonics (USA), Died Pretty Redd Kross (USA), the 5.6.7.8′s (Japan), Tek & Younger (ex-Radio Birdman), The Fleshtones (USA), Hard-Ons, Belles Will Ring, Royal Headache, The Lovetones, The Straight Arrows)

4/24 - Adelaide - HQ (with The Sonics)

4/25 - Melbourne - The Palace (with The Sonics (USA), Died Pretty, Redd Kross (USA), the 5.6.7.8′s (Japan), The Fleshtones (USA), Hard-Ons, The Lovetones)

4/28 - Perth - The Astor (with Redd Kross (USA) & The Fleshtones (USA)

Tracklisting:

Use-By Date (New single (2012)

Leilani (from Stoneage Romeos (1984)

Tojo (from Stoneage Romeos (1984)

My Girl (from Stoneage Romeos (1984)

I Want You Back (from Stoneage Romeos (1984)

Bittersweet (from Mars Needs Guitars! (1985)

Like, Wow - Wipeout! (from Mars Needs Guitars! (1985)

Death-Defying (from Mars Needs Guitars! (1985)

What's My Scene? (from Blow Your Cool! (1987)

Good Times (from Blow Your Cool! (1987)

Come Anytime (from Magnum Cum Louder (1989)

Axegrinder (from Magnum Cum Louder (1989)

Miss Freelove '69 (from Kinky (1991)

1000 Miles Away (from Kinky (1991)

Castles In The Air (from Kinky (1991)

The Right Time (from Crank (1993)

Waking Up Tired (from In Blue Cave (1996)

When You Get To California (from Mach Schau (2004)

I Hope You're Happy (from Purity of Essence (2010)

Crackin' Up (from Purity of Essence (2010)

"We Take Care of our Own" out today (listen to it, below) with album to follow in early March.

By Fred Mills

The name of the album is Wrecking Ball and it is set for release on March 6: Bruce Springsteen, abetted by the E Street Band (sadly, minus the late Clarence Clemons) plus Tom Morello and Pearl Jam's Matt Chamberlain. It was produced by Ron Aniello, who previously worked with Candlebox and Barenaked Ladies - which isn't necessarily a good sign, to be honest, but we will continue to put our trust in the Boss.

According to a Rolling Stone report, manager Jon Landau indicates it has "social overtones" and "a very pronounced spiritual dimension... an experimental effort with a new producer. Bruce and Ron used a wide variety of players to create something that both rocks and is very fresh."

First single "We Take Care of Our Own" is out today, Jan. 19.  It's streaming at the BruceSpringsteen.net website, and you can listen to it here:

As previously announced, of course, Springstten will be doing a spring and early summer tour of the UK and Europe, with  US dates to follow. He will also be doing the keynote address at SXSW in Austin in March.

Tracklisting:

01 We Take Care of Our Own
02 Easy Money
03 Shackled and Down
04 Jack of All Trades
05 Death to My Hometown
06 This Depression
07 Wrecking Ball
08 You've Got It
09 Rocky Ground
10 Land of Hope and Dreams
11 We Are Alive
12 Swallowed Up (Bonus Track)
13 American Land (Bonus Track)

Well... you decide. See the teeshirt images. Meanwhile, Mick Jagger is calling...

By Blurt Staff

Uh oh, bitch fight looming! Pitchfork is reporting this morning that the indie world is all a-flutter, er, a-Twitter, over the Kings Of Leon purportedly lifting one of their teeshirt logos - or, more accurately, the layout and color scheme - to use on a tee they are selling in the UK. As noted in the article, No Age posted images of the KoL tees along with the comment, "t shirt designs by the kings of originality... looking good."

Added Pitchfork, "No Age also tweeted, ‘Imitation is the highest form of what now?' To which Robin Pecknold of Fleet Foxes responded, ‘THEY ARE THE WORST'."

Wait - what? Even though our musical tastes tilt in the direction of No Age and considerably away from Kings Of Leon, we're not inclined to wade into a dust-up like this, other than to note that, as you can see from the teeshirt images above and below, there are some notable differences in the lettering fonts, and the Kings' tee doesn't even employ rainbow coloring - it's just orange, red and yellow.

Meanwhile, as long as we're on this somewhat, um, fluid topic, check out the fonts, coloring, etc. on the Rolling Stones CD cover, below. Food for thought, kids!

Key track from recent album The Next Big Thing.

By Fred Mills

About a month ago we reviewed The Next Big Thing, the second album from Jamie & Steve, aka Jamie Hoover and Steve Stoeckel of powerpop legends The Spongetones. Wrote our reviewer, "Where [previous release English Afterthoughts] was clearly in the Beatlesque tradition of the mothership (there was even a ukulele nod to George Harrison), this new disc takes that primarily as a jumping off point from which to steer very firmly in the direction of latterday art-pop - in places, even art-rock - with complex production and arrangements that bring to mind such avatars of arcana as Roy Wood and Jeff Lynne (Move/ELO era), XTC, and (for all you youngsters) Apples in Stereo."

We're BLURT, and we approved that message! Now the first video from the album has washed up on the shores of the Mersey River, and it's a corker, as they might say in England. "Half a Mind" is the tune, and unless our eyes deceive us, there's some animation going on here that tips a hat or two in the direction of the classic Beatles cartoons from the mid ‘60s.