Greek Fire are an alternative rock band from St. Louis and one of THE greatest live bands I have ever seen. I bought their album 'Deus Ex Machina' at PointFest before seeing them, knowing/loving several songs. Every single track is bursting with heart, whether it's the climactic "Make Me Believe", the sing-along "Dreaming In Deja Vu", the sexual adventures "Down In Mexico", the anthemic "Doesn't Matter Anyway", or the all-out throwdown of "Put Your Hands On Me"... This, for me, was one of those times where you hear something and you just know it's going to be a big deal.

Thus it was a huge shock when the news of Johnny Venus dropped. The band's drummer recently fell ill. The guys recap all that happened recently in a blog post at tumblr where the news broke - Johnny Venus had been diagnosed with leukemia.

The band themselves, DJs at 105.7 The Point and KSHE 95, and fans have united in efforts to help Venus out in any way they can. The Greek Fire have set up a PayPal account for fans looking to make direct donations. For $20, fans can also order a shirt that reads "Fuck Yeah Greek Fire Fuck No Cancer".

Rapper Tef Poe recently said he'd like to see St. Louis more united instead of the divided (sometimes even kind of segregated) way we live and it's really cool to hear about people helping out. LiveNation St. Louis has donated 4'x6' posters in an effort to help out the ailing drummer. Not inches. FEET. Those beastly posters in bus stops. For a $25 donation to help Johnny Venus, you can get one from CD Warehouse (11828 Tesson Ferry, St. Louis MO 63128).

Johnny Venus has a long fight in front of him, but he is not alone in this fight. Do what you can to help out an amazing musician, a local talent, and really... another human being.

by Lova Randrianasolo

Multi-platinum Detroit rap superstar Eminem has recently filed a cease and desist order against German  car company Audi for their use of his track “Lose Yourself” on their new commercial to promote the 2012 Audi A6 Avant.  When I first heard about this news, I thought it was another case of a paranoid artist making some outrageous claim, yet after watching the Audi commercial (see below), it’s pretty obvious that Audi not only ripped off Eminem’s track, but also decided to rip off Chrysler’s commercial for the Chrysler 200; which has Eminem driving around Detroit to the track “Lose Yourself”.

In this case, I had to ask myself “Who in the blue hell thought this would be a good idea; obviously someone in Audi’s marketing department didn’t think this one through.”  This case also brings up a topic that most people are uninformed about: international copyright law pertaining to music.  It’s pretty much common sense that US law protects copyrighted works from any infringement, yet how does this fare in the International arena?

In 1995, the World Trade Organization was formed to watch over and sort of regulate international trade.  The WTO replaced the General Agreement on Tariffs and Trades, or GATT, which was established in 1947 during the UN conference.  The WTO was the first organization to bring forward the issue of intellectual property on an international scale, which means it recognized that copyrights, patents, and trademarks are properties that should be treated like tangible goods.  Thus, the WTO created an agreement on Trade-Related Aspects of Intellectual Property Rights, or TRIPS.  The WTO has 153 member countries, which means that TRIPS spans over 153 countries.  This is the governing body for intellectual property in the international arena, so when there is an infringement, the WTO’s Dispute Settlement Body comes into play.

Em’s dispute with Audi isn’t the first time Slim Shady has had problems with companies improperly exploiting his music.  Back in 2007, Em and his management sued Apple for unlawfully distributing his music on iTunes without his permission.  This is kind of funny to me because even if Apple didn’t get the proper permission, would Em really have said NO to iTunes, the largest distributor of downloaded music?  My personal opinion is that artists need to protect their music, yet they should be smarter about the execution of their defensive actions.  Em was definitely smart in disputing the Audi commercial since he probably has some sort of deal with Chrysler that negates him from endorsing any other car, but suing Apple just doesn’t make sense to me.

Aside from the legal talk, I’d like to say that Eminem definitely came back hard with his last album, Recovery, and I look forward to his next album.  He’s definitely one of the best MCs to ever grace the mic, and I hope he stays off the drugs and brings back Slim Shady. FILL UP!

Photo found at OMGMusic.com, courtesy of Google Im

by Lova Randrianasolo
Kanye West is one of the most controversial, yet critically acclaimed MCs to hit the airwaves in the past 7 years.  Starting off as Roc-a-Fella Record’s premier soul-sampling producer in the late 90’s and early 2000s; contributing to Jay-Z’s classic Blueprint album as well as The Dynasty: Roc La Familia, Beanie Sigel’s State Property album, and countless others, Kanye has evolved into a musical and cultural icon.  Through controversy and one arrogant or idiotic comment after another, he has managed to stay consistent with his music by topping the charts and reaching platinum status with every album.  Kanye’s success can be attributed to his ability to evolve while keeping his core personality intact.  Let’s face it, the Dark Fantasy Kanye doesn’t seem like the same guy that brought us a “New Work Out Plan” in 2004, yet these two eras of his career not only fully represent his personality, but also produced hot music.  So let’s take a look at the evolution of Kanye West, using each of his albums to define a different era.

1.      The College Dropout
During the period of 2 or 3 years before the actual release of the College Dropout, Kanye was building buzz within the industry as a hot producer, but nobody gave him notoriety for his rhyming skills; moreover, as an actual college dropout, Kanye received much criticism for leaving school and pursuing a music career.  These events are what set up the vengeful, yet playful emotions that Kanye has on the College Dropout.  This album was so groundbreaking and innovative in the hip hop world because it told a different story from typical hip-hop hustler and still went hard; which was very refreshing.

During this era, Kanye’s fashion style consisted of bright colored polo shirts, Louis Vuitton backpacks, and Ralph Lauren sweaters.  His whole persona sort of reflected the album’s vibe of a backpack rapper with hot beats who has something to prove to the world; and he proves it with soul-sampled beats and clever lyricism.  The general public was riding with Kanye in this era since he was Hip-hop’s hottest new-comer at the time.

2.      Late Registration
After the success of Kanye’s debut effort, the pressure of producing a sophomore album on the same caliber as the College Dropout didn’t seem to faze the Louis Vuitton don as he came out swinging with another bangin’ album in Late Registration.  Although Mr. West keeps his sampling style, Late Registration did have a completely different sound from the previous album.  Where College Dropout was about percussion and high-pitched soul samples, West tapped more into the strings and made his album sound like a hip-hop orchestra with killer lyrics and flow.  Along with his musical evolution, also came the evolution of his style and persona.  During this era, Kanye started enjoying his success and it showed through his comments and interviews.  This is the era I believe when “Arrogant Kanye” was born.  From telling the nation that ol’ G.W. doesn’t care about black people, to declaring that he’ll have a “problem” if he doesn’t win the Grammy for Album of the Year; Kanye was really feeling himself in this era, yet many would say his ego was justified because his music was hot.

3.      Graduation
So after two successful albums and growing a massive ego, Kanye releases yet another critically acclaimed album.  Graduation not only delivered musically, but sold nearly a million records in its first week of release; proving that Kanye’s stupid comments and actions really weren’t enough to keep fans away from his music.

The musical evolution in Kanye’s style takes him from an orchestra to an electronic symphony.  Again, he doesn’t really leave his signature sampling style; he just samples different types of music.  The power single “Stronger” is a whole different sound from previous hits such as “Through the Wire” or “Gold Digger”, yet still shows Kanye’s personality.  This ability to evolve without losing his core competency is one of the key factors to Kanye’s musical success.  This evolution naturally spun into Kanye’s fashion style and his persona.  Around this era, it was clear that the College Dropout semi-backpack rapper with the hot soul beats was gone and a musically evolved Kanye was among us.

4.      808s and Heartbreak
Kanye’s next effort would come at a time when he was dealing with a split from his fiancé, Alexis Phifer, as well as his mother’s death.  These losses in Kanye’s life definitely reflected in his music, as 808s and Heartbreak was an album filled with loneliness, pain, and heartbreak.  This album was worlds away from his previous albums, as the production style mixed elements of tribal drums, electronic, and Kanye’s auto-tuned voice.  This drastic change didn’t seem to stop Kanye’s success, as he still produced the fairly successful singles “Love Lockdown”, “Heartless”, “Amazing”, and “Paranoid”.

5.      My Beautiful, Dark, Twisted Fantasy
A year before Kanye releases his fifth album, he acts a fool at the MTV VMAs as he infamously interrupts Taylor Swift’s acceptance speech.  The general and most popular sentiment was that Kanye has gone too far and nobody was going to support his arrogant you-know-what.  Ironically, when My Beautiful Dark Twisted Fantasy was released, it seemed like Kanye didn’t miss a beat as the album debuted at #1 on the charts with nearly 500,000 copies sold in the first week.  Musically, Kanye returns to rapping on this album, and delivers verses that fit each song perfectly.  This album was sort of a mix between 808s and College Dropout to me.  His rapping style reminded me of a Kanye from a different era, yet the actual music and subject matter on this album was still very dark. 

6.     What’s Next?

So what’s next for everyone’s favorite arrogant rapper?  Well, there are talks of his sixth album dropping this year and a collaboration album with Jay-Z, so it’ll be interesting to see where he takes us musically.  Although I’m not exactly a fan of ‘Ye and Jay’s “H.A.M.”, I will definitely be checking out whatever he cooks up for us this time around.  As one of pop culture’s most infamous celebrity, Kanye is one the music game’s premier player; so love him or hate him, you can’t deny that his music is always honest and he delivers to his fans.

Pic found, via Google Image Search at Idolator.com

by Lova Randrianasolo

SUPER JAM 4 As the weather warms up and summer approaches, Hot104.1 is gearing up for the 4th annual Super Jam in St. Louis to be held on June 12, 2011 at the Verizon Wireless Ampitheater.  This annual show is hip-hop oriented, and this year’s line-up does not come up short.  The performers include:

1. Mindless Behavior-  This boy-band composed of high-pitched singin’ pre-teens seems to be a questionable choice in comparison to the rest of the line-up, but somebody has to open up….right?  Their hit “My Girl” is catchy and easy to sing along to, but is geared more towards the Justin Bieber crowd rather than Waka Flocka or Ludacris fans.  Mindless Behavior may be the next B2K, yet I’m afraid some hardcore rap fans might boo them if they overstay their welcome at Super Jam.

2. Travis Porter-  This hip-hop group has been bubbling in the “Next-to-Blow-Up” category for a little while, and has achieved moderate success with their singles “Make it Rain” and “Bring it Back”; as well as a feature on Brian J’s “Let Me Take You Out”.  Their southern flavor should fit right in with the rest of the line up.

3. Keri Hilson- Within a male dominated hip hop scene, Miss Keri is coming to represent for the ladies.  It’ll be all eyes on her for sure as the beautiful and talented singer/songwriter hits the stage at Super Jam.  With her sophomore album hitting shelves last December, Miss Keri should have no problem rockin’ the crowd with her "Pretty Girl Rock".

4. Lloyd- With his “King of Hearts” CD set to drop a few weeks after Super Jam, this R&B sensation should come with a killer performance.  Summer concerts seem to coincide with his music since many of his previous hits have been summer hits, so Lloyd should not disappoint.

5. Wiz Khalifa-  Fresh off the success of his debut album “Rolling Papers”, this Pittsburgh MC will surely roll up to Super Jam with some fresh energy.  Other than his hits “Black and Yellow” and “Roll Up”, some joints that should prove to be some crowd pleasers include the new single “No Sleep”, as well as “Top Floor” and “Wake Up”.

6. Waka Flocka Flame- Say what you want about Wakka, but it’s hard to deny that he’s gonna come with some fun energy.  Wakka will undoubtedly come to do what he does best and that’s acting a fool while rocking the crowd.   Time to go Hard in da muthaf***in paint….oooooh leeeh dooo it!!!!!!!!!!!!!

7. Ludacris- The Mouth of the South is coming to the Midwest to headline Super Jam.  With 7 albums under his belt and countless hits, Luda should put on a great show.  With Ludacris headlining, Super Jam is sure to be a great show.

So it’s going down on June 12th, 2011, and I am extremely excited about this show because the line up seems to actually be worth the price of the ticket.

an opinion piece by Jack Connelly

What I’m about to propose is something I’ve believed for some time now and may not be the most popular thing ever… but you know you’ve thought it at one point or another. Since Chris Brown beat the s*** out of Rihanna, she has been increasingly sexual/slutty and definitely acting out. However, this all seems to be lost as some feel the need to be very much on Rihanna’s side (because she survived Chris Brown’s assault), some find it sexually appealing (the ability to think with only one head at a time), or they condone it. I’m not having that s*** and let’s get this out there in the open.

Think about it. Seriously.

When Rihanna first rolled up, she was this young innocent dancehall chick from Barbados with the hits “Pon De Replay” and “If It’s Lovin That You Want”. They were passable singles, but nothing too entirely memorable. They were catchy though. “S.O.S.” and “Unfaithful” were sexier, but still, it was relatively tame… OK, I’ve just re-watched the “S.O.S.” video and it’s edgier, sexier pop fare (though the mirror room does make me wonder if this was the path she was always on). “Unfaithful” though was a ballad about cheating on your man and not really knowing how to break the news to him because you’re sure it will wreck his world.

I’m going to use a highway as an analogy moving forward. These were Rihanna’s four first big singles and they’re like an on-ramp. She’s made a choice to go “sexy” and “edgy” and she’s gonna have to go full on with this or get the hell out of there. Merging on to Highway 69, and accelerating to highway speeds was her breakthrough album Good Girl Gone Bad. This was the album to have for awhile as every single from this album was a certified hit (“Umbrella”, “Shut Up And Drive”, “Don’t Stop The Music”, “Hate That I Love You”, “Take A Bow”, “If I Never See Your Face Again”, “Disturbia”). “Umbrella” was a change of pace as it was definite pop and her cute face, sexy outfits, and provocative dancing had some boys hitting puberty in 4 minutes and 10 seconds. That video was everywhere and is still pretty hot now.

“Disturbia” is pretty important here as, in our highway analogy, it was throwing on the blinker and beginning the move into the next lane. We’re now on Highway 69 and we’re not getting off for awhile, so might as well get out of the entrance/exit lane. The “Disturbia” video was the first hint that there was something dark hidden… It was the first indication of what could come later. In re-watching some of these videos, I’m wondering if this was always the way it was gonna be. It’s a rather easy to follow transition, though the “Disturbia” video is a sharp turn into the madness that would soon follow…

Now we’re going to quickly swerve into the fast lane and hit the gas pedal. This is about Rihanna – you know what’s next. If you don’t we’re in early 2009 and Chris Brown beat the holy hellout of his then-girlfriend Rihanna. Rihanna stayed out of the public eye for a few months, before returning with the dark Rated R. “Russian Roulette” the song creeps me out, but I enjoyed “Hard” and, to a certain degree, “Rude Boy”. “Hard” is the first music video appearance of her out-there and questionable fashion choices. “Rude Boy” is the song that brought this all to my mind. The song itself is kinda questionable and sounds kinda like a cry for help, but the video is just bizarre. Videos have fallen off the radar of some, since MTV has abandoned them (unless it’s 2 AM to 8 AM, central standard time). However, radio is still a big deal and pop radio is the biggest game there is. Rihanna was something of a hero to the womenfolk at this time as she was “stronger” for having survived Brown’s assault and the tabloid invasion of her privacy (see: the police photos of her face immediately afterwards). Let’s look at the estrogen avenger’s lyrics…

“Come here rude boy boy, can you get it up? Come here rude boy boy, is you big enough? Take it, take it, baby baby, take it take it, love me love me…”

I’ve only got a Bachelor’s degree in Psychology, but that chorus (y’know, the repeated part of the song) was kind of… how you say, alarming. No lie, I’ve had this topic on my mind ever since the first time I heard “Rude Boy”.

Since then, it’s just been “pedal to the metal” on Highway 69 – Rihanna’s sexual nature went from “sexy” to “slutty”. I didn’t find it attractive anymore, but rather felt pity for her as her outfits got more outlandish and her lyrics hornier. “Only Girl In The World” and “What’s My Name?” continued this trend – “Hey boy, I really wanna see if you/ can go a long time with a girl like me/ Hey boy, I really wanna be with you/ cause you just my type, ooh na na nana…”. However, “S&M” is… just… no. This is where I’m drawing the line. Consider me the cop on the side of the highway, chillin with a radar gun and sees Rihanna flying down Highway 69 at 120 mph in the fast lane. This needs to stop. The video for “S&M” is banned from MTV, the song itself renamed “Come On” in the UK… and having seen the video myself, I assure you, it is a steaming hot clusterf***.

Could it be the pop world that Rihanna is in? Once you market yourself as a sex symbol or at least as “sexy”, you’ve got to keep that up. A prime example is Britney Spears, who built her career on sex appeal. While critics rated Blackout and Circus about the same, Blackout was commercially panned because Britney was seen as a headcase and no longer sexy. Rihanna is also good friends with Katy Perry, whose sex-fuelled shenanigans are also getting tedious (I legitimately believe “E.T.” was once titled “F*** Me Alien, F*** ME!”). In the world of pop music, you have to stay relevant (“pop” being short for “popular”). Upping the hormone ante is one way to go about it, certainly. You won’t be hot forever though, just as you can’t be “the old guy” in the club. At some point, people are gonna see it as sad.

Rihanna’s recent interview in Rolling Stone really got me thinking though. She spared no details in the interview (5 and a half pages of material, but only about 2 worth reading at best), admitting her father was once an alcoholic and abusive to her mother. Fast forward to 2009, when Rihanna gets beat to hell by her then-boyfriend… Fast forward to 2011 and there’s a hit song from Rihanna that declares, “I know that pain is for pleasure, cause nothing can measure… Cause I might be bad, but I’m perfectly good at it/ sex in the air, I don’t care I love the smell of it/ sticks and stones may break my bones but chains and whips excite me/ nah nah come on, come on, come on/ I like it like it, come on…”

Also factor in that Rihanna’s two big guest spots in recent memory (and credit to Rolling Stone for pointing this out) are Kanye West’s “All Of The Lights” and Eminem’s “Love The Way You Lie” – not really portraits of a happy couple in either tune. Rihanna even admits that she saw a therapist just before her first interview post-Brown-beating… bot only once. “I don’t think I saw her enough,” the pop princess admitted. She also went on to note that she is “a bit of a masochist” and “It’s not something I’m proud of, and it’s not something I noticed until recently. I think it’s common for people who witness abuse in their household.”

I’m not here to judge anyone’s lifestyle or choices or what have you… but I can’t help thinking that maybe this is all a cry for help. There’s definitely a feeling of unresolved issues stemming back to childhood (why yes, I do listen to Dr. Drew on Loveline) that I’m pretty sure need to be resolved. But what do I know… I’m just a writer with a Bachelor’s degree in Psychology.

P.S. In the event that Rihanna ever does read this, it is my personal opinion and not reflective of Red Cup’s official views on anything. I’m not knocking her or anything, just my feelings on the whole thing. We linked several of your videos, but I think I maxxed out on how many you're allowed to link.

P.P.S. The Rolling Stone issue in question is RS 1128 from April 14, 2011. Rihanna's on the cover, so that should be a pretty big hint.

P.P.P.S. Credit to GreedmontPark.com for that pic.

 

With a title like “Rolling Papers”, Wiz Khalifa’s latest album and major label debut, is very appropriately titled.  The album starts off with a mellow and serious tone.  The first track “When I’m Gone” is a track where Wiz spits verses that spill out emotions of why he does what he does.  It’s easy to see that he wants to be taken seriously, and he wants his listeners to really listen to him on the verse; and although the hook is rather weak, this song sets the tone of the album.  The album then turns into a drug-induced single for “On My Level”, a thumping record about being high and drunk.  The next two records are Khalifa’s biggest hits to date: “Black and Yellow” and “Roll Up”.  These two singles are extremely catchy and serve their purpose as the radio hits off of the album.  By now, almost everyone has heard and probably sang along to “Black and Yellow”, especially since the Pittsburgh Steelers made their way to the SupeBowl back in February.  “Roll Up” is a synthesized catchy single made specifically for the radio, and although it’s very weak lyrically, it serves it purpose with its catchy Nelly-like hook.

            After the big singles, the album takes it a little slower one more time with “Hopes and Dreams”.  This song isn’t really that great; the beat really isn’t anything special and the hook is pretty weak.  The next track “Wake Up” keeps it slow with Khalifa’s synthesized voice riding over a synthesized beat.  This is music that you play in your car after a long day’s work.  Although Khalifa is still weak lyrically on this record, his voice and flow give a certain vibe that makes each syllable pop when it’s suppose to.

            The album goes into a zone where Wiz seems to try his best at telling his enemies and demons why they will not faze him.  “The Race” and “Star of the Show” have a vengeful tone and Wiz sort of goes in on his haters and pretty much says that he makes no excuse for what he does or who he is.  "Star of The Show" is aimed at ladies who previously dissed him, and people who only come around him when the money is there.

After this Vengeful rant, Wiz picks up the pace and wears a smile on "No Sleep"; a potential party anthem for Wiz's followers.  "No Sleep" is an upbeat joint made for the weekend and is all about having fun.   This party tone doesn't last for long however, because he provides a solid break-up song with "Get Your Shit".  The hook on this one is solid, yet it's in the same Nelly-like synthesized-style that appears throughout the album.  He continues this synthesized sound on the next track, "Top Floor", yet opts for a more acoustic sound on "Fly Solo".  This one is sort of Travie McCoy-ish.  it's alright, it has an alternative sound and Wiz is singin for much of it, yet his delivery is solid.  He ends the album with "Rooftops" (Nothing really special there), and "Cameras".  "Cameras" is a good way to end the album because it sort of sums up Khalifa's persona.  It's reflective, it has a sing-songy hook, and it's suppose to be inspiring.

Overall, Rolling Papers is a solid record from Khalifa.  It doesn't really display much lyrical ability, yet for those who like Wiz, it's exactly what they need from him.  This album goes a little more synthesized and pop-ish than Khalifa's previous efforts, yet it delivers on multiple occasions.  If you listen to this album, do not critique it in terms of lyrical delivery, but simply vibe to it: believe me, it sounds way better that way.  I give this album 2.5 out of 5 cups because it has a good vibe, yet it can also be wack at many points.

  Britney Spears’ Moderately Fatale New Album

By Jack Connelly

Britney Spears has returned to pop radio and this time around, she’s been playing it a little differently. Whereas Circus was all about, “Hey, I’m back to good!”, this one does not have the “comeback” to live up to. So, with that pressure off of her, but all eyes still on Ms. Spears, how is her new stuff? Well, simply put, if you’re gonna be getting it on and/or clubbin’, this is for you. If you’re doing both, then this just might be the soundtrack to your night. But how is the music?

Listening to this album was like going to a club – there are a lot of synth beats, Auto-Tune, and catchy hooks. That doesn’t mean it’s all good in this hood. The album kicks off with the first two singles “Till The World Ends” and “Hold It Against Me”. I’m sure by now you’ve made an opinion on those two tracks. I liked them casually and found them to be good kick-off tracks (you know them already and are hooked).

The rest is a mixed electronic bag that’s ready for some D. At its worst (“Big Fat Bass” or “Trip To Your Heart”), it’s an over-produced mess that annoys me. At its best, it’s an engaging listen that makes me want to hit up the club and try to find that girl who’s thinking sexy thoughts akin to Brit (“Till The World Ends” or “Seal It With A Kiss”). A good example of this back-and-forth is the song “Trouble For Me”, as I dig the singing and bare bones drums of the verses, but absolutely hate the pre-chorus and it’s “power-down” sounding beat.

The album is RIPE with sex appeal but you had to know that. I once joked that Britney Spears was the American dream – a career built on sex appeal over talent. That’s not to say she isn’t talented, but her sex appeal was… well, still is a top priority. With lines like “Even though we couldn’t last forever, baby, you know what I want right now. Hit me one more time, it’s so amazing,” and “In the shadows where it’s hot, love the risk of getting caught,” it’s something they’re still into. And, Geoff Johns help me, I bought into it and find myself definitely into Britney again. It certainly helps that she’s looking great (and seductive) on that album cover.

The bad news is that some tracks are over-produced with terrible beats and Auto-Tune. In “Trip To Your Heart”, there’s a grumbling bass, high-pitched singing from Spears, electronic lasers, and this start-stop-ish noise… and it doesn’t gel with me. This is a song where Britney Spears says, “Pull me close, strip me down, hold me tight now,” and I’m that turned off by the production that I consider it bad. “Big Fat Bass” is a low point and I really found it a chore to make it through that one. The piano succeeds, but will.i.am’s Auto-Tuned “Big fat bass, big fat bass, big fat bass, big fat bass” opening is entirely unnecessary. The song is an outright behind-the-woodshed abuse of Auto-Tune.

But when Spears is in the zone (pun half-intended), the album succeeds. The problem is, there aren’t that many tracks that I really liked. “Wins” were found in “Till The World Ends”, “I Wanna Go”, “Seal It With A Kiss” (probably my favorite), while I deemed “Hold It Against Me”, “How I Roll”, and “Criminal” to be mediocre/passable. But in those three winning(!) tracks, it was good pop music – slick production, undeniably catchy hooks, and a sense of sexy fun.
 
Overall, I give Femme Fatale about… 2.5 out of 5 Cups. I didn’t really dig it on the whole, but it’s passable. Your mileage may vary though.

Photo courtesy of Idolator.com. Album stream found at MySpace.

Every year, 105.7 The Point presents an all-day festival of alternative rock bands playing live amidst autograph sessions, concessions, and variant weather (it is St. Louis, after all). The 28th annual alt. rock extravaganza has been announced for May 15th at the UMB Verizon Riverport (see also: Verizon Wireless Amphitheater). It's been billed as "29 bands starting at 29 bucks", as opposed to previous years where it was "29 bands for 29 bucks". Pit tickets are $49, right out the gate, while lawn and some reserved seats are $29. As is usual, service charges are waived for the first week of sales, if you go to Verizon Wireless Amphitheater to get them. With all that out of the way, let’s look at who we’ve got coming to town.

Korn are actually headlining their PointFest debut. The band has been around for some time, gaining notoriety in 1994 with the instant classic opening of “Blind” and then breaking out again into mega-popularity from 1998 to 2002, roughly, with the help of MTV’s TRL. If you were watching music videos around this time, then you have surely seen their biggest hit to date, “Freak On A Leash”. I’m not sure, personally, that I’m all that excited as I haven’t given a damn about Korn in years, but I’d be willing to hang out for a few songs.
Singles: “Blind”, “Freak On A Leash”, “A.D.I.D.A.S.”, “Falling Away From Me”, “Here To Stay”, “Got The Life”, “Clown”, "Make Me Bad"

Papa Roach have made appearances at several previous PointFests - #16 (2004), #20 (summer ’07), #26 (summer ’10) – and have consistently won over the crowd and individual people I've gone with (even people who aren't big fans of the band). Having survived the rap-rock era of 1999-2002 (give or take), Papa f'n Roach have become more of a relentless rock band that thrives on live performances. I readily admit that they are one of my favorite bands of all time and their appearance is part of a trifecta that guaranteed my attendance to PF 28.
Singles: "Last Resort", "... To Be Loved", "Lifeline", "Scars", "Forever", Getting Away With Murder", "Burn", "Kick In The Teeth", "Hollywood Whore"

Sevendust are back to play PointFest, by which I mean "rock fans' faces off". Once dubbed "the hardest working band", these guys are not to be taken lightly. 7D has previously toured with Disturbed, Slayer, Iron Maiden, Korn, and a previous jaunt on Ozzfest should give an idea of their sound to those uninformed - metal. Loud.
Singles: "Enemy", "Black", "Praise", "Unraveling", "Waffle", "Live Again", "Denial", "Angel's Son"

Hollywood Undead are tricky... If you don't like Limp Bizkit, Beastie Boys, or Eminem, you will almost surely hate the HU. If you're OK with the idea of 6 white masked rap-rockers from Los Angeles, CA, then you'll probably find some enjoyment in what they offer. It's kind of a "hate it" or "love it" thing.
Singles: "Undead", "Everywhere I Go", "No. 5", "Hear Me Now", "Young"

Finger Eleven are definitely a lighter sound amidst a generally darker or harder line-up, but that will definitely make their spot that much more important. Whereas Hollywood Undead have screamo elements, Korn will have growling bass, and Sick Puppies will be loud and rowdy... Finger Eleven will rock with their pop/funk-influenced sound & acoustic ballads and provide a fun break. I'm looking forward to it.
Singles: "One Thing", "Paralyzer", "Living In A Dream", "Falling On", "Whatever Doesn't Kill Me"

Sick Puppies are a recent PointFest staple, debuting at PointFest 21 (fall '07) and playing, since then 4 of the last 5 PointFests (according to Wikipedia, anyway, but that sounds about right). With emotionally-charged ballads, unrelenting rock, and a thirst for the loudest, energetic, wildest performance (band and fans alike), the Sick Puppies are a welcome regular attraction.
Singles: "All The Same", "My World", "What Are You Looking For?", "Street Fighter (War)", "You're Going Down", "Odd One", "Maybe", "Riptide"

Alter Bridge have come a long way. Originally being mocked as "Creed with a different singer", their singles have steadily become more metal than the instrumental trio ever was under Scott Stapp's leadership. Listen to their current single "Isolation" and then "My Sacrifice" by Creed - it's a noticable difference, and very much for the better.
Singles: "Open Your Eyes", "Find The Real", "Rise Again", "Watch Over You", "Isolation"

All That Remains are metalcore (the growling/roaring most would think of when they think of bands found on Ozzfest). You may remember their breakout hit in 2008, "Two Weeks". They're looking to make an impression with this outing and cement their place in the minds of Point fans. I can only hope that they succeed.
Singles: "Two Weeks", "This Calling", "Hold On", "The Last Time"

10 Years are more melodic with darker themes, so much like Finger Eleven, their set time is crucial. I've just recently become a fan of the band with the release of "Shoot It Out" and then went back and listened to their previous material. It's good stuff all around, a good balance of hard-hitting rock and hard-hitting lyrics ("Wasteland" in its entirety).
Singles: "Wasteland", "Through The Iris", "Beautiful", "Actions & Motives", "Shoot It Out", "Fix Me"

The Damned Things are a supergroup consisting of members of Fall Out Boy (guitarist Joe Trohman and drummer Andy Hurley), Anthrax (Scott Ian & Rob Caggiano), as well as Every Time I Die (Keith Buckley & Josh Newton). Their single "We've Got A Situation" here has enjoyed moderate success on The Point. It'll be interesting to see these 6 guys in action as my imagination is very different for Anthrax, Fall Out Boy, and Every Time I Die shows...
Single: "We've Got A Situation Here"

Drive A returning alongside Red Line Chemistry is amusing as I mixed up the two at a previous PointFest. I don't know a whole lot about these guys. I'm only really looking into them seriously right now and while their stuff is good in the studio, it does sound like tracks that would better be suited for a live audience. They'll be playing before noon most likely, but they'll bring the heat before lunchtime.
Singles: "Are You Blind?", "Can't Sleep It Off", "Head Underwater"

Greek Fire is the side project for Story Of The Year guitarist/back-up singer Phil Sneed as well as STY guitarist Ryan Phillips. Their single "Doesn't Matter Anyway" is catching on now. I'm sure several local bands will be announced for the sure, but Greek Fire are thus far the only StL-bred band announced. 3-1-4!
Single: "Doesn't Matter Anyway"

Red are a Christian rock band that retains its badassery, despite the "Jesus rock" tag. Last time they played PointFest, it was positive reviews all around from what I heard. Hopefully they can turn in another good show, as I can only remember one song of theirs from a couple years ago.
Singles: "Breathe Into Me", "Let Go", "Faceless", "Feed The Machine"

Jonathan Tyler And The Northern Lights have played #26 (summer ’10) as well as headlined the PointFest 28 Announcement Party. It's fair to say that Tyler & co are having a breakout year as "Gypsy Woman" is all over The Point right now. Looking like the illegitimate children of Kid Rock, their music is pretty engaging and fun. Funky Southern rock that is meant to be loud, it'll be interesting to see when the Northern Lights find themselves onstage - I'd bet they get that noon timeslot when most people begin arriving.
Singles: "Pardon Me", "Gypsy Woman"

Hail The Villain have previously appeared at #27 (fall ’10) and are looking to move up the ranks from "opening act" (any band that plays before noon). Their debut Population: Declining was a very good album and one that I enjoyed throughout last summer. I'll be making every effort to make it to PointFest for the entire day so as to ensure I see these rocking Canadians (missed them last time). Loud metal, give 'em a chance.
Singles: "Take Back The Fear", "Runaway"

Pop Evil are making their PointFest debut. The band has been signed to a major label since 2008, but are starting to make waves with their single “Last Man Standing” (the video featuring Frank Mir may have something to do with it).
Singles: “Hero”, “100 in a 55”, “Last Man Standing”

Red Line Chemistry are definitely influenced by Alice In Chains, to the point that I thought this was Cantrell & co. However, it turns out it’s not them. Still, if “Dumb Luck” is any indication, these guys will have a good grunge set in them. PointFest faithful may remember from them from #23 (fall ’08), #25 (fall ’09), and #27 (fall ’10).
Singles: “Dumb Luck”, “One Thing”, “Meds for the Hypocrite”

Tickets go on sale Saturday, April 2nd at 12 noon. Again, no service charge at the box office during first week of sales. Pit tickets are $49, reserved seats are $29 or $49, and lawn seats are $29.

When You’re Through Thinking, Say Yes – Yellowcard
Albums that are middle of the road are the hardest to review. I’ve listened to Yellowcard’s new album five times, nothing in particular stands out. It’s all good and standard Yellowcard fare – if you’re a fan, definitely check it out. However, nothing in particular really strikes me as “noteworthy”. I couldn’t even pick out a favorite song. It’s sad as this is their comeback album, since their break-up in 2008. Like I said, if you’re a fan, check it out. If not, this can easily be passed over. 3 of 5 Cups.
Photo courtesy of: Post-Hardcore Attack: http://posthardcoreattack.blogspot.com/2011/03/yellowcard-when-youre-through-thinking.html 

Choose your own adventure and stream the entire album: http://www.myspace.com/yellowcard/music/albums/when-you-re-through-thinking-say-yes-17470804

Under Your Skin – Saliva
Saliva is a band that used to be on top of the alternative rock charts. It seemed they couldn’t be stopped. With a decline in their popularity, clearly they could be stopped. With a new album out can they find that fire they once had? The answer, sadly, is a resounding no. The songs are passable, generic rock at best. At worst, the individual tracks try way too hard to be badass (especially the opening song titled (no joke) “Bad Ass”) or just fall flat in their mediocrity. I honestly can’t recommend this album, even as background music. 0 out of 5 Cups.
Photo courtesy of MP3 Live. 

Choose your own adventure and stream the entire album: http://www.myspace.com/saliva/music/albums/under-your-skin-17488277

These days, Chris Brown seems to be catching the spotlight more for his temper tantrums than his actual music.  This is definitely not a good move on Brown’s part; yet projected first week sales of his latest effort, F.A.M.E., would prove otherwise.  So, instead of concentrating on his image in the public, let’s take a look at the actual music on his album.

The album starts off solid, with Brown’s mega-smash comeback hit “Deuces”.  The chants and lyrics in this one are deep, yet are really easy to recite.  The beat and hook are addictive and have the mellow feel mixed with the catchy melody.   This record was an ultimate break-up anthem and delivered as a hit song.  On the next track after “Deuces”, the album quickly shifts moods and goes from a sorrowful break-up song to “Up 2 You”; a ballad about doing what it takes to make a relationship work.  In “Up 2 You”, Brown professes how he swallows his ego and lets his other half have it her way; it’s a good ballad and adds to the solid start of the album.  “Up 2 You” has the same feel as one of Breezy’s earlier hits, “Take You Down”; yes, he will definitely be taking his shirt off and making girls cry while performing this song in concert. 

The album continues this slow groove with “No Bullsh*t”; another smooth, sexually charged cut, but then takes an upbeat turn with “Look at Me Now”.  “Look at Me Now” is a club-thumping record that has Chris rapping.  Busta Rhymes is the highlight flow on this one, although Lil Wayne and Chris’s flows hit hard also.

After a solid start to the album with smooth R&B baby-makin music mixed with a little time in the club, Chris comes with a Michael Jackson-sampled track in “She Ain’t You”.  Honestly, this song doesn’t do a Michael Jackson sample any justice.  When sampling anything from Thriller, the best-selling album of all time, there is a huge responsibility on the artist to come with something extraordinary.  While listening to “She Ain’t You”, my ear was expecting Chris to blurt out “Tell them that it’s human nature!” because he not only samples the beat, but steals some melody from “Human Nature” in his verses.  Perhaps a cover of “Human Nature” might have worked, but this song was a FAIL.

The album keeps an upbeat tempo and pop feel with “Say it With Me”, “Yeah 3x”, and “Next 2 You”, which features the current teenie-boppin teen sensation that is Justin Bieber.  Honestly, these songs seem like a poor effort at re-capturing the hearts of teenage girls across the world, yet serve their purpose.  “Yeah 3x” seems very similar to Taio Cruz’s single “Dynomite”, and makes me wonder if this song was Chris’s attempt at riding a techno-driven wave along with artists such as Taio Cruz, Iyaz, Jason Derulo, and Jay Sean.  This is an over-produced part of the album, yet it fits within a pocket of current popular music.

The last part of the album is a mix between intimate slow jams and upbeat euro-influenced drum patterns; but it finished strong with “Beautiful People”.  This album definitely started out strong, and kept the groove going throughout the tracks, yet as the album progresses, content seems to diminish as production work steers the album into a more pop-influenced piece of work.  Overall, I give this album 3 out of 5 cups because although it’s no classic, it does deliver some good music meant for Chris Brown’s fans.