Posts tagged "Framing Hanley"
1. DJ Skee Intro
2. Trent Reznor Speaks
3. Scream – Chris Cornell (Dean Coleman Remix)
4. Rock Box – Run DMC
5. Walk This Way – Aerosmith
6. Encore – Jay-Z & Linkin Park
7. Electric Feel Remix – MGMT & JD (Justice Remix)
8. Get Rock – Lil’ John, Ying Yang Twinz & Busta Rhymes (DJ Scene Remix)
9. Like A Stone Mash – Audioslave
10. Girl With A Loaded Gun – Terra Incognita
11. Lapdance – N.E.R.D.
12. Rock Star – Jay-z & Pharrell
13. Lark On My Go Cart – Asher Roth
14. Heartless (Cover) – The Fray
15. Outshined – Audioslave
16. California Wonderwall – 2pac & Oasis (Rock-it! Scientists Remix)
17. Lollipop – Lil’ Wayne & Framing Hanley
18. Pony – Far
19. Fight For Your Right – Beastie Boys
20. Everyone’s Beggin – Madcon & N.E.R.D. (DJ Storm Remix)
21. Miscommunication – Timbaland, Keri Hilson & Sebastian (The Bloody Beetroots Remix)
22. Rise Up & Stay Fly – Three 6 Mafia & Yves Larock (Mikiwar Mix)
23. Part Of Me – Chris Cornell (LMFAO & LA Riots Remix)
24. Hot Revolver – Lil’ Wayne
25. U2 Let It Rock – Kevin Rudolph (DJ Cachi Remix)
26. Otherside Drums – Red Hot Chili Peppers (Starski Mix)
27. Kids – MGMT
28. Don’t Trust Me – 3OH!3
29. DJ Is A Demon – Prophet
30. Rock Around The World – Daft Punk (Victor Menegaux Mix)
31. Magnificent – U2 & Prophet
32. Sweet Revenge – Chris Cornell & Prophet
33. Welcome To The World Remix – Kid Cudi & Kevin Rudolph
34. Ordinary Girl – Chris Cornell
35. She Wants To Move Remix – Common & N.E.R.D.
36. Enemy Remix – Chris Cornell, Timbaland, Prophet & Forrest
37. I Don’t Need It – Jamie Foxx & Timbaland
38. The Seed 2.0 – The Roots
39. Scream – Game Intro New
40. Fight Song – Game & Good Charlotte
41. SLU – Kanye West
42. I’m The Ish Remix – DJ Class & Kanye West
43. Love Buzz Remix – Prophet & Nirvana
44. Everyone Nose – Lupe Fiasco, N.E.R.D. & Kanye West
45. Rock ‘n Roll – Daft Punk
46. Panic Switch – Silversun Pickups & Prophet
47. Climbing Up The Walls – Chris Cornell & Timbaland
48. Bounce – Timbaland, Dr. Dre, Justin Timberlake & Missy Elliot
49. Do Me Wrong – Chris Cornell
50. Freestyle – Prophet
51. Rock Star Girl – Charles Hamilton & The Offspring
52. Nothing To Worry About – Prophet, Peter Bjorn & John
53. Why Do You Follow Me – Chris Cornell
54. Jumpin’ Out The Window Remix – Ron Browz & Forever The Sickest Kids
55. Rising Down Remix – The Roots & Mos Def
56. Ghetto Rock – Mos Def
57. Speaker Busting – David Banner, Akon, Snoop Dogg & Lil’ Wayne
58. Rock Song – Young Jeezy
59. Salute Your Solution – The Raconteurs
60. Throw Some Rock – Rich Boy & Lenny Kravitz
61. Lost Remix – Coldplay & Jay-Z
62. Lost Cause – Chris Cornell
63. Broken Wings – Terra Incognita
Hiding Lenny Kravitz until the end: A smart move. Also, in case you were curious, that last track wouldn’t seem to be a Mr. Mister cover:
Too bad. (?)
“SCREAM” MIXTAPE [Teruo Artistry via Notes From A Different Kitchen]
music writer Miles Raymer rightfully lampoons a new contest from such halcyon musical minds as Saliva, Burn Halo, and Framing Hanley called The Dirty Tourney. (Keep in mind that if you visit that site, you have to allow popups for www.dirtytourney.com, which left me forever ashamed of myself.) In this fight to the death, Saliva and their fellow cro-magnons are on the hunt for the Queen of Unclean:
Submit pics and your profile between 3/25 and 4/2 and tell us why you or your girlfriend is [sic] the dirtiest, craziest, sexiest girl around and the band you think rocks the hardest. If you’ve got what it takes, and you show off what ya got, you could be crowned Queen of the Dirty Tourney.
I’m a little confused by the rules. Do they mean “dirtiest” as in covered in dirt or “dirtiest” as in “raunchiest”? Either way, one imagines that a lot of amateur mud wrestlers are gonna be signing up for this one. Not to get all Marc Summers up in here, but count me out! I can’t decide whether the ephemeral criteria for success or the rampant misogyny offends me more. Probably the former. The winner receives “Rock Star treatment in Sin City” including round-trip tickets to Las Vegas, hotel rooms, and tickets to the SnoCore tour featuring said bands, which promises to be the aural equivalent of hitting myself in the head with a 2×4.
It’s really too bad that men can’t enter this contest. Here’s my entry!
“Lucas Jensen is so dirty that he only trims his beard once a week. He is so crazy that he once tried to build a boat out of wooden palettes and styrofoam when he was 10. He is very sexy because he regularly uses the word ‘snuggle.’ He thinks Toad The Wet Sprocket rocks the hardest because they had that one song on Dulcinea that was kinda rocking.”
(That’s potting soil on my hands. I washed it off immediately.)
One hundred percent pure class [Chicago Reader]
The gap between hip-hop and rock, whether musical or cultural, is often greatly exaggerated. There are simply too many people who enjoy large amounts of both genres, too many musicians from either discipline who have crossed that gradually disappearing line. But every time a rapper tries to rock or a rocker tries to rap, we go through the same familiar motions. The artist invariably behaves as if his actions are as bold and groundbreaking as the first time Aerosmith stood onstage alongside Run-DMC; sometimes, fans and critics agree, but more often, the reaction is of the “omg lol wtf” variety, with enough feigned outrage and distaste to make one think none of these people had ever seen peanut butter in their chocolate before. “Why do rappers like Coldplay so much?” may very well be the inane watercooler observation of the 21st century.
You can expect to see this debate play itself out many times between now and April, when the most popular rapper in the world, Lil Wayne, releases his first rock album, Rebirth. Wayne’s been the focal point of such discussions ever since he half-heartedly twanged away at a guitar in the video for “Leather So Soft” two years ago, and since then, the guitar’s become a staple of his public appearances and concerts, albeit employed more as a symbol than as an actual instrument. The MC whose rhyming skills seemed to rapidly improve over the last few years through a tireless recording regimen has been a surprisingly lazy guitarist, only learning just enough to pluck out half-assed solos on songs like “Lollipop” and “Shoot Me Down.”
Last year, Wayne signed white singer/guitarist Kevin Rudolf to Cash Money Records, and their collaboration “Let It Rock” was a fairly large hit, reaching the Hot 100′s top 10. But the rap/rock smash never managed to scale any rap or rock charts (although that may be because it was more of a synth-pop song from a production standpoint). Even as flirtations with music other than hip-hop went, Lil Wayne seemed far more invested in R&B, emulating T-Pain’s AutoTune-heavy singing style. The R&B album he’s occasionally talked up, Luv Sawngz, has never surfaced, and a rock album seemed even less likely—at least until Rebirth was announced last week. The record’s lead single, “Prom Queen,” leaked over the weekend:
From the nasal vocals to the lyrics penned by a twentysomething from the perspective of a high schooler—”I loved her fancy underwear/ I sat behind her every year”—it seems like Wayne’s rock ideal is Blink 182. Except Blink 182 usually made an effort to say something clever or funny in their lyrics (as did, for that matter, Lil Wayne’s rap records). The backing track is obviously a live band, and the song fits into your standard 2009 rock template quite a bit better than, say, “Let It Rock,” even if it is fairly poorly recorded and features some hopelessly generic riffs. The membership of his backing band is currently unknown, although given that Wayne has yet to demonstrate the ability to play chords, it’s safe to assume he didn’t lay down any of the guitar. Whether Wayne sticks with faceless session musicians or lines up a supporting cast of actual rock stars, it’s hard to foresee Rebirth getting any better than this.
It’s unclear if Cash Money’s parent company, Universal, whose roster includes such rock-radio heavyweights as 3 Doors Down and Hinder, will be using any of its resources to work “Prom Queen” to the stations that play those bands. In fact, I’m not sure the label has any plan for Rebirth, other than placating a profitable star who wants to get a passion project off his chest so that everyone can move onto the next blockbuster in the Carter series as quickly as possible. I’d bet this album wouldn’t even be seeing the light of day at all if Kanye West’s 808s & Heartbreak hadn’t recently proven that one of the biggest hip-hop stars in the world can sell copies of an album with no rapping that almost deliberately confounds much of his fanbase. 808s‘ production was still palatable to R&B radio, however, and Kanye’s divisive experiment had enough supporters to become a critical favorite. Rebirth, on the other hand, has pretty much no chance of not being a widely panned fiasco, unless the label shelves the album now and Wayne gets distracted with another project.
If he continues restlessly evolving and altering his sound and image at the pace he has in recent years, Lil Wayne may actually make good rock music someday. But that day won’t come anytime soon. Wayne became a favorite of rock critics because he made a convincing case that he may be (or was) the best rapper alive, not because he sampled Slayer on 2005′s “Best Rapper Alive.” We may chuckle when he name-drops Iggy Pop in a verse, but who wants to hear him cover “Raw Power”? That sounds about as appealing as hearing Geddy Lee rap on “Roll The Bones.” The mock-horror that greets most rap/rock crossovers is, as I said, usually forced and exaggerated for comic effect, but that doesn’t mean that the songs aren’t actually pretty bad most of the time.
Hip-hop stations may play the song for a couple days as a curiosity, but they likely won’t put it in rotation, and iTunes purchases may push it up the chart, but not for long. So “Prom Queen”‘s best chance at success is rock radio. (Although when Maura asked me to speculate on the odds of “Prom Queen” making its way into those station’s Shinedown-dominated playlists, my first response was “How many words do you want me to use to say ‘zero’?”) The Tennessee band Framing Hanley’s nu-metal cover of Wayne’s “Lollipop” was only moderately popular by novelty-hit standards, peaking at No. 22 on the Modern Rock chart a couple months ago, and I’ll be shocked if “Prom Queen” gets even that far.
Personally, I think that Lil Wayne’s best bet for appearing on a rock radio hit right now is Fall Out Boy’s “Tiffany Blews,” which features a catchy and entertainingly batshit bridge full of T-Wayne uttering Pete Wentz lyrics. Even that’s a long shot, however; the song hasn’t been released as a single yet, and neither of Folie à Deux‘s first two singles has cracked the Modern Rock top 20.
As I noted last year, the history of rappers crossing over to rock charts is spotty at best, and usually involves either white MCs (The Beastie Boys, Eminem), Clash samples (Cypress Hill, M.I.A.), or rap-rock bands who rely on instruments more than samples (Rage Against The Machine, Flobots). When Andre 3000 strapped on a guitar and scored the worldwide smash “Hey Ya!” in 2003, the song got up to No. 16 on the Modern Rock chart—a significant, yet still modest peak compared to just about every other chart it appeared on. And while I’m not a particular fan of the OutKast song, I will be the first to point out that “Prom Queen” is no “Hey Ya!”
As I noted when I proclaimed him pop music’s new Prince of Darkness, Lil Wayne has been doing everything possible in the past couple years to act like a rock star. He plays guitar (badly); he got a lip piercing; he joins Fall Out Boy and Kid Rock onstage at awards shows. But while the rock charts are just about the only singles charts his collaboration with Kevin Rudolf, “Let It Rock,” haven’t raced up, Wayne has finally seeped into Billboard’s Hot Modern Rock Tracks–as a songwriter. That’s because the Tennessee band Framing Hanley has recorded a cover of “Lollipop,” Wayne’s No. 1 single from Tha Carter III, and it’s currently at No. 37 in its second week there.
The video, which (spoiler alert!) drags on for two minutes of dialogue before the song even starts, below:
When I first heard the song several weeks ago, I immediately laughed at its ridiculous brooding arrangement. But my wife, who’s less familiar with the works of Dwayne Carter, was confused by my reaction; “Lollipop” sounded like just another crappy alt-rock song to her, and I can understand why. Even the lyrics, as sung by Framing Hanley, don’t sound that out of place, given the cock-rock resurgence led on those same stations by the likes of Buckcherry’s “Too Drunk To Fuck” and Hinder’s “Use Me.” The band’s arrangement conveniently skips past the many N-words in the second verse, although there’s just no smoothing over refrains like “shawty wanna hump, you know I love to touch your lovely lady lumps.” If “Lollipop” ends up being Framing Hanley’s first major hit, I’m willing to bet it’ll also be the band’s last.
There’s a long history of alt-rockers recording covers of pop hits; some have tongue in cheek, and others have a genuine affection for the song. Most have a mix of both. In recent years, it’s become something of a cottage industry for indie rockers to light up filesharing networks with tossed-off renditions of “Since U Been Gone” or “…Baby One More Time.” But the history of bands actually charting on rock radio with familiar covers is much spottier, and the source material is usually limited to revered ’80s hits–Alien Ant Farm’s version of Michael Jackson’s “Smooth Criminal,” the Ataris’ take on Don Henley’s “Boys Of Summer,” Orgy’s massacre of New Order’s “Blue Monday.” (And don’t forget the many covers to come out of the ’90s ska boom, most notably Save Ferris’ “Come On Eileen.”) There’s a whole subgenre out there of ironically mellow gangsta rap covers, but only Dynamite Hack’s “Boyz In The Hood” was a genuine radio hit.
The common denominator between all of those songs, you may notice, is that the covers are the only hits the bands in question ever had. And if there’s one thing less dignified than being a one-hit-wonder, it’s being a one-hit wonder whose one hit was a cover; no one cares about the other songs that your band actually wrote, and you’re getting substantially less in royalties than you would if you had a songwriting credit. Occasionally, an established band releases a cover as a single, like Disturbed’s fairly awesome version of Genesis’ “Land Of Confusion” or Fall Out Boy’s fairly lame recording of “Beat It.” But Marilyn Manson may be the only contemporary rock artist whose long line of radio hits kicked off with a cover. And after breaking through with “Sweet Dreams (Are Made Of This),” Manson continued to go back to the well of ’80s goth karaoke throughout his career, releasing his versions of “Tainted Love” and “Personal Jesus.”
The fact that Lil Wayne’s track topped the chart mere months before Framing Hanley’s cover, not way back in 1985, makes “Lollipop” kind of an anomaly. It doesn’t trigger nostalgia for the halcyon days of MTV, it’s just a goofy reminder of a song that’s still stuck in our heads from hearing it all summer. “Lollipop” is technically Framing Hanley’s second single, but its first, the dour “Hear Me Now,” wasn’t much of a hit. And if their Weezy cover does blow up, it will probably give the band enough of an afterglow to get a minor follow-up hit, but after that the band’s future career prospects will be slim to none. Like Alien Ant Farm or the Ataris, they’ll be known forever for a cover they probably worked up one day in soundcheck as a joke, and then made the mistake of letting their A&R man hear and get excited about. So here’s hoping Framing Hanley enjoy the next few months of fleeting fame, and maybe do something splashy like get Wayne to perform the song with them on TV, to make the most of it.
[Pic via WDKX]