Chris Willman-Senior: Last News

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‘Like a Virgin,’ ‘All I Want for Christmas Is You,’ ‘Imagine,’ ‘Super Mario Bros.’ Theme Among 25 Additions to National Recording Registry
Chris Willman Senior Music Writer and Chief Music Critic The National Recording Registry of the Library of Congress has issued its annual list of 25 recordings that will be added to the esteemed list, covering a range that runs a gamut from the very first time mariachi music was captured for posterity in the early 1900s to Daddy Yankee’s “Carolina” about a hundred years later. In-between are some curiosities and monster hits that the Library deems worthy of preservation for all time — although, in the case of Mariah Carey’s “All I Want for Christmas Is You,” the prospect of it the recording falling into disrepair due to neglect will probably not be an issue any century soon. Among the enduring smashes from the second half of the 20th century that made the list: Madonna’s “Like a Virgin,” Led Zeppelin’s “Stairway to Heaven,” John Lennon’s “Imagine,” Queen Latifah’s “All Hail the Queen,” Crosby Stills Nash & Young’s “Déjà Vu,” Jimmy Buffett’s “Margaritaville,” John Denver’s “Take Me Home, Country Roads,” Bobbie Gentry’s “Ode to Billie Joe,” Irene Cara’s “Flashdance… What a Feeling,” Eurythmics’ “Sweet Dreams (Are Made of This)” and the Police’s “Synchronicity.”
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Unpacking Motley Crue’s Mess: Manager Slams Mick Mars’ ‘Smear Campaign’; Guitarist’s Lawyer Says He Is ‘Tired of Being Bullied’ (EXCLUSIVE)
Chris Willman Senior Music Writer and Chief Music Critic It may take a greater elixir than anything Dr. Feelgood has to offer to elicit positive vibes in the war of words — and writs — between Motley Crue guitarist Mick Mars and the other three members of the group. Following a headline-making lawsuit filed by Mars against the band last week, lawyers or managers for both sides have spoken with Variety at length about the positions they are doubling down on. If you had to sum it up in a hard-rock song, it might be: “Grievances Grievances Grievances.” Until now, the Crue camp had only issued brief statements and a frustrated tweet from Nikki Sixx. But the band’s manager of 29 years, Allen Kovac, was so angered by an interview Mars gave Variety after the suit was filed that he agreed to go on record addressing what he believes are the musician’s most scurrilous accusations — including whether or not the group’s performances are largely on tape. “I have a lot of regret that I’m having to do this,” the attorney says, pointing out that he talked Nikki Sixx, the group’s unofficial leader, out of talking to the press himself, wanting the bassist to keep “taking the high road.”
variety.com
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‘A Grammy Salute to the Beach Boys’ Review: A Special That Gets Around to Performances Fit for a Wilson
Chris Willman Senior Music Writer and Chief Music Critic God only knows it was a matter of time until the Recording Academy picked the Beach Boys as the recipient of one of its annual all-star tributes, and the group’s legacy isn’t done any shame with “A Grammy Salute to the Beach Boys,” airing Sunday night at 8 ET/PT on CBS (and for on-demand streaming on Paramount+). No wrong harmonies are struck, literally or figurative, in a two-hour show that starts out feeling a little bit by-the-numbers but eventually lands on a series of knockout covers fit for a Wilson. Are you surprised that Brandi Carlile would be the highlight of a tribute special? Then come out from under your rock and do stay up late enough to catch both of her performances on the show, since she is one of a handful of artists granted both solo and duet slots in the setlist. First in the running order, she has a version of “In Your Room” that can’t really be considered “solo,” since she’s joined by bandmates Phil and Tim Hanseroth for an arrangement that has their modern mastery of three-part harmony paying homage to the Boys’ sub-incarnation as a balladic vocal trio. You hope for something transformative in tribute performances like these, and you know you’re getting the moment Carlile lends her perfectly subtle vibrato to the “roo-oo-oom” and “a-frai-ai-aid” to some of the opening lines. She and the Hanseroths make the bridge feel you’re doing a gentle waltz while enveloping yourself in a self-assuring hug, before the falsetto ending spoils that warmth with a chill down your spine. Yeah, it’s that good.
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‘Bodyguard’ Musical Halted by ‘Mini-Riot,’ as Rowdy Theatergoers Loudly Singing Along With ‘I Will Always Love You’ Are Dragged Out
Chris Willman Senior Music Writer and Chief Music Critic A touring production of the stage version of “The Bodyguard” was brought to a halt and canceled in Manchester, England on Friday night after patrons would not stop singing along with the musical’s songs, leading to house lights coming up during the climactic number “I Will Always Love You.” Two women were forcibly pulled out of the theater by security, and several police cars arrived to oversee the evacuation of the theater after what patrons on social media described as “fights in the aisles” and even “a mini-riot.” According to news reports out of Manchester and tweets from those inside the Palace Theatre, the show — based on the hit 1992 film — had already been temporarily halted once during the first act because of the disruptive audience sing-alongs, but was resumed. Later, though, with only about 10 minutes to go before the end, it was put on pause again while its star, Pussycat Dolls member Melody Thornton, attempted to sing the climactic song made famous in the movie by Whitney Houston, “I Will Always Love You,” over the sound of semi-tuneless howling coming from audience members. Thornton’s mic was cut mid-song, the house lights came up and offenders were evicted — struggling against being pulled out by their shoulders, in video footage captured by attendees — and the show was officially called off.
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‘Jason Isbell: Running With Our Eyes Closed’ Review: A Great Music Doc That Focuses on the Making of an Album, a Marriage and a Man
Chris Willman Senior Music Writer and Chief Music Critic In 2002, director Sam Jones made what is widely considered a benchmark for 21st century music documentaries with “I Am Trying to Break Your Heart: A Film About Wilco,” a movie that lucked into just about all the subject matter that could make B-roll footage of the making of an album into A-list material. It had conflict within the band, between an auteur and another member of great talent; conflict with the soon-to-be-ex-record label, over the basically unwanted classic-to-be “Yankee Foxtrot Hotel”); and said auteur doing his own demon-wrestling, outside foils notwithstanding. Now, it’s easier to see that Jones’ good fortune in happening upon all that wasn’t all luck. More than 20 years later, Jones has come up with another gold-standard music doc, in the form of “Jason Isbell: Running With Our Eyes Closed,” newly streaming on HBO Max. This time, as the creation of another amazing record — Isbell’s “Reunions” (recorded in late 2019 and released a few months later) — is put under the filmic microscope, there are no record-company bookkeepers as unseen baddies in the backdrop to a making-of. Major labels and the conflicts that come with them are so 2002, right? But one common thread is intra-band tension… as it probably will be in most good rock docs now or 20 years from now. It gets more interesting than that, though. In this instance, the difficult vibes are between bandmates who double as a married couple — Isbell and his fiddler-spouse, Amanda Shires. Here, unlike the by-now iconic beefing between Jay Tweedy and Jay Bennett, we know no one’s ultimately going anywhere, right?

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