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(Above: Jay-Z and Kanye West battle sharks and charm the Sprint Center crowd during a recent “Watch the Throne” tour stop in Kansas City, Mo.)

By Joel Francis
The Kansas City Star

Hip hop superstars Jay-Z and Kanye West titled their first joint album and tour “Watch the Throne,” but they could have just as easily called it “Where’s the Recession?” Seats near the stage commanded $200 while many seats in the upper deck went for $50. The asking price on tour T-shirts at the concert was $45.

That’s a lot to ask of fans in these times, but the deep-pocketed mass (12,000) that crowded into the Sprint Center on Tuesday night got a lot of bang for its buck. The gigantic main stage looked like a sleek aircraft carrier, completely bare, save a DJ and pair of multi-instrumentalists hidden in the back.

A smaller stage set at the back of the floor. The main stage was flanked by two gigantic screens. A dozen flashpots, including one above the stage, walls of light and the best laser show this side of Pink Floyd completed the visual extravaganza. Topping it all off was nearly two and a half hours of music encompassing three dozen songs, two-thirds of which were Top 40 hits.

West and Jay-Z appeared  on opposite stages. As the duo opened with five songs from “Watch the Throne,” the stages below each performer grew, elevating each man on a two-story cube of video screens.

After the initial run of duets, the two alternated pairs of mini-sets, never intruding on the other’s material, but often appearing to back each other up, as on “Run This Town” or “Diamonds of the Sierra Leone.” A healthy sprinkling of “Throne” tunes ensured Jay-Z and West were never apart for long. By the end of the night the crowd was treated to 10 of “Throne”’s 16 songs.

Because there was no band, the songs stuck close to the original arrangements. This also meant that the rappers were the only people onstage. It takes a lot of showmanship to carry an audience alone for that long, but the number of hits, he amount of charisma and overall spectacle kept the crowd on its feet, dancing and waving with each beat for the entire set.

For the most part, the lack of live instruments didn’t hurt the material, but there were a few moments that were obviously strengthened by the supporting musicians, such as the guitar solo on “U Don’t Know Me” and keyboards on “Made in America.”

The tag-team of hits also contrasted the two performer’s styles. Jay-Z was more straightforward, wearing street clothes and devastating with his phonetic dexterity and intricate cadences. His big moments were frequently punctuated by pyrotechnics. West, on the other hand, wore a black leather kilt over his black leather pants and performed in near darkness, surrounded by lasers.

Each style brought its own high points. Jay-Z overpowered the crowd during “Public Service Announcement” and “On To the Next One” and had the house singing on “Empire State of Mind” and “Jigga What.” West’s best moment was an extended version of “Runaway” that found him standing atop a red cube on the second floor singing about his mistakes and ruminating on love. Completely invested in the moment, West dovetailed “Runaway” into another emotionally revealing number, “Heartless.” Later, West’s perfectionism got the best of him when he twice halted “All of the Lights” to fix a lighting cue.

For most of the night the set functioned like an meticulously calibrated mixtape, with each song setting up and naturally leading into the big number. Somehow the playlist got stuck on repeat during the night’s final song. Not only did the main set end with three runs through “N****s In Paris,” but the pair returned for two more takes as an encore. When the two left the stage for the final time it set off a series of sparklers across the state, but those fizzled in comparison to the fireworks delivered throughout the night.

Setlist: H.A.M.; Who Gon’ Stop Me; Otis, Welcome to the Jungle; Gotta Have It; Where I’m From; Jigga What, Jigga Who; Can’t Tell Me Nothing; Flashing Lights; Jesus Walks; All Falls Down; Diamonds from Sierra Leone (remix); Public Service Announcement; U Don’t Know; Run this Town; Monster; Power; Made in America; New Day; Hard Knock Life; Izzo (H.O.V.A.); Empire State of Mind; Runaway; Heartless; Stronger; On to the Next One; Dirt Off Your Shoulder; Give It To Me; That’s My B***h; Good Life; Touch the Sky; All of the Lights; Big Pimpin’; Gold Digger; 99 Problems; No Church in the Wild; N*****s In Paris. Encore: N****as In Paris.

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(Above: Paul McCartney goes to Kansas City with a little help from his friends.)

By Joel Francis
The Daily Record

The Big Apple has “New York, New York,” “Empire State of Mind” and dozens more. The Windy City has “Sweet Home Chicago” and “Jesus Just Left Chicago.” Tom Waits gifted the Twin Cities with not one but two songs (“Christmas Card from a Hooker in Minneapolis” and “9th and Hennipen”). Visitors to the Bay City are encouraged to “wear some flowers in (their) hair” while the City of Angels gets “California Love,” “Beverly Hills” and “Hollywood Swingin’.” Heck, the even the Gateway City has “St. Louis Blues.”

But there’s only one universally known song about my hometown: “Kansas City.” (Only obsessive music fans and listeners of a certain age will recall “Everything Is Up To Date in Kansas City” and “Train to Kansas City.”) When listening to Jay-Z, Frank Sinatra, Tom Waits and Louis Armstrong boast about other American cities I try to find comfort reminding myself that the Beatles only sang about one city during their career and they chose “Kansas City.”

“Kansas City” is the only song visiting performers feel obliged to work into their setlist. Willie Nelson played it at Farm Aid earlier this month and Paul McCartney used it to open his 1993 show at Arrowhead Stadium (the recording from that night also appears the album “Paul Is Live”). I’ve heard the song so many times in concert I feel like someone should tell all touring acts that no, really, they don’t have to play “Kansas City” on our behalf.

It’s not like the song is invisible around town. Twelfth Street and Vine may be gone (typical of my hometown – undermining its greatest assets), but the song is still very present. Go to a Royals game and if you stick around until the end you are guaranteed to hear “Kansas City.” If the boys in blue win, fans are treated to the Beatles version. If they lose then Wilbert Harrison is piped through the speakers.

“Kansas City” was seven years old by the time Harrison got his hands on it. Originally recorded by bluesman Little Willie Littlefield in 1952, the song was written by a couple of 19-year-old Jews inspired by a Big Joe Turner record. Littlefield’s performance featured a somewhat racier chorus, ending with the line “with my Kansas City baby and some Kansas City wine.” When Federal Records received Littlefield’s recording they promptly rechristened it “K.C. Lovin’.”

Wilbert Harrison

Harrison had been performing “K.C. Lovin’” for years before he decided to record it in 1959 under its original title and with the sanitized chorus we all know today. Released on Fury Records, the platter went straight to No. 1 and spawned an army of imitators. Within weeks, interpretations of “Kansas City” by Hank Ballard, Rockin’ Ronald, Little Richard, Rocky Olson and a reissue of Littlefield’s original recording could be found in record shops. Paired with his own “Hey Hey Hey,” Little Richard’s cover hit No. 27 in the UK and inspired the Beatles’ recording.

The men – boys, really – who penned “Kansas City” wouldn’t visit the town that inspired their song until the mid-‘80s, nearly 35 years after handing the tune to Littlefield. Despite this handicap, Jerry Leiber and Mike Stoller nailed their vision of “a melody that sounded like it could have come out of a little band in Kansas City,” as Stoller later explained on a UK television show.

Hot on the heels of “Hound Dog,” “Kansas City” cemented Leiber and Stoller’s reputation as rock and roll’s hottest songwriters. Before the decade was out they would write scores of hit songs for the biggest singers of the day – Elvis Presley, the Drifters, Phil Spector, Ben E. King and, especially, the Coasters – and shape the young days of rock and roll more than anyone else. A sampling of their songs from the time reads like an early rock and roll greatest hits collection: “Hound Dog,” “Jailhouse Rock,” “Smokey Joe’s Café,” “Riot in Cell Block Nine,” “On Broadway,” “Love Potion No. 9,” “Young Blood,” “Searchin’,” “Yakety Yak,” “Stand By Me” and on and on.

Jerry Leiber (left) and Mike Stoller show the King of Rock and Roll his next hit.

The duo’s use of strings on the Drifters’ “There Goes My Baby” predates (and foreshadows) the Motown sound that would dominate pop music in the coming decade. In fact many of their arrangements and innovations were so prescient that Leiber and Stoller found themselves on the sidelines for much of the 1960s. The Beatles and other British Invasion bands learned to write emulating Leiber and Stoller and other Brill Building songwriters, making third-party songwriters largely redundant. The expansive use of the recording studio rendered Leiber and Stoller’s pioneering arrangements sounding (for a while) like quaint relics of the past.

Despite these advancements, rock and roll and pop music will never outgrow the shadow of Leiber and Stoller. Grammy awards, hall of fame inductions and songwriting royalties stand as a testament to Leiber and Stoller’s perpetual influence. Even “American Idol” paused to pay tribute with an all Leiber-and-Stoller episode last spring.

Jerry Leiber, 78, died Monday. His survivors include Mike Stoller, his songwriting partner of 60 years, his family and everyone who ever picked up the guitar or sat down at the piano and tried to write a song or become a star.

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(Above: Jazz pianist Mark Lowrey teamed up with local musicians for the second installment of the Mark Lowrey vs. Hip Hop series.)

By Joel Francis
The Daily Record

Mark Lowrey sits behind a grand piano, contemplating using a Thelonious Monk number as an introduction to the rapper Common’s song “Thelonious.” As his fingers coax a signature Monk melody from the keys, bass player Dominique Sanders and drummer Ryan Lee nod in approval.

“I thought it was really obvious at first,” Lowrey admits. “But sometimes obvious is good.”

Two days before Thanksgiving, Lowrey and his rhythm section are sorting through ideas, sketching a musical landscape. They are joined by singer Schelli Tolliver and MCs Les Izmore and Reach. The final vision – a bridging of jazz and hip hop, structured and improvised – will be displayed tonight at Crosstown Station. The Black Friday ensemble takes the stage at 10 p.m. Cover is $10.

“We’ll be doing a mix of originals and covers,” says trumpet player Hermon Mehari, who will also be participating. “We’re playing tribute to some of the great hip hop artists of our time like Talib Kweli, A Tribe Called Quest, J Dilla. Additionally, Reach and Les will both do some originals.”

After a few trials, the Monk number “I Mean You” has been successfully married to “Thelonious.” On “The Light,” another Common song, the band suddenly drops into Michael Jackson’s “Human Nature” right after the lyric “It’s kinda fresh you listen to more than hip hop.”

KC MCs Les Izmore (left) and Reach salute Charlie Parker inside the Mutual Musicians Foundation.

“When Les and Diverse played this (‘The Light’) earlier this year they did ‘Unforgettable’ in that spot,” Lowrey says. “Everybody liked that, but we didn’t want to use the same thing. We were tossing out ideas, and someone suggested Michael Jackson.”

That same process informed the playlist. Everyone presented the songs they wanted to do, and the set was culled from what worked and how the band’s reactions. When Reach takes the mic for Notorious B.I.G.’s “Big Poppa” he intersperses short bursts of freestyle around the original lyrics. A later run through of Jay-Z’s “Show Me What You Got” reveals an energy only hinted at on the Top 10 single. As Reach commands the imaginary crowd to wave their arms, Lee goes berserk on his drum kit.

“These shows have a different energy than Hearts of Darkness,” Izmore says of the local Afrobeat group he fronts. “With those shows you’re always trying to keep people dancing and keep the energy high. Here you can chill out and listen.”

Rehearsals will soon move to Crosstown Station, but for tonight the Mutual Musicians Foundation is home. The hallowed hall on Highland, home to Hootie and Bird, Count Basie and Big Joe Turner. The spirit of innovation those musicians introduced to the world via Kansas City is very much on display in the current sextet. Some may scoff that jazz and hip hop may seem to exist on disparate planets, but their orbits collide surprisingly often.

“I grew up on jazz, John Coltrane, Stan Getz, Ella Fitzgerald,” Reach says. “She (Ella) very much influenced my delivery and the way I play with cadences.”

Lowrey first toyed with combining rap and hip hop when he invited local MC Kartoon to sit in with his group a couple years ago. Both artists enjoyed the experience and Kartoon put Lowrey in touch with other vocalists in the KC hip hop scene.

“Hip hop has always been influenced by jazz,” Reach says. “Now, because the younger jazz musicians have grown up with hip hop, we are seeing it influence jazz. It’s kind of come full circle.”

In the past year, Lowrey has hosted several Mark Lowrey vs. Hip Hop concerts. The shows are basic, but explosive. Lowrey and drummer Brandon Draper create free jazz textures, as MCs and musicians alike improvise over the ever-changing structure.

“Our arrangements for this show are based in the tradition of jazz where you play the melody, then improvise over the chords before coming back to the head (melody),” Lowrey says. “The only difference is that we’re adding MCs in the mix with the horns.”

At another jazz/hip hop mash-up last February, Izmore and Diverse, a local jazz quartet that includes Mehari and Lee, celebrated the 10th anniversary of Common’s album “Like Water For Chocolate” by rearranging and performing the record in its entirety. The night ended with an encore of the Charlie Parker song “Diverse.”

“I’ve never seen a crowd of non-jazz fans so into the music,” Mehari says. “It’s the perfect example of what we want to do. Bring people in with hip hop and music they want to hear, then take them on a journey to new sounds. Once we’ve earned their trust, they’ll follow us anywhere.”

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Open wide for Mouth

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(Above: The only acceptable version of “Hoochie Coochie Man.”)

By Joel Francis
The Daily Record

A fun game has been going around the internet recently: Name 15 albums that influenced your taste in music today in 15 minutes. Because we never play anything straight up at The Daily Record, we twisted the rules a little and came up with 15 songs we dislike by artists we like.

  1. Led Zeppelin – “Stairway to Heaven.” Might as well get this heavy out of the way first. Classic rock radio has destroyed this great band’s best-known song. I’ve heard it so many times at this point I can conjure it up in my sleep. I never need to hear it again. Let me go one step further: I’d rather hear a half-hour live version of “Moby Dick” than have to sit through “Stairway” again.
  2. Joni Mitchell – “The Circle Game.” Joni Mitchell’s 1970 song about the cycles of life is actually a remarkable song. It works too well, though, leaving me completely depressed and feeling like I care about has decayed around me in just under 5 minutes. No wonder Mitchell selected this song to close her classic album “Ladies of the Canyon.” After this there’s nowhere to go.
  3. Beastie Boys – “Fight For Your Right To Party.” The Beastie Boys were a lot more creative and fun than the frat boy stereotype this dumb song earned them.
  4. Van Halen – “Love Walks In.” The Sammy Hagar period of the band is rightly painted as inferior to the original lineup, but you can’t help when you were born and I came of age right in the middle of Van Hagar. I never had a problem with Eddie switching from six-string to synths, but the sugary melody combined with lyrics about aliens made this song more than I could handle.
  5. Boogie Down Productions – “Jimmy.” Usually a master of the message, KRS-One’s sermon on safe sex comes off as both preachy and simplistic. The idiotic chorus destroys what little credibility may remain. The track did inspire the Young MC cut “Keep It In Your Pants” from his follow-up to “Stone Cold Rhymin’.” I wish I didn’t know these things, but I do and there’s nothing anyone can do about it.
  6. Anyone – “The Long Black Veil.” First performed by Lefty Frizzell in 1959, this country classic has become a staple for Johnny Cash, The Band, Emmylou Harris, Joan Baez, Bruce Springsteen and a dozen more. I can’t argue with any of those artists, but for a reason I could never put a finger on, it never resonated with me.
  7. Radiohead – “Creep.” This song introduced Radiohead to America, and for that I should be grateful, but “Pablo Honey” is the outlier in their catalog for me. In my mind, the catalog officially starts with “The Bends.”
  8. James Brown – “Killing Is Out, School Is In.” This song became the unintentional center point of Brown’s 2002 concert at the River Market. A lackluster set had already been derailed by a couple Janis Joplin covers by Brown’s then-wife and mayor Kay Barnes onstage proclamation of James Brown Day. Several years after Columbine, the message was not only no longer timely, but embarrassing. The song was later released as a single. Thankfully few heard it.
  9. David Bowie – “Changes.” Yet another song ruined by radio and turned into lazy shorthand for its era by television and movie producers.
  10. The Beatles – “The Long and Winding Road.” Dislike may be too strong a word for this song, but Paul McCartney had already delivered a better ballad for the “Let It Be/Get Back” project. This one feels like a syrupy afterthought to me.
  11. Steve Earle – “The Devil’s Right Hand.” This number brought Earle acclaim as a songwriter before he established himself as a recording artist in his own right. I think Lynyrd Skynyrd covered the same turf better with “Saturday Night Special.” The verses aren’t band, but the song is overly reliant on the repetitive chorus.
  12. The Who – “Behind Blues Eyes.” This sensitive number never seemed to fit in with the rest of “Who’s Next” and it seemed even more out of place as a single. Pete Townshend usually struck the right balance of being tough and vulnerable at the same time (see “The Song Is Over” or “How Many Friends”). He sounds weak and whiney on “Blue Eyes.” Limp Bizkit’s cover confirmed my instinct. Sympathy for Fred Durst? Never!
  13. Anyone but Muddy Waters – “Hoochie Coochie Man.” In the hands of Waters and the Chess studio pros, this is a blues masterpiece. For just about anyone else, it is usually a lame attempt for a middle-aged white guy to show he’s hep to the blooze. I’m looking at you Eric Clapton, Alexis Korner, Steven Seagal and Dion.
  14. Jay-Z – “Young Forever.” Alphaville’s 1984 hit “Forever Young” worked perfectly as the soundtrack to Napolean Dynamite’s dance with Deb. In the hands of Hova, however, it is ridiculous.
  15. Louie Armstrong – “What A Wonderful World.” There’s nothing wrong with Satchmo’s sublime performance. He manages to walk the tightrope between sincere and saccharine as the strings underneath support his presentation. Unfortunately, no one understood the song’s message, as it has a crutch when movie producers want to tug on heartstrings. Joey Ramone’s version was great upon release, but in the decade since it has become a hipster version of the same cliché.  I guess this leaves me with Wayne Coyne and the Flaming Lips’ weird yet heartfelt reading. I don’t think mainstream America is ready for that to be thrust down their throats – yet.

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By Joel Francis
Ink Magazine

Steddy P takes care of his fans. Since Steddy’s debut album in 2008, fans have never had to wait more than a few months between new offerings. This month Steddy dropped the While You Were Sleeping EP/mixtape to keep fans happy until the emergence of his next full-length album. But While You Were Sleeping is more than a stopgap release. Six new cuts show Steddy’s recent activity in the studio. But more fun is the second part of the album: 13 tracks from the back catalog, remixed by DJ Mahf.

Mahf, who oversaw Steddy’s 2009 album, Style Like Mind, clearly had a blast marrying “Kenneth Arnold” to the “Super Mario Bros.” video game soundtrack. “Miss Your Coffee Table,” one of the few odes to the fairer sex on the mixtape, incorporates both Q-Tip of A Tribe Called Quest and LL Cool J’s “I Need Love.” Other tracks pay tribute to early Kanye West, Jay-Z, DJ Shadow and the Nappy Roots. That Steddy’s original verses stand up against such recognizable backgrounds is a testament to his clever wordplay and intricate delivery.

At times Steddy’s delivery recalls that of Blackalicious’ Gift of Gab. Steddy does a good job of changing textures when necessary, and recruits great guests such as Ces Cru, Mathias and Jbomb to further vary the vocal patterns. Steddy’s best performance across the 19 tracks comes early. “BARS (Loser’s Club Remix)” is Steddy’s answer to repeated invitations to freestyle battles. After calling out so-called Midwestern rappers who quickly vacate to the coasts he revs into double time. It’s not quite Twista-fast, but impressive nonetheless.

Although they appear first, the new tracks almost seem secondary. Steddy comes strong out of the chute on “Enough” and “Bars,” but the production falters on “Steddy Persistence Pt. II,” the third cut. Each song is handled by separate producers. The tracks don’t flow together well, and the quality fluctuates.

On “No Doz” Steddy uses a violent slasher/horror film metaphor to establish his lyrical dominance. His words are threatening, but try as it might, the chintzy synthesizer loop can’t be considered sinister. A similarly vanilla loop is featured in “And It’s Like That,” which manages to include a shout-out to Steddy’s former home turf of Mizzou, to KU and even to the UMKC Roos.

The final new song, “WindOverHead,” is the most successful. The production includes hints of the ambient and industrial, as well as snippets of saxophone and opera over an understated piano melody. Steddy shines across this landscape, calling out Tech N9ne and Mac Lethal and marking his IndyGround territory.

Despite a few minor missteps, While You Were Sleeping is a nice place for longtime fans to regroup and experience Steddy’s catalog in a different light. Newcomers will find the album a handy place to catch up. Best of all, it’s free.

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By Joel Francis
The Daily Record

We at The Daily Record try to play clean in our tiny corner of the interweb. Once a year, on “music’s biggest night” the gloves come off and the snark comes out. This year, we present a live diary of the 62nd Annual Grammy Awards. We’ll be doing this live throughout the telecast, so keep checking back.

7:01 – Lady Gaga opens the show in a dress she bought at Bjork’s garage sale.

7:02 – She forgot to buy the pants, though.

7:04 – At last, Elton John has found someone with more flamboyant taste in eye wear. Wonder how that feels.

7:11 – Stephen Colbert may have already delivered the line of the night. Re: Susan Boyle selling the most records of ’09 and saving the bottom line –  “You may think you’re the coolest people in the world, but just remember that your industry was saved by a Scottish woman in sensible shoes.”

7:13 – Beyonce wins “Song of the Year” but can’t make it onstage to accept the award. Why not have it received by the Chippettes, stars of the year’s best film “Alvin and the Chipmunks: The Squeakquel”? Now that’s synergy!

7:15 – Who the hell thought it was a good idea to turn “American Idiot” into a musical? I can hear this one flopping faster than Twyla Tharpe’s tribute to Bob Dylan. Forget “Movin’ Out,” how about moving on?

7:16 – Nothing screams “punk rock” louder than a Broadway chorus. Even the Clash buried their choral version of “Career Opportunities” on the last side of “Sandinista.”

7:24 – I can’t figure out which interests me less Kirsten Bell’s insipid new movie “When In Rome” or what song Bon Jovi will play tonight. Let me guess: a really lame one from the ’80s.

7:26 – Does Taylor Swift have a clause in her contract that she must win every award for which she is nominated? Has she ever lost?

7:27 – I’m a little disappointed Kayne West didn’t jump onstage and start talking about how great Keith Urban is.

7:28 – Hey, Beyonce brought the S1W’s with her. Nice to see her kicking it old school.

7:29 – (The S1Ws were the black panther dancers who guard the stage during Public Enemy performances.)

7:32 – Nothing screams 2010 like Alanis Morrissette songs. On to the next one.

7:37 – Questlove just tweeted “must admit that watching twitter tweets are better than watching the actual event.”

7:41 – Pink is wearing the sexiest berka of all time.

7:44 – Nothing screams “class” like a chick in a g-string spraying water everywhere. Pink is so talented!

7:45 – Between Pink and GaGa that’s four butt-cheeks bared tonight. Just wait until Howard Stern and Prince come out.

7:47 – I’m not sure who the Zac Brown are, but respect the fact that they didn’t get all gussied up for the show.

7:48 – I’m also glad none of them were wearing a g-string.

7:55 – Will.I.Am looks like Mr. Roboto from that Styx album.

7:56 – Fergie looks like someone from either Buck Rogers or the original Battlestar Galatca. Does anyone else remember when Channel 62 used to show all those back-to-back on Saturday afternoons?

7:58 – I gotta admit that watching the Peas do “I Got A Feeling” in concert would probably be a lot of fun. That song got a lot more infectious energy than it deserved.

8:00 – OK, so we’re an hour into this thing and a couple ground rules have already been established. No. 1, no one can perform a song all the way through. Medleys only, please. No. 2, all performance must somehow make their way from the main stage to the satellite stage, and back.

8:01 – They keep advertising the 3-D Michael Jackson tribute with Celine Dion. That woman’s so skinny, I bet even in 3D she’s only 2D.

8:06 – Who the heck are Lady Antebellum?

8:07 – I knew it would happen. People are starting to compose songs for those episode-capping montages. This Lady Antebellum song would be perfect over the poignant closing moments of “Grey’s Anatomy.”

8:09 – The presenter just said there was a Grammy category for artists who don’t have musical talent. Wait, there’s a Grammy for people with musical talent? When are they going to give that one out. Oh yeah, it was done earlier in the day in the parking lot behind the Ross downtown.

8:11 – I bet Stephen Colbert’s daughter thinks her dad is cool now that he’s one a Grammy.

8:12 – Oh, just as I blogged the above Colbert asked his daughter if she thought he was cool now. I am so freaking prescient!! (She said yes, by the way.)

8:13 – The Target ad just showed a white dog with a red spot of his eye. Spuds McKenzie lives!

8:14 – OK, that’s three exclamation points in the past two entries. I’m calming down now.

8:18 – Wow, Taylor Swift was up for “Song of the Year” and she didn’t win. I bet she gets at least half an album’s worth of songs of out how she’s feeling right now.

8:20 – They just introduced Robert Downey, Jr. as the most “self-important” actor of his day. How out of control is your ego when you’re crowned most “self-important” in Hollywood?

8:21 – That operatic introduction to “Blame It” was brilliant. Every time I hear this song I remember that Stevie Wonder stopped his show at Starlight last summer to play it over the PA.

8:23 – If they hadn’t just shown George Clinton in the audience, I would have sworn he was the white-haired conductor onstage.

8:24 – I think “Blame It” is starting to suffer from auto-tune overload. It sounds like Kraftwerk.

8:25 – Now Slash is onstage playing the guitar solo from “November Rain.” He probably just heard someone talking about alcohol and bum rushed.

8:27 – Joe Posnanski just tweeted: “They really had people VOTE to determine what Jon Bon Jovi sings at the Grammys? Was there a ‘What’s the difference’ option?”

8:33 – Hey, Green Day won “Best Rock Album” for their follow-up to “American Idiot.” Can’t wait until that gets turned into a Broadway musical.

8:34 – Chris O’Donnell looks like McSteamy on “Grey’s Anatomy.” I hate myself for knowing this.

8:36 – Wow, a “country” band singing a patriotic song. Way to think outside the box, guys.

8:37 – Answer: Leon Russell with the Zac Brown Band. Question: Who will be headlining Knucklehead’s Labor Day celebration in 2012?

8:38 – Are the red-staters happy that the Zac Brown Band is celebrating America by playing a patriotic number, or upset with them for supporting Obama? This is so confusing. I thought we established that one couldn’t love their country without blindly supporting its president.

8:46 – Has anyone noticed how Taylor Swift strums from her elbow and not her wrist? It’s like she just picked up a guitar for the first time.

8:47 – I hope the tattooed guy on banjo is getting paid well for this gig.

8:49 – Good Lord, Taylor, stay in key! She has pitch like Mariah Carey at a baseball game in Japan.

8:53 – Dang, I forgot to get my 3D glasses. Fortunately, I still have 7 minutes to make it to Target.

8:54 – All you chumps who forgot your 3D glasses will now be given a migraine.

8:56 – I think Smokey could have handled the whole MJ tribute on his own. I would have loved to hear him cover a less-maudlin ballad on his own. I’d even settle for “Ben.”

8:57 – I love how Beyonce is wearing her 3D specs while Jay-Z is sans glasses. Hey B, you’re at the event. It’s already in 3D.

9:01 – I bet MJ’s kids feel really out of place when they hang out at their Uncle Tito’s place. Those are some pale-faced children.

9:03 – Wow, they were just paying tribute to MJ on the Grammys and now there’s a a commercial for “This Is It” on DVD. What a weird coincidence. It’s almost like it was planned.

9:08 – All you have to do to win an icon award is write “Sweet Talkin’ Guy”? Seems to be setting the bar a bit low.

9:09 – So what you were really voting for was which part of a Bon Jovi song they’ll perform.

9:10 – I hope Roger McGuinn is getting a cut of “We Weren’t Born to Follow.” Methinks Bon Jovi should have paid more attention to the Byrds’ “Wasn’t Born to Follow” when they were ripping it off.

9:11 – Someone needs to say it: Bon Jove are looking old. How many chins does Sambora have, anyway? I count three.

9:12 – I’ll tell you who says you can’t go home: Thomas Wolfe. And if home sounds like this, I’ll be out with Dean Moriarty on the road.

9:14 – Jon Bon Jovi should be forced to sing “Living on a Prayer” over the PA at a Home Depot.

9:16 – What the? How did Mos Def get onstage? “True Magic” had more artistry than the entire careers of everyone else onstage tonight – combined (except for Smokey Robinson and Leon Russell).

9:18 – Next year at this time, I hope Mos Def and Talib Kweli are being presented with the Best Rap Song award for “History.” Black Star rules.

9:19 – So Kanye actually wins an award and he doesn’t show up to collect it? How classic would it have been for Taylor to crash his speech? Probably why he didn’t show up.

9:21 – Seriously, though, best of luck to you and whatever you’re going through, Kanye. Your albums are genius. I hope you get your magic back and exorcise those demons.

9:26 – So it’s OK to sing “Bridge Over Troubled Water” to show support for the Haitians even though the song was banned by Clear Channel in the wake of 9/11?

9:28 – I just want to get this off my chest: Mary J. Blige, magnificent voice, but she oversings and all her songs are vamps and choruses. She doesn’t know what to do with a verse. And the a-hole who thought it would be a good idea to run that voice through auto-tune for MJB’s latest single should be shot. That’s like tying Fred Astaire’s ankles together.

9:30 – Do Mary J and Andrea Bocelli know they’re both singing the same song? Their “duet” was like an otolaryngological cock fight.

9:37 – Who’d have thought the Latin Grammys would have lasted a decade?

9:38 – How come there isn’t a Jazz Grammys or Klezmer Grammys?

9:42 – How many support musicians does the Dave Matthews Band need for this song? Maybe the USC Marching Trojans will show up again.

9:44 – Dave Matthews dances worse than Elaine Benes from “Sienfeld.”

9:46 – Now Ricky Martin has stolen Chris O’Donnel’s close-cropped look. He should just be glad he’s not forced to pay is way in with the general public.

9:48 – I think Beyonce’s dress is made of all of Jay-Z’s discarded bling.

9:55 – When I saw Maxwell last fall at the Saavis/Keil/Whatever it’s now called Center in St. Louis I imagined the experience was similar to seeing Marvin Gaye back in the day. Maxwell is the real deal and he’s killing it right now. Best performance of the night so far.

9:58 – Maxwell + Roberta Flack. At last, a duet with two people who actually know how to sing with a partner.

10:00 – As the show rounds the three hour mark, just think: the whole night could have been as good as what we just heard.

10:05 – I wonder if this is the combo Jeff Beck will be bringing to Starlight in April.

10:06 – So what’s the thinking here, now that all the kiddies have gone to bed we can shelve the pop tarts and have some real music?

10:07 – Does Quentin Tarantino know that pretending to act like such a badass is making him look like a huge douchebag?

10:14 – Is there a song underneath all these edits? Why not change the lyrics for television? I wonder if the producers have a lyric sheet up in the booth so they know when to drop out. That would be classic to see.

10:17 – Jamie Foxx is singing along with every lyric, but I have to say I think Drake is horribly overrated.

10:18 – Drake’s blend of preppie (black leather jacket, black shirt) with ghetto (torn, sagging jeans) is cracking me up. He’s clearly trying to have it both ways.

10:26 – Taylor Swift wins Album of the Year. Yawn.

10:29 – That’s it for the night. Thanks for reading and for hanging out.

Keep reading:

2010 Grammys: A Running Diary

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Jackson 5 – “I Want You Back,” Pop #1, R&B #1

By Joel Francis
The Daily Record

“I Want You Back” not only introduced America to the biggest post-Elvis superstar in the world. It also kicked off the unprecedented success of a group having its first four singles top the chart, and returned the mojo Motown lost with the departure of Holland-Dozier-Holland.

The Jackson 5 – Michael, Tito, Jermaine, Marlon and Jackie – were famously raised in Gary, Ind. by their ambitious and abusive father Joe. When his sons started showing musical aptitude, Joe Jackson saw them as his ticket out of the Gary steel mills and, after music lessons, sent them out on the chitlin circuit. Their shows caught the eye of Sam and Dave and Gladys Knight, who recommended the group to Motown chief Berry Gordy. Because Gordy already had one child star with Stevie Wonder, he declined to sign them.

One year later, in 1968, the Jackson 5 were paired with Knight and Bobby Taylor and the Vancouvers, who were riding their lone Motown hit “Does Your Mama Know About Me.” Taylor and Knight were so impressed by the J5’s performance that they videotaped an audition and send the tape to Gordy to his new home in Los Angeles. Gordy was still reluctant to sign another child act, but relented after watching the tape.

Of course Knight and Taylor received little credit for bringing the Jackson 5 to Motown. The glory went to Diana Ross, who had nothing to do with the quintet or their signing, but received top billing on their debut album, “Diana Ross presents the Jackson 5.”

The arrival of the Jackson 5 draws a sharp line between the Detroit and Los Angeles eras of Motown. Gordy had recently relocated to Los Angeles to start a film career for both himself and Ross, his lover. Although some early J5 songs were recorded at the Hitsville studio in Detroit, Gordy moved the group out to California for grooming.

Gordy copied the songwriting template of the Supreme’s successful “Love Child” to craft “I Want You Back.” He called three of his best writers – Freddie Perren, Deke Richards and Alphonso Mizell – to help him retool a song originally intended for either Gladys Knight or Diana Ross as either “I Wanna Be Free” or “I Want You Back.” As on “Love Child,” Gordy billed the collective anonymously. After the defection of Holland-Dozier-Holland, Gordy did not want any more of his songwriters to become “back room superstars.” Known only as “The Corporation,” the team wrote many of the Jackson 5’s early hits.

One of the most infectiously joyous songs in the Motown catalog, “I Want You Back” has been covered several times. Nickel Creek recorded a bluegrass version in 2007, two pop girl groups – Cleopatra and the West End Girls – had international hits with their 1990s interpretations. It was recorded by indie rockers Discovery on their 2009 debut, and performed by British singer Mika, KT Tunstall and even Guns N Roses in concert.

“I Want You Back” was sampled by Kris Kross for their 1992 hit “Jump,” and Kanye West for Jay-Z’s 2001 smash “Izzo (H.O.V.A.).”

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