 By Keith Spera, NOLA.com | The Times-Picayune 11/29/12 at 7:07 AM Dr. Dre, the rap producer who largely defined the West Coast sound in its early ‘90s heyday, topped the list by earning an estimated $110 million between May 2011 and May 2012, the time period considered for the list. But the bulk of that cash wasn't from his producer's fees, songwriting royalties or performances. Dre made around $100 million, writes Forbes' Zack O’Malley Greenburg, when he sold a 51 percent stake in his Beats by Dre line of headphones to Taiwan-based mobile device maker HTC Corporation. Roger Waters, the former Pink Floyd bassist and lyricist, came in second on the overall musicians' list with $88 million. The concert industry magazine Pollstar reported that Waters grossed $158 million from 63 performances in 2012 of his The Wall Live tour, which launched in 2010. Elton John came in third with $80 million from 100 shows over the same time period. U2 is in fourth place, scraping by on $78 million split between the four musicians. British boy band Take That – which barely has any presence at all in the United States – rounded out the Top 5 thanks to $69 million grossed during the group’s reunion tour. That tour included an unprecedented eight shows at London’s massive Wembley Stadium. Elsewhere on the list, country star Toby Keith and teen heartthrob Justin Bieber tied for 10th place with $55 million. Keith, Forbes said, made much of his money from his longrunning Ford sponsorship and his I Love This Bar and Grill restaurant chain. Bieber, meanwhile, oversees a growing portfolio of investments as a budding venture capitalist; he earned his own Forbes cover story earlier this year. 
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 By: Paul Sexton, Billboard.com London "It took us 50 years to get from Dartford to Greenwich," said Mick Jagger to 20,000 close friends on Sunday night, at what you might call the lip of the 02 Arena stage. The Rolling Stones were in the process of laughing in the face of logic with an extraordinary, 150-minute celebration of their 50 peerless years. This was the first of two 02 dates, with a second on Thursday, that have been widely pilloried in the British press for their exorbitant ticket prices. Jagger would soon acknowledge that discussion by looking to the top tiers of the arena and asking "How you doing up in the cheap seats? They're not that cheap though are they, that's the trouble." For all the controversy, the fact is that you never hear anyone coming away from a Stones gig complaining that they didn't get value for money, and so it was again here. Eventually, that is. Despite some engaging guest performances including the much-reported reunions with former bandmates Bill Wyman and Mick Taylor, the core quartet didn't hit top speed until the show's second half. When they did, they were untouchable. They were introduced by an irreverent film tribute featuring both "punters" and famous fans like Johnny Depp, Iggy Pop and Elton John, then by two files of black-clad drummers marching through the aisles. Augmented initially only by stalwart companions Chuck Leavell (keyboards) and Darryl Jones (bass), it was a delight to hear the Stones travelling back to their first first year of recording, 1963, to revive their second-ever single, "I Wanna Be Your Man." Dartford rhythm and blues was alive and well again. Performing under a giant red lip, with a giant video screen behind them and a semi-circular walkway out front to stretch out on, they continued in '60s vein with "Get Off Of My Cloud," "It's All Over Now" and "Paint It Black."
 By: MTV News/Rob Markman & Sway Calloway Lil Wayne has had a phenomenal run, but after 19 years in the game, the manic rap machine is looking to pull the plug — and it doesn't seem like he's looking back. Don't be too alarmed: Weezy still has his 10th solo LP, I Am Not a Human Being II, on deck, and on Wednesday, he premiered his brand-new "No Worries" video on MTV alongside correspondent Sway Calloway. When Sway asked about the sonic makeup of Human Being II, Tunechi compared the work to what should be the next chapter in his most famous musical franchise. "It's like a Carter V," he said. So why not just retitle Human Being II to fit the mood? "Because I know y'all want me around for a little bit, and Carter V is my last album," Weezy revealed. "Man, I've been rappin' since I was 8 years old. I'm 30 now, man. That's a long time, man." Weezy's next LP will hit shelves February 19, and after that, who knows when Tha Carter V will come or if there will be another album between the two? What's clear is that Wayne has other interests outside the studio, most notably his love for skateboarding and then, of course, there is his TrukFit clothing line. "When I love to do something, I'm fully focused on it and it only. And music sometimes is not that 'it,' " he said. Weezy put out his first solo album, Tha Block Is Hot, in 1999, but before that, he was cutting his teeth on Cash Money Records as part of the groups Hot Boys and the B.G.'z. If you go on to count his nine solo LPs, four Hot Boys albums, 2006 tag-team album with Birdman (Like Father, Like Son), his 2009 YMCMB compilation (We Are Young Money) and the dizzying number of mixtapes he has dropped, it becomes easier to understand how Wayne may be all rapped out. "I signed my contract at 11, I went platinum at 14. I'm 30 now. Thank God I haven't put out an album that hasn't went platinum," he said. "To just keep it goin' like that, I think not only am I being greedy, I'm fooling myself to think that it will continue to be that great."
 By: Michael Farrar- Special Correspondent to theadvocate.com
When Thomas Johnson was a boy growing up in Baton Rouge, his mother taught him to play the piano. However, it wasn’t until his father picked up a guitar to play a blues song that the young Johnson was really hooked on music. “Honestly, I probably got into playing guitar because I saw him play “Stormy Monday” one time when I was a kid and I thought it was the coolest thing ever,” Johnson said. Thomas Johnson and the People will be playing Chelsea’s Cafe on Friday, Nov. 23, but don’t expect a social media campaign about the event. Johnson said he prefers to focus more on the actual show. “I’m totally addicted to playing live music, but I don’t like spending the time pushing it,” Johnson explained. “I’m not even on twitter. It probably hurts me in some degrees, but you can get consumed trying to put your music in people’s faces all the time.” With that said, Johnson has posted quite a few live performance videos on his website, http://thomasjohnsonmusic.com. The site also has a trio of releases by Thomas Johnson & the People, which include the 2010 “Living Room” EP, the 2011 “Beneath the Trees” album and their most recent effort, the 2012 “It’s Okay, I’ll Die Too” album. Throughout those albums, Johnson’s music has grown from a polished studio sound to a low-fidelity approach with mostly acoustic arrangements recorded in a home studio. “When I go back to hear my recorded music, I enjoy the recordings made in the house in Lacombe more than the ones that were in the studio. I guess I can get more personal in my own space,” Johnson said. Another space that Johnson appreciates is the great outdoors, which feeds into his music. “I enjoy writing songs in a quiet outdoor environment,” Johnson said. “I like to go on long trail runs and I can usually clear my mind when I’m in nature.” Following his love of nature, Johnson took a demanding job on the sunny west coast after studying history at LSU.  The explosive duo who comprises Crushed Out will bring their early American rock and roll sound to Baton Rouge and New Orleans next weekend. The band, formerly known as Boom Chick, will make stops at the Hartley/Veh Theatre in Baton Rouge, and at both Tulane University and The Howlin' Wolf in New Orleans. Crushed Out is the musical brainchild of vocalist and guitarist Frank Hoier and drummer Moselle Spiller, but don't let the short roster fool you — this band brings the noise. Much like the wall of sound created by Ohio's blues-rock duo The Black Keys, Hoier and Spiller know just what buttons to push to amplify their signature surfer rock and roll. "We really try to whip ourselves up to maximum energy. We're trying to put out ridiculous, joyous noise to get people moving and dancing," Hoier told NOLA.com during a stop in Phoenix on Nov. 19. Hoier said his 1960s-era guitar amps offer up a big, bass-filled sound he hopes keeps listeners from missing a bass player.
By Alex Temple-MSTv The Korean pop sensation and Gangnam style king, Psy had his coming out party at the American music awards last night. But whether you or the audience there weren't familiar with his worldwide hit, by the time he hit the stage, you were a fan and dancing to the beat. Now, as if Psy's crazy song wasn't catchy enough, just when you thought his performance was done, he got an old school assist by a rap/hip-hop legend--M.C. Hammer. Hammer has been outta the public eye and off-stage for over almost 2 decades. But, this didn't stop the 50 year old from keeping up and kicking it Gangnam style with Psy. Then just when you think this dance set couldn't get any more intense, the duo drop back to the Hammer hit, "Too Legit to Quit" and continued to tear up the floor. And once it was over, all one could hope for was an encore and that we'll be seeing more "Hammer time" in the future.  By Jim Derry, NOLA.com | The Times-Picayune
The overflow crowd was upbeat Saturday night as Sunpie Barnes evoked a chuckle while he explained the reason he was a few minutes tardy for the third of four sets at the Abita Springs Opry. "Y'all feeling all right? Y'all look good, but I left my glasses in the car. In fact, that's why I was late. I ran over a possum right round the corner, and it is close to Thanksgiving, so you know ..." He then fired up his accordion, and his band began to play Zydeco music. Six times per year -– three times in the spring and three in the fall -– residents from all over the north shore and the metro area travel to the 109-year-old Abita Springs Town Hall to hear traditional music that has been playing across southern Louisiana for nearly a century. On Saturday, the Opry held the last event of its 10th anniversary season with 2 1/2 hours of bluegrass, jazz, gospel, and yes, Zydeco. Barnes, Cori Walters and her New Orleans Dixieland Jazz Band, the Zion Harmonizers and the Pot Luck String Band strummed and sang to the jam-packed audience of more than 400 with a handful more who couldn't fit inside the wooden building watching and listening on television outside in 48-degree weather. Bob Baker of Lacombe has been attending the Opry on a fairly regular basis for about five years, and said the music makes him feel as if he has gone back to a time long ago. Even though he is a native Tacoma, Wash., and his wife, Elsa, is from Cuba, he feels as if Louisiana music is something that needs to be kept alive. "We love this. We especially love New Orleans jazz," he said. "We just feel at home, and the people respect the show. They don't cut up, and really, it's almost like a religion. This might be a dying thing. I was just thinking as that trumpet player was playing, 'Are there going to be enough people to keep this tradition going?' I sure hope so." One didn't need to poll the musicians to know their experience added up to several centuries. One gospel musician, Joseph Warrick, has been a part of the Zion Harmonizers for 55 of the group's 73 years of existence. He has traveled with them to countries "I'd never have been able to see otherwise," such as Italy, Switzerland, France and Germany. By Alison Fensterstock, NOLA.com | The Times-Picayune |
 Since 2006, this British dance music duo has been known under the cheeky title, "Booty Luv." But, finding the name more objectifying then fun, the two just took their first names to lead and became simply, "Cherise & Nadia." The group, comprised of vocalists, Cherise Roberts and Nadia Shepherd, were in the original line-up of the successful British hip hop band Big Brovaz. The twosome have had several top twenty hits in the UK and have also achieved international success; mainly in Europe. But as yet, American audiences have yet to warm up to the contagious sound of this talented twosome. The question is, "why?" The group, initally known as Rap backup lyricists in Big Brovaz, were offered the opportunity to record and promote a new version of R&B hit "Boogie 2nite". The girls accepted the offer and began recording their new version and other songs under the name "Booty Luv" and with a strong dance influence. The duo maintains a powerful dance club sound with an equally strong Hip-Hop vibe to their music. With their rap beginnings to dance music evolution; in addition to appearances, the two can be somewhat likened to American hip-hop legends, Salt n Pepa. Though not at the level of the "Push it" pioneers, one look or listen of their single or video performances will show the promise of great, high-energy things to come. Like those innovative ladies of Rap history, Cherise & Nadia continue to produce music that compels you to move on the dance floor--or the confines of your car. But, in the wannabe reality show realms of all the "X-factors," "the Voice" and old standard, "American Idol" there seems to be no room for another "British invasion" of music to our shores. That's kinda a pity because those "invasions" usually bring some of the most influential music here to define a generation. Some of us might remember the 80's, but your parents would probably argue for the 60's. With multi-hit singles and videos to their talent, Cherise & Nadia probably deserve at least a listen to. And if you call yourself a dance music lover or critic, a sampling could be considered mandatory. Either way, its 2012 and experiencing something new is always good for the soul. So give them a listen. As best, you might find something new to recommend to your favorite DJ or add to your I-Pod playlist. At worst, you might find yourself moving in your seat or bopping a little bit. Whatever your choice, I'm sure you'll find your booty moving from the luv of their sound. Check out an example of their heat below. |  New Orleans is known as the birthplace of lots of thing: Jazz, Mardi Gras, Creole cooking, diverse people and the music style called Bounce. Though the genre hasn't ever received the more widespread exposure it might deserve, few other artists have made it more identifiable than artist, Big Freedia. Freddie Ross, or Big Freedia is a native of New Orleans who has helped popularize a offshoot of the Bounce style called "sissy bounce" a more energetic dance form of the Bounce music genre. Openly gay and preferring to be identified as a female, Ross grew up with music playing a huge part of her life. Early exposure to artists like Patti LaBelle, Michael Jackson, and Salt-n-Pepa cemented what she wanted to do with her life. But preforming was not something that came easy for the future Freedia. Ross was hampered by extreme stage fright in her initial gigs. But, under the wing of another bounce artist, Katey Red, Ross eased into the spotlight first as a backup singer and dancer on Red's shows. The personality know as Big Freedia evolved around 1998 when she adopted her stage name. According to Ross, "I wanted a catchy name that rhymed, and my mother had a club called Diva that I worked for. I called myself the queen of diva – so I coined it: Big Freedia Queen Diva." Though her music is described as within the "sissy bounce" subgenre, Ross claims its all just bounce music. The difference with Freedia's sound is a slightly faster tempo to the music and the addition of super aggressive, sexual lyrics about bad boyfriends or whatever. Greater exposure came in the aftermath of Hurricane Katrina when Freedia returned to the New Orleans area. Playing venues all over the changed city, Freedia's music and enthusiasm were well-welcomed to a post-Katrina crescent city. After several years of touring with Katey Red and other bounce artists. Freedia was highlighted in The New York Times in 2010; which led to her first national television appearances on the Last Call with Carson Daly and Jimmy Kimmel Live. With growing attention and several music awards to her credit, Freedia still calls New Orleans home. Operating a local interior design business, but still touring all around town and abroad, Freedia is considered the undisputed Queen of Bounce. Not a bad title for the Walter L Cohen High graduate and painfully shy performer who hoped to shine as bright as her inspirations. Get a taste of Big Freedia's true New Orleans bounce style with a strong hint of dance club booty bouncing beats below. |
By John Wirt Advocate Music writer
Brantley Gilbert, the country singer, songwriter and recording artist who composed two Jason Aldean hits, “My Kinda Party” and “Dirt Road Anthem,” didn’t believe it when his booking agent told him he’d be touring with three tour buses, three semi-trailer trucks and three supporting acts.
“I was like, ‘What’s the deal?’ ” the traveling Gilbert said from Fayetteville, Ark., two weeks into his Hell on Wheels tour. But the tour’s approach isn’t so different from the step-by-step approach Gilbert has applied to his career since he was teenager. He’s still moving into new markets, just doing so bigger than usual.
“So we got shows with 2,600 people and some shows with 6- or 7,000 people, sold out,” Gilbert said. “And these smaller towns and cities we’re going to, we’ll be able to go back in a few months. So there’s a method to the madness.”
In concert, Gilbert sings his own No. 1 recordings, “You Don’t Know Her Like I Do” and “Country Must Be Country Wide,” as well as the Aldean hits that he’d originally written for himself.
“The people who I’d written ‘My Kinda Party’ and ‘Dirt Road Anthem’ for, they can still hear me sing those songs on stage and on my record,” Gilbert said. “So it’s not like I gave my song away or sold it. But Jason, he did his thing with them and that’s definitely an honor.”
The Hell On Wheels tour is the first headlining tour of Gilbert’s career. Everything about it is bigger than a club tour or being an opening act, for instance, for Toby Keith or Eric Church.
“We’ve got a whole new lighting rig and stage set,” he said. “I’m still trying to figure out how to work my way around the stage without tripping over anything. But it’s really cool and the light show is great.”
Like his friend and co-writer for “Dirt Road Anthem,” Colt Ford, Gilbert is a Georgia native. Ford is from Athens, home of the University of Georgia. Gilbert is from a nearby small city, Jefferson.
When Gilbert performed for a sold-out show at the Georgia Theatre in Athens at 19, he thought he couldn’t ever top it.
“Everybody, the B-52s, R.E.M., Widespread Panic, anybody who was anybody, played that venue,” he said. “I thought that was as big as it was getting. I’d made it. I could make a living playing music in Georgia, in the Southeast. I didn’t want a label or nothing like that.”
But Gilbert, having worked himself up from a praise-and-worship band and solo acoustic gigs shared with another Georgia musician, Corey Smith, soon saw more potential for his talent.
“As it grew, I realized that I needed a manager, booking agent, a record label, all those things,” he said.
All of which came to pass, in a big way. Gilbert’s label, Big Machine Records, is also home to Taylor Swift, the Band Perry, Tim McGraw and more established and rising stars.
And now Gilbert is on the biggest tour of his life.
“The other day I was talking with my drummer about it,” he said. “Every day we’re finding ourselves making new goals and new dreams, because these things we’ve worked on for so long are coming true.
“It’s crazy, but we’re rolling with the punches and enjoying every minute of it, man. It’s been one heck of a blessing.”
Brantley Gilbert, the country singer, songwriter and recording artist who composed two Jason Aldean hits, “My Kinda Party” and “Dirt Road Anthem,” didn’t believe it when his booking agent told him he’d be touring with three tour buses, three semi-trailer trucks and three supporting acts.
“I was like, ‘What’s the deal?’ ” the traveling Gilbert said from Fayetteville, Ark., two weeks into his Hell on Wheels tour. But the tour’s approach isn’t so different from the step-by-step approach Gilbert has applied to his career since he was teenager. He’s still moving into new markets, just doing so bigger than usual.
“So we got shows with 2,600 people and some shows with 6- or 7,000 people, sold out,” Gilbert said. “And these smaller towns and cities we’re going to, we’ll be able to go back in a few months. So there’s a method to the madness.”
In concert, Gilbert sings his own No. 1 recordings, “You Don’t Know Her Like I Do” and “Country Must Be Country Wide,” as well as the Aldean hits that he’d originally written for himself.
“The people who I’d written ‘My Kinda Party’ and ‘Dirt Road Anthem’ for, they can still hear me sing those songs on stage and on my record,” Gilbert said. “So it’s not like I gave my song away or sold it. But Jason, he did his thing with them and that’s definitely an honor.”
The Hell On Wheels tour is the first headlining tour of Gilbert’s career. Everything about it is bigger than a club tour or being an opening act, for instance, for Toby Keith or Eric Church.
“We’ve got a whole new lighting rig and stage set,” he said. “I’m still trying to figure out how to work my way around the stage without tripping over anything. But it’s really cool and the light show is great.”
Like his friend and co-writer for “Dirt Road Anthem,” Colt Ford, Gilbert is a Georgia native. Ford is from Athens, home of the University of Georgia. Gilbert is from a nearby small city, Jefferson.
When Gilbert performed for a sold-out show at the Georgia Theatre in Athens at 19, he thought he couldn’t ever top it.
“Everybody, the B-52s, R.E.M., Widespread Panic, anybody who was anybody, played that venue,” he said. “I thought that was as big as it was getting. I’d made it. I could make a living playing music in Georgia, in the Southeast. I didn’t want a label or nothing like that.”
But Gilbert, having worked himself up from a praise-and-worship band and solo acoustic gigs shared with another Georgia musician, Corey Smith, soon saw more potential for his talent.
“As it grew, I realized that I needed a manager, booking agent, a record label, all those things,” he said.
All of which came to pass, in a big way. Gilbert’s label, Big Machine Records, is also home to Taylor Swift, the Band Perry, Tim McGraw and more established and rising stars.
And now Gilbert is on the biggest tour of his life.
“The other day I was talking with my drummer about it,” he said. “Every day we’re finding ourselves making new goals and new dreams, because these things we’ve worked on for so long are coming true.
“It’s crazy, but we’re rolling with the punches and enjoying every minute of it, man. It’s been one heck of a blessing.”
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