All Access says the add date is officially August 11th. But the info I posted above came from a DJ, so, it was probably delivered to radio today, and they can play it if they want. But, some probably won't jump on board until the official date of 8/11.
I also think the video will come out this Sat. the 18th, because she is scheduled to be on the VH1 top 20 countdown show. At least I hope it premiers then.
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Blender Magazine on Kelly Clarkson: " The Texas native has one of the great voices in pop music, a powerful and versatile instrument that’s steeped in the rhythm and blues and country music she grew up with in the South. If Mariah Carey’s five-octave voice is the equivalent of an expensively bred poodle, then Clarkson’s is a bloodhound: friendly, earthy, but fierce just the same."
Baltimore Examiner (concert review): "Her sultry voice is absolutely flawless. The tone and range floors you. When she belts out a note, it's precise yet powerful."
"Music is powerful, it's a drug that makes your inhibitions go away and leaves your vulnerabilities exposed" - KC
I was going to start a new thread for this, but I figured I'd be beaten up on for starting a thread about a list at which Kelly sits at #1. So, I'm putting it here. Z100 in NYC posted it's top 50 songs of 2009 (so far) and Kelly is #24 for Hook Up and #1 for "Suck." WOOHOO! : )
Kelly has announced her Fall tour dates for the 'All I ever wanted tour' She has the Veronica's, and Parachute opening for her. Love the Veronica's and just got into Parachute, well at least the 'She is love' single anyways.
Tour dates, cities, and venues follow:
DATE CITY VENUE October 2 Uncasville, CT Mohegan Sun Resort & Casino October 4 Portland, ME Cumberland County Civic Center October 6 New York, NY Hammerstein Ballroom October 9 Atlantic City, NJ Borgata Hotel & Casino October 10 Fairfax, VA Patriot Center October 13 Boston, MA Agganis Arena at Boston University October 15 Orillia, ON Casino Rama Entertainment Centre October 17 Youngstown, OH Covelli Centre October 19 Pikeville, KY Eastern Kentucky Expo Center October 21 Knoxville, TN Knoxville Civic Coliseum October 23 Milwaukee, WI Milwaukee Theatre October 25 Detroit, MI Fox Theatre October 27 Chicago, IL Rosemont Theatre October 29 Lincoln, NE Pershing Center October 31 St. Charles, MO Family Arena November 2 Cedar Park, TX Cedar Park Center November 4 Lubbock, TX United Spirit Arena November 6 Las Vegas, NV The Joint November 7 Phoenix, AZ Arizona State Fair November 18 Victoria, BC Save-On-Foods Memorial Centre November 20 Calgary, AB Saddledome November 22 Kelowna, BC Prospera Place November 24 Seattle, WA WaMu Theater November 28 Reno, NV Reno Events Center November 29 San Jose, CA Event Center at San Jose University December 1 Fresno, CA Save Mart Center at Fresno State December 3 Las Cruces, NM Pan American Center December 5 Beaumont, TX Ford Park Arena December 7 Corpus Christi, TX American Bank Center December 10 Columbus, GA Columbus Civic Center December 11 Pensacola, FL Pensacola Civic Center December 13 Hollywood, FL Seminole Hard Rock Live Arena
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Blender Magazine on Kelly Clarkson: " The Texas native has one of the great voices in pop music, a powerful and versatile instrument that’s steeped in the rhythm and blues and country music she grew up with in the South. If Mariah Carey’s five-octave voice is the equivalent of an expensively bred poodle, then Clarkson’s is a bloodhound: friendly, earthy, but fierce just the same."
Baltimore Examiner (concert review): "Her sultry voice is absolutely flawless. The tone and range floors you. When she belts out a note, it's precise yet powerful."
"Music is powerful, it's a drug that makes your inhibitions go away and leaves your vulnerabilities exposed" - KC
Originally posted by Neurotic21: I heard "Already Gone" multiple times on the radio today. I'm excited that my station is playing it early.
I haven't heard it on the radio yet. Where abouts are you hearing it? I do know several people have reported it winning a lot of the head to head song battles radio stations do with new songs. So that's hopefull. I hope it does well.
Blender Magazine on Kelly Clarkson: " The Texas native has one of the great voices in pop music, a powerful and versatile instrument that’s steeped in the rhythm and blues and country music she grew up with in the South. If Mariah Carey’s five-octave voice is the equivalent of an expensively bred poodle, then Clarkson’s is a bloodhound: friendly, earthy, but fierce just the same."
Baltimore Examiner (concert review): "Her sultry voice is absolutely flawless. The tone and range floors you. When she belts out a note, it's precise yet powerful."
"Music is powerful, it's a drug that makes your inhibitions go away and leaves your vulnerabilities exposed" - KC
Originally posted by Neurotic21: I heard "Already Gone" multiple times on the radio today. I'm excited that my station is playing it early.
I haven't heard it on the radio yet. Where abouts are you hearing it? I do know several people have reported it winning a lot of the head to head song battles radio stations do with new songs. So that's hopefull. I hope it does well.
Originally posted by Neurotic21: I heard "Already Gone" multiple times on the radio today. I'm excited that my station is playing it early.
I haven't heard it on the radio yet. Where abouts are you hearing it? I do know several people have reported it winning a lot of the head to head song battles radio stations do with new songs. So that's hopefull. I hope it does well.
Kiss 108 in Boston.
That's cool, that's one of the Big 3 radio stations in the country. Glad they've picked it up. My station won't ever play a new song, not until it hits top 40, will it see the light of day. I hate that.
Blender Magazine on Kelly Clarkson: " The Texas native has one of the great voices in pop music, a powerful and versatile instrument that’s steeped in the rhythm and blues and country music she grew up with in the South. If Mariah Carey’s five-octave voice is the equivalent of an expensively bred poodle, then Clarkson’s is a bloodhound: friendly, earthy, but fierce just the same."
Baltimore Examiner (concert review): "Her sultry voice is absolutely flawless. The tone and range floors you. When she belts out a note, it's precise yet powerful."
"Music is powerful, it's a drug that makes your inhibitions go away and leaves your vulnerabilities exposed" - KC
On a link on Twitter, I found this great article/interview with Kelly. It's long, but, a great read. And in the last part, she addresses the 'AG' 'Halo' issue. And I still can't believe Ryan did what he did. Well, yes I can, because he's only thinking about himself, the jacka$$.
Why life would suck without pop star Kelly Clarkson
American Idol is a touchy subject among seasoned music fans. Mention the reality singing competition in a rock club or at a party full of indie music geeks, and the responses range from sheepish confessions ("It's my guilty trash TV indulgence!") to angry tirades about how the show has contributed to the death of artistry within the music industry. The consensus in that crowd is that Idol, and the stars it produces, is a manufactured commercial phenomenon, the success of which has more to do with lowest common denominator appeal than raw talent. Arguably, only one graduate of Idol University has managed to rise above the negative connotations of her launching pad to earn the respect of even those musical cynics. That would be Kelly Clarkson, winner of the show's inaugural season. Seven years after her victory, Clarkson's career is still flourishing, an accomplishment that has evaded many of her Idol peers. Her most recent album, All I Ever Wanted, debuted at the top of the charts this March. That record's first single, a delectably fizzy pop nugget with the prosaic title My Life Would Suck Without You, made history when it travelled from #97 to #1 on the Billboard Hot 100 the week it was released, setting a new record for the biggest jump to first place. Though Clarkson admits she's "thankful" when her songs top the charts, she insists her goals as an artist don't include platinum-selling records. "I love that people love [the hit singles], I love that they're anthems," she says in a recent interview, "but my whole point going into a studio isn't like, 'I'm only gonna record songs that I think are gonna be number one.' My whole thing is to never be scared."
That may be true. But as a pop singer, it's considerably easier to gaze into the abyss when you've chosen a crack team of hit-producing songwriters to help hold you up. With the exception of some unfortunate R&B collaborations (likely at the behest of RCA chief Clive Davis, Godfather of all Idols) on her treacly debut, Thankful (2003), Clarkson has been savvy when it comes to recruiting producers and co-writers. Swedish pop geniuses Max Martin and Dr. Luke (Pink, Katy Perry, Britney Spears) have worked on some of Clarkson's biggest singles; modish hit-maker Ryan Tedder (of OneRepublic) produced several tracks on All I Ever Wanted. Clarkson is quick to assert that if her name's in the credits of a song, she's responsible for both the melody and the lyrics. If you're keeping score, Clarkson didn't pen her biggest Max Martin/Dr. Luke singles, including My Life Would Suck Without You and 2004's Since U Been Gone, but she did co-write Behind These Hazel Eyes and Walk Away (both Top 20 hits) from 2004's Breakaway, as well as every track on 2007's My December and half of All I Ever Wanted, including her latest single, Already Gone. To those who'd dismiss Clarkson out of hand because she has help writing her songs, I'd argue that she's demonstrated great skill in finding material that fits her voice like a worn-in pair of jeans and rings true to her personality. In the tradition of Cyndi Lauper (another huge pop star who didn't write her biggest hits), Clarkson is a masterful vocal interpreter who truly understands that the finest pop songs are vehicles for communicating great stories and emotional truths. And like Lauper, she's got an impressive set of pipes that are no less powerful for her vocal idiosyncrasies. Where other Idol ladies model their approach on the melismatic bellows of contemporary R&B divas, Clarkson's power ballads are pleasantly ragged around the edges; her woman-scorned yowls are a few degrees removed from Axl Rose. She's a dive-bar girl whose inspirations include '90s alt-rockers the Toadies and Southern beardos Kings Of Leon. Laconic geeks Weezer, she says, made her want to write music. "Honestly, I've been a Weezer fan since junior high," she confesses. "Weezer and Alanis Morissette's Jagged Little Pill were that moment I realized, 'Oh my god, it's not just that you have to sing pretty!' That's when I realized you have this platform and this stage to get your message out. Weezer attack some serious situations, but they do it with sarcasm, or in a very sweet way, like with Hold Me, which is almost like a spiritual song. They made me feel normal for thinking irrational thoughts." The day I meet her in a Toronto hotel room, she's pleasantly rumpled and given to blurting out whatever she's thinking in the moment. Clarkson is well aware of her status as a square peg in the American Idol camp. Ask whether she thinks she'd walk away with the crown if she tried out now, eight seasons (and a substantial amount of squeaky-clean polish) into the show's evolution, and she snorts.
"I didn't think I'd win at that point! My whole point on my season was just to get noticed. I thought maybe a manager would be watching and like my voice or what I was doing. I wasn't aiming to win. I mean, especially with the other beautiful girls on that season - not to say I'm not," she chastens herself. Having weathered an inordinate amount of criticism for not conforming to a sleek pop-star ideal, Clarkson strives to convey positive messages about her own body image. "But especially with all that stuff, I didn't think I could win on that show. Ha!" Clarkson's not the sole American Idol to connect with fans outside the program's target fan base. Certainly, folks like Daughtry and Carrie Underwood have made major inroads in genres (modern alternative rock and country, respectively) not traditionally associated with the franchise. But Clarkson, who holds the record for highest album sales by an Idol winner, is the only one of her peers who can boast that she's had a song covered by indie punk Ted Leo, post-hardcore band A Day To Remember, soulful spitfire Beth Ditto, and electro-pop singer Robyn (among others), reconfigured by Timbaland and used as an ironic ringtone by the characters on Gossip Girl. That such a diverse sampling of artists could connect with Clarkson's brazen break-up anthem Since U Been Gone is a testament to the enduring power of both the song and the singer who made it famous. Endearingly, Clarkson still demonstrates an almost pathological inability to take herself seriously. She once told an interviewer that her ultimate dream is to open up her own Chili's franchise. At a Toronto show in 2007, she playfully invited the audience to judge a pumpkin carving contest between herself and her bandmates, then unveiled a jack-o-lantern she claimed was inspired by the scene from The 40-Year-Old Virgin in which Steve Carell invokes Clarkson's name as a cuss-word while getting his chest waxed. And despite so many votes to the contrary, it seems like Clarkson is still the last person willing to recognize Kelly Clarkson's rock cred. Ask about fantasy collaborations, and the singer sighs. "I think it'd be awesome to work with the White Stripes. Even though I don't know if they would, because that'd be…" Clarkson trails off, laughing. "Even if I'm a fan of theirs, their credibility factor would waver a bit. But I like him. I think [Jack White] is just genius in his own crazy insane way of writing music."
Single ladies: Why Kelly Clarkson's new song sounds a lot like Beyonce's Halo If you've been listening to the radio lately, it's possible you've heard the soaring strains of Already Gone, the newest single off All I Ever Wanted. It's very likely that you thought you'd heard the epic song before, albeit in a slightly different form. Kelly Clarkson collaborated with Ryan Tedder on the track, a dramatic ballad driven by a pounding heartbeat, twinkly piano and swooping strings. Unbeknownst to Clarkson, Tedder used suspiciously similar elements when he produced another recent mega-hit, Beyonce's Halo. "Ryan and I met each other at the record label, before he was working with anyone else," Clarkson begins, gritting her teeth. "He's from Oklahoma, I'm from Texas; we got along really well and had some of the same influences. We wrote about six songs together, four or five of them made the album. It was all fine and dandy. I'd never heard of a song called Halo. Her album came out when my album was already being printed. No-one's gonna be sittin' at home, thinking 'Man, Ryan Tedder gave Beyonce and Kelly the same track to write to.' No, they're just gonna be saying I ripped someone off. I called Ryan and said, 'I don't understand. Why would you do that?'" The palpably frustrated Clarkson claims she "fought and fought" to try and prevent her label from releasing Already Gone as her third single, out of respect for Beyonce. "In the end, they're releasing it without my consent," she sighs. "It sucks, but it's one of those things I have no control over. I already made my album. At this point, the record company can do whatever they want with it. It's kind of a shi**ty situation, but.… You know, you learn."
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Blender Magazine on Kelly Clarkson: " The Texas native has one of the great voices in pop music, a powerful and versatile instrument that’s steeped in the rhythm and blues and country music she grew up with in the South. If Mariah Carey’s five-octave voice is the equivalent of an expensively bred poodle, then Clarkson’s is a bloodhound: friendly, earthy, but fierce just the same."
Baltimore Examiner (concert review): "Her sultry voice is absolutely flawless. The tone and range floors you. When she belts out a note, it's precise yet powerful."
"Music is powerful, it's a drug that makes your inhibitions go away and leaves your vulnerabilities exposed" - KC
This is the first time (to my knowledge) we've heard her address the situation directly. Looks like this is the "confirmation" all the haters have been waiting for.
This makes me dislike Tedder - and to a lesser extent - Beyonce. Funny thing is Kelly didn't want to release the song "out of respect for Beyonce," when really it should be the other way around.
I hope this story gets out there and people learn more about what a skeez Ryan Tedder is.
Poor Kelly. I'm glad she got to say her side of the story, which I am going to believe. It sucks that Ryan Tedder did that. If Kelly had known Tedder was going to rip off the arrangement I'm sure she would have fixed it before the CD went into production.
ETA: And yeah, it is awesome that Kelly didn't even want to release the song. It goes to show the type of person she is that she would want to respect everyone by choosing another single altogether.
This message has been edited. Last edited by: Neurotic21,
I haven't attended one of summer concerts yet, but, everyone has been saying she's been kind of bashing the record label at times throughout her show, and people couldn't figure out what it was about. I bet this situation is why. She even said after singing 'whyyawannabringmedown' one night, that it was a perfect song to her label. If you read the lyrics, it makes sense, and how she probably feels, even though she didn't write it.
Whyyawannabringmedown lyrics
This situation, if it gets any deeper could be critical I'm not your love monkey so be taking back all the lies you sold What did you want me to be It's just too much now So tell me so tell me so tell me one two three four
So what's your evil attitude When you got me spending my time pleasing you Why must you keep me underground Tell me tell me, why you wanna bring me down? Is it too much to give a damn When I'm giving you one hundred and ten Don't blink cause I won't be around Tell me tell me, why you wanna bring me down
Now your transmission is on the negative You're on a losing streak This information is getting ordinary and you're losing me What's with your hostility when the lie's on me? Well you're down to the last chance So tell me so tell me uno dos tres cuatro
So what's your evil attitude When you got me spending my time pleasing you Why must you keep me underground Tell me tell me, why you wanna bring me down? Is it too much to give a damn When I'm giving you one hundred and ten Don't blink cause I won't be around Tell me tell me, why you wanna bring me down
I don't think you ever gave damn In fact I know it I can't take it no more
Was it all just a waste of time I don't wanna spend my whole life thinking bout it Baby this is where I draw the line, I think I'm done
So what's your evil attitude When you got me spending my time pleasing you Why must you keep me underground Tell me tell me, why you wanna bring me down? Is it too much to give a damn When I'm giving you one hundred and ten Don't blink cause I won't be around Tell me tell me, why you wanna bring me down
This message has been edited. Last edited by: restless&wild,
Blender Magazine on Kelly Clarkson: " The Texas native has one of the great voices in pop music, a powerful and versatile instrument that’s steeped in the rhythm and blues and country music she grew up with in the South. If Mariah Carey’s five-octave voice is the equivalent of an expensively bred poodle, then Clarkson’s is a bloodhound: friendly, earthy, but fierce just the same."
Baltimore Examiner (concert review): "Her sultry voice is absolutely flawless. The tone and range floors you. When she belts out a note, it's precise yet powerful."
"Music is powerful, it's a drug that makes your inhibitions go away and leaves your vulnerabilities exposed" - KC
Very illuminating. I'd read some reviews of recent shows where audience members remarked that she had done some label-bashing b/w songs. I definitely wondered what it was about. No more wondering.
One comment I read even said that after she did her cover of "Walkin' After Midnight," Kelly said she would love to record an album of all those kinds of songs if the label would actually market it and support it.
Bleh to RCA and major bleh to Ryan Tedder. Thank God she only has one more album in her RCA contract...then she can truly grow into the artist she wants to be.
This message has been edited. Last edited by: MikeyJ7,
Originally posted by MikeyJ7: WOW. WOW. WOW. WOW. WOW.
This is the first time (to my knowledge) we've heard her address the situation directly. Looks like this is the "confirmation" all the haters have been waiting for.
This makes me dislike Tedder - and to a lesser extent - Beyonce. Funny thing is Kelly didn't want to release the song "out of respect for Beyonce," when really it should be the other way around.
I hope this story gets out there and people learn more about what a skeez Ryan Tedder is.
well, to be fair, there is no saying Beyonce even knew about 'AG'. Most likely she didn't, because Halo came out in January I think, and Kellys cd wasn't released until March. I blame Tedder for the whole mess. All he thought about was money, at whoevers expense.
AS far as her recording a cd like the bluesy version she did of 'Walking after midnight', Gah, I would kill for a cd like that. But like Kelly said, her label probably would never support it. Like you said she has one more cd, and she may be done with RCA. I can only hope. I'd love for her to get with a label that can see her vision with music, and not try to hold back her artistry. Yes, they released MD, but, it seems like she has had to pay the price ever since. Clive is still making little jabs here and there about her songwriting, and how it should be left to the pros. I can imagine that gets pretty frustrating for her. Especially when the so called "pros" copy sounds from themselves, or others.
Blender Magazine on Kelly Clarkson: " The Texas native has one of the great voices in pop music, a powerful and versatile instrument that’s steeped in the rhythm and blues and country music she grew up with in the South. If Mariah Carey’s five-octave voice is the equivalent of an expensively bred poodle, then Clarkson’s is a bloodhound: friendly, earthy, but fierce just the same."
Baltimore Examiner (concert review): "Her sultry voice is absolutely flawless. The tone and range floors you. When she belts out a note, it's precise yet powerful."
"Music is powerful, it's a drug that makes your inhibitions go away and leaves your vulnerabilities exposed" - KC
Kelly Clarkson wails her face off at superb Pacific showJuly 24th, 2009, 11:12 am · Post a Comment · posted by Ben Wener
All this time since she was crowned the first American Idol champ in 2002 Kelly Clarkson has struggled to carve out her own sound and identity - though she very nearly defined it Thursday night with her outstanding and vocally potent performance before a packed house at Pacific Amphitheatre. Carrie Underwood, that other big-voiced Midwesterner that Idol turned into a superstar -- she's had it easy by comparison. No question she was headed to Nashville to take her place alongside the rest of this decade's divas. Clarkson's stylistic trajectory, however, has been a warped one, leaving her hard to peg. Once she got past the standard-issue debut most every Idol star has to suffer through, she quickly became choosier and more involved -- and soon cut a sleek, surefire winner of a pop-rock disc, Breakaway, its five smash singles still ingrained in the brain five years on. Yet no sooner did "Since U Been Gone" become a household hook than Clarkson was turning up at radio festivals (like a memorable Wango Tango appearance at Angel Stadium in 2005) rocking with the ferocity of early Melissa Etheridge bounced up with some Gwen Stefani swagger.
No surprise, then, that her third effort, the underrated My December, would find "Miss Independent" venturing bravely into Alanis terrain -- and battling legendary handler Clive Davis in public to get it released. Then again, it also wasn't shocking to see her serve up a slight about-face with her latest album, All I Ever Wanted, a work as brightly colored and glossily produced as a Katy Perry (or Cars) record yet almost as heartbroken and insecure as its wounded predecessor.
The point I'm getting at is that none of her four studio attempts has adequately defined Kelly Clarkson, in part because her post-Idol evolution is both enhanced and hampered by that association. She develops slowly -- yet she's already so soulful and talented and charming, I can't wait to see what she records at 40, when marketplace expectations and mega-popularity will likely no longer be concerns. Not that she won't still be beloved -- she's much too endearing to be forgotten, too genuine to be written off as just another plastic pop phenom. Thursday night, though she was never without a touch of glam -- dig that cut-up Ziggy-era Bowie shirt she wore underneath her pink jacket -- she couldn't have been more self-deprecatingly un-Texan and girl-next-door accessible in her hip-hugging real-woman jeans, long and flared enough to cover her bare feet. "I'm clumsy," she pointed out after busting her lip on her microphone during "Whyyawannabringmedown," a song that rushes by with more new-wave energy than I bet Blondie can muster Sunday night at Pacific. "I wish I were Beyoncé and could sing in high heels." She must be lying: she knows she'd look absurd if she did. Her everygirl appeal is only one reason Clarkson stands apart from the current pack of women in rock. As a total package, I might pick Pink (far more confident, punked-up, ****ed-off) or even Perry (cleverly calculated, saucy, funny), but vocally Kelly shames them and every other peer.
Watch how effortlessly she soars; listen to how she deepens even the most juvenile lines with heartfelt realism. All of Clarkson's stuff is very, very now -- but to hear her sing live and unfettered is to recognize that she, arguably more than anyone else today, is the heiress apparent to the lineage handed down from Janis and Stevie and Chrissie and Pat (Benatar, that is) on down to Melissa and Alanis and so on. She wails her face off, yet with nuance and dynamics and panache. There's no telling what she'll do in another half-dozen albums -- you get the sense she'd tackle just about anything given half a chance. After she strutted her way through a bluesy take on Patsy Cline's "Walking after Midnight," she mentioned, "If that music would sell records and my company would back it, I'd do nothing but that."
For now, it seems she's figuring it all out and finding herself in concert -- that's where everything she already is and still wants to be comes together with rich consistency, thanks much to a sharp 11-member band, including a horn trio that greatly pumped up the shout-along choruses of "Since U Been Gone." Granted, it helps that the thrust of her 20-song set Thursday came from nine selections off All I Ever Wanted, for though there's variety among them -- the watch-out-girls warning of "I Do Not Hook Up" and the defiance of "Don't Let Me Stop You" vs. the power-ballad yearning of "Cry" and the Cyndi Lauper girl-group joy of "I Want You" -- all of it smacks you hard in the face with a wall of hissy sonics. It makes sense, too, that "If I Can't Have You" (not the Saturday Night Fever tune) is underpinned by Eurythmics' "Sweet Dreams (Are Made of This)" and that she has adeptly reassigned gender on a cover of Rod Stewart's "Some Guys Have All the Luck" to make it her own, as they say on Idol. Time and again, and especially in moments like those (as well as an almost club version of "Never Again"), her show reminded just how much this decade's pop-rock stuff has been a replay of the Big '80s.
Yet there were departures -- mostly in the acoustic portion, which included that nod to Patsy and a superb scaling-back of "Behind These Hazel Eyes." Then there was her redo of Janet Jackson's lustful "If," which kicked with the funky feel of Prince circa '84 and allowed Kelly to convey a more sexually suggestive side. There's forward motion in all of that, as there is in her growing comfort and honesty in the spotlight, and it further sets her apart. If I were to bet on any of the mainstream stars I've mentioned, my money would be on Clarkson to still be intriguing us 10 or 20 years on, still pushing her way -- slowly, always slowly -- toward something new.
On a side note, there are some things worth adding to the ongoing debate over Pacific this summer: Still don't think this place can get loud? You shoulda been here. Made Joan Jett sound like she was on a transistor radio. Curfew -- what curfew? Kelly packed 20 songs into 80 minutes and ended right at 10:10. There's hope yet that Benatar and Blondie won't have to skimp. I need to amend what I said about opening acts and "evening with …" phrasing. I should have said that everything I pointed out applies -- except with Kelly Clarkson, as an opening act (Krista) was added only last week, too late to be mentioned in ads. Some of you, I suspect, showed up on time for nothing; Krista sounded sludgy-dull enough from out at the iced coffee stand that I didn't care to see her in the flesh.
Kelly Clarkson at Pacific Amphitheatre, July 23, 2009 Main set: All I Ever Wanted / Miss Independent (with a nod to Black Sabbath's Iron Man) / I Do Not Hook Up / Some Girls Have All the Luck (re-gendered Rod Stewart cover) / Don't Let Me Stop You / Breakaway / If I Can't Have You (with underpinning of Eurythmics' Sweet Dreams) / Never Again / Behind These Hazel Eyes / Walkin' After Midnight (Patsy Cline cover) / Cry / I Want You / Whyyawannabringmedown / Because of You / Walk Away / Since U Been Gone Encore: Already Gone / If (Janet Jackson cover) / My Life Would Suck without You
Blender Magazine on Kelly Clarkson: " The Texas native has one of the great voices in pop music, a powerful and versatile instrument that’s steeped in the rhythm and blues and country music she grew up with in the South. If Mariah Carey’s five-octave voice is the equivalent of an expensively bred poodle, then Clarkson’s is a bloodhound: friendly, earthy, but fierce just the same."
Baltimore Examiner (concert review): "Her sultry voice is absolutely flawless. The tone and range floors you. When she belts out a note, it's precise yet powerful."
"Music is powerful, it's a drug that makes your inhibitions go away and leaves your vulnerabilities exposed" - KC
The video has leaked. I'm not sure if this is the whole video, as it's only 3:28 mins long, and the radio edit for the song is over 4 mins. But, I guess we'll see when it offically released. This is also a ripped video, so, not as clear as it should be. Hopefully it doesn't get removed for copyright, but, so far it's still up. She looks really beautiful in it! I haven't watched it enough, to form an opinion of it yet though.
This message has been edited. Last edited by: restless&wild,
Blender Magazine on Kelly Clarkson: " The Texas native has one of the great voices in pop music, a powerful and versatile instrument that’s steeped in the rhythm and blues and country music she grew up with in the South. If Mariah Carey’s five-octave voice is the equivalent of an expensively bred poodle, then Clarkson’s is a bloodhound: friendly, earthy, but fierce just the same."
Baltimore Examiner (concert review): "Her sultry voice is absolutely flawless. The tone and range floors you. When she belts out a note, it's precise yet powerful."
"Music is powerful, it's a drug that makes your inhibitions go away and leaves your vulnerabilities exposed" - KC
