Demi Lovato - Disney's latest teen princess backs up her style with plenty of substance

In the 60s, Motown Records used the slogan “The Sound of Young America” to tout its roster of fresh musical talent as well as the demographic of its target audience. Today that title would most accurately belong to Disney’s Hollywood Records label, which has become the prime launch pad for teenage musical talent aimed at an even younger teen market.

Miley Cyrus and the Jonas Brothers might be the best known artists on Hollywood’s roster, but singer, songwriter, and actress Demi Lovato, who will appear August 21 at the Hershey Park Star Pavilion in Hershey, Pa. and August 22 at the Trump Taj Mahal’s Etess Arena in Atlantic City, is rapidly establishing herself as a legitimate pop star.

Like other young stars in the Disney family, Lovato, who turns 17-years-old August 20, stars in her own Disney Channel sitcom, Sonny With a Chance. But unlike some of her peers, Lovato has always made it clear that music, not acting, is her “first passion.”

Born Demetria Devonne Lovato in Dallas, Texas, Lovato began her acting career at age six on the children's television series Barney and Friends. There she met Selena Gomez, her Disney Channel co-star with whom she remains best friends. Lovato appeared on several television shows and series before landing the role of Mitchie Torres in 2008’s Camp Rock opposite the Jonas Brothers.

For her 2008 debut album Don't Forget Lovato co-wrote several songs with the three Jonas Brothers. The result was rock-edged pop closer in style to Avril Lavigne than Miley Cyrus. Critics took note of the fact that Lovato co-wrote her own material, and her live performances confirmed that her sturdy voice was no studio creation. On stage, Lovato focused more on playing guitar and piano than her dance moves.

On her current CD, Here We Go Again, Lovato takes another step forward. Her singing voice has matured nicely, developing a gritty lower register that compliments her higher range. Although she has a tendency to succumb to the “breathy” delivery that seems fashionable among young female singers, Lovato’s phrasing is leagues ahead of that of most of her peers.

In “World of Chances” she sings “You’ve got a face for a smile, you know / A shame you waste it when you’re breaking me slowly / But I’ve got a world of chances for you…/ Chances that you’re burning through” and the heartbreak is palpable.

“I wanted to make an album that parents would enjoy listening to while their kids are playing it in the car with them,” Lovato said in a recent telephone interview. “It's nice because now people get to see what I'm all about. This album is more me and hopefully they like it.”

Here's Lovato in the music video for "Here We Go Again":

Here We Go Again features plenty of high-energy pop-rock tunes (notably the title track, “Solo,” and “Everything You’re Not”) for Lovato’s younger fans to bounce along with, but the most pleasant surprises on the album are the songs on which Lovato stretches out stylistically.

On “Every Time You Lie” she shows off her sassy side on a sultry, R&B-flavored kiss-off to an ex-boyfriend, then charms with her sweet, romantic side on “Falling Over Me.” On “Got Dynamite” Lovato channels her idol Kelly Clarkson with an edgy rocker that would fit comfortably on Clarkson’s latest album.

The aforementioned “World of Chances” is a mid-tempo ballad Lovato wrote with John Mayer that could be embraced by both Top-40 and Adult Contemporary radio. Lovato says collaborating with Mayer was “a dream come true.”

“One of the best parts about being in this industry is getting to meet and work with the people who have inspired you,” she says. “I was intimidated at first, but he’s such a down-to-earth guy that when we started writing I forgot who he was and just appreciated his music. He made it really comfortable.”

One of Lovato’s favorite songs on the album is “Stop The World,” which she co-wrote with Nick Jonas. “I put a lot of personal things into it,” she says. “The song is basically about like falling in love with someone you shouldn't fall in love with, which is what I tend to do.”

Another personal song is “Catch Me,” a pretty acoustic ballad with a string section, reminiscent of the Plain White T’s hit “Hey There Delilah.” Lovato calls the song, about the pleasures of falling in love, her “baby” since she wrote it alone in her room. She says she was thrilled when producer John Fields told her it was good enough to make the album.

Although she always intended Here We Go Again to be more personal and reflect her maturity, Lovato seems keenly aware that her core audience might not be ready to grow up too soon.

“You can’t do that overnight,” she says. “You don’t just wake up one day and say, ‘I don’t want to be teen star anymore. I want to be respected as an adult.’ I think it’s something that you start working on at an early age.

“Since I do want to have a long-lasting career, I want my fans to grow with me,” she adds. “So with the projects that I take on and the roles that I take, I ask myself if they are appropriate for younger audiences – ‘Is this something that is a little more mature, but not so much that it will scare my fans away?’”

With that in mind, a few songs written for Here We Go Again were left on the shelf, including one about her relationship with her estranged biological father entitled “For the Love of a Daughter,” which Lovato wrote with William Beckett from the emo-band The Academy Is.

“When I’m a little older, maybe my fans will be ready,” Lovato says. “But this album really expresses my writing and outlook right now.”

Lovato’s Hershey and Atlantic City shows are two of the final stops on her summer tour. She’s set to film Camp Rock 2 in September, followed by another season of Sonny With A Chance, and her third album after that. It’s a busy schedule, even for an energetic 17-year-old who hopes to attend Boston’s Berklee College of Music one day.

“I wish I had more time off or more time at home,” Lovato admits, “but you’ve got to work hard to get to where you want to be.”

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B-52's READY TO DROP SOME 'FUN'

Few experiences are quite as disconcerting for music fans as when they realize that the once seemingly ageless artists who created the soundtrack of their collective childhood are now deep into middle-age. When these former music icons – now bloated, balding, or gray – show up on some sad VH1 retrospective to recount tales of their heyday, it’s their fans who suddenly feel very old.

So when our long-standing musical heroes return to defy Father Time and live up to, or even surpass our expectations – recent examples being U2 or Bruce Springsteen – they are typically welcomed by fans with unbridled glee. Rock ‘n’ roll never forgets, indeed.

The latest band to successfully emerge from the time capsule (which is, ironically, the title of the group’s 1998 hits compilation) is the quirky pop-dance band the B-52’s. Touring in support of Funplex, the group’s first original album in over 16 years, the B-52’s are in the midst of a cross-country spring/summer tour.

Vocalists Fred Schneider and Kate Pierson are both Northern New Jersey natives, but the group, which also includes guitarist and composer Keith Strickland and vocalist Cindy Wilson, will always be associated with the Athens, Georgia new wave music scene they helped establish in the mid-to-late ’70s.

“We were the outsiders in Athens,” Schneider told Time Out London in 2007. “We'd go to parties and people would, like, bolt the door.”

With a sound that combined elements of punk, surf guitar, and early '60s go-go pop into a visually unique, kitschy mix, the B-52’s began winning over audiences with tracks like “Planet Claire,” “52 Girls,” and the group’s breakthrough hit, “Rock Lobster.” The interplay between the female harmonies of Pierson and Wilson (who wore large, beehive style wigs, aka B-52’s), and the half-sung, half-shouted vocal counters of Schneider became another of the group’s trademarks.

The group’s goofy/hip visual style combined with the off-the-wall nature of their song lyrics seemed to scream “FUN PARTY BAND,” but Schneider says that the group always took its work seriously.

“We're serious about what we do, even though a lot of it is humorous or whatever,” he said in an interview last year for AOL Sessions. “People say, ‘Oh you probably just throw things together.’ We don't. We spend a lot of time on songs. We've always been serious about wanting to do good songs, and if they make you laugh, great.”

Throughout the ’80s and into the ’90s, the B-52’s kept fans smiling, dancing, and partying with hits like “Private Idaho,” “Roam,” “Good Stuff,” and their biggest hit, “Love Shack.” The material on Funplex complements that repertoire perfectly. The album mostly avoids the double-edged sword of trying to sound either too retro or too trendy. A modern electronic-dance vibe filters through songs like “Pump,” “Juliet of the Spirits,” and “Love in the Year 3000,” but the band doesn’t overreach trying to update its sound to match current fashion.

“I wanted it to be more rock and more electronic – leaner, more focused and up-tempo and danceable,” Strickland said in a 2008 interview with MP3.com. “I also felt that if we are to release a new album after 16 years, then we've got to give it our all and do what we do best. I've always felt that what we do best is really high energy, up tempo, shameless dance floor party music. A lot of the dance music aesthetics have filtered into our sound, but I still feel like we still sound distinctively like the B-52’s.”

If you take the songs on Funplex at their word, the band, which now ranges in age from 51 to 61, still revels in dancing, partying, and making frequent visits to the proverbial “Love Shack.”

“Yeah,” Schneider says. “We are a bunch of oversexed middle-aged people. It’s pretty tongue-in-cheek, but I think every song except one is about sex.”

If nothing else, Funplex confirms – for both the band and its fans – that while you can’t avoid growing older, you don’t have to grow old.

“There's a maturity to [this record],” Wilson said in an interview with Atlanta Creative Loafing, “but we're not about to grow up. It’s still us, you know.”

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TOUR DATES FOR THE B-52's:
Saturday, May 09, 2009 Atlantic City, NJ - House of Blues
Sunday, May 10, 2009 Morristown, NJ - Mayo Center for the Performing Arts
Wednesday May 13, 2009 Baltimore, MD - Rams Head Live
Thursday May 14, 2009 Red Bank, NJ - Count Basie Theatre
Saturday May 16, 2009 Boston, MA - House of Blues
Wednesday May 20, 2009 Kansas City, MO - Uptown Theater
Friday May 22, 2009 Little Rock, AR - Riverfront Park
Saturday May 23, 2009 Thackerville, OK - Winstar Casino
Sunday May 24, 2009 Norman, OK - Riverwind Casino
Wednesday June 17, 2009 Seattle, WA - Woodland Park Zoo
Friday June 19, 2009 Portland, OR - Oregon Zoo
Saturday June 20, 2009 West Wendover, NV - Peppermill Casino
Sunday June 21, 2009 Aspen, CO - Belly Up
Monday June 22, 2009 Denver, CO - Denver Botanic Gardens
Wednesday June 24, 2009 Tucson, AZ - Centennial Hall
Thursday June 25, 2009 Del Mar, CA - Del Mar Fairgrounds
Friday June 26, 2009 Agoura Hills, CA - The Canyon Club
Saturday June 27, 2009 Oakville, CA - Robert Mondaydavi Winery
Tuesday June 30, 2009 Saratoga, CA - Mountain Winery
Thursday July 02, 2009 Livermore, CA - Wente Vineyards
Saturday July 04, 2009 Albuquerque, NM - Isleta Casino and Resort
Sunday July 19, 2009 Costa Mesa, CA - Pacific Amphitheatre (Orange County Fair)
Saturday August 01, 2009 Hyannis, MA - Cape Cod Melody Tent
Sunday August 02, 2009 Cohasset, MA - South Shore Music Circus
Tuesday August 04, 2009 Altoona, PA - Railroaders Memorial Museum
Wednesday August 05, 2009 Bethlehem, PA - Musikfest
Friday August 07, 2009 Lincoln, RI - Twin River Events Center
Saturday August 08, 2009 Vienna, VA - Filene Center
Sunday August 09, 2009 Westhampton Beach, NY - Westhampton Beach Performing Arts Center
Wednesday August 12, 2009 Glen Allen, VA - Innsbrook Pavilion
Friday August 14, 2009 Mableton, GA - Mable House Amphitheatre
Saturday August 15, 2009 Saint Petersburg, FL - Tropicana Field
Thursday August 20, 2009 Clarkston, MI - DTE Energy Music Center
Friday August 21, 2009 Chicago, IL - House of Blues
Saturday August 22, 2009 Petoskey, MI - Odawa Casino Resort
Monday August 24, 2009 Green Bay, WI - Oneida Bingo & Casino
Sunday October 04, 2009 Austin, TX - Zilker Park

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TOP-10 IRISH ARTISTS IN ROCK AND POP

Irish musicians have played important roles and influenced every style of music imaginable – from classical, to jazz, to folk, to country. In honor of St. Patrick’s Day, here’s a list of ten notable Irish artists and bands in the pop and rock genres. The list is by no means meant to be definitive, just this Honorary Irishman’s humble opinion. In alphabetical order:

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The Boomtown Rats – Led by future humanitarian Bob Geldof, these post-punk rockers never found a large audience in the States. Even their biggest worldwide hit, “I Don’t Like Mondays” fell short of the Top-40 here. Still, the group’s blend of epic, Springsteen-esque story-songs and punk attitude are worth checking out, especially on the group’s U.S. debut, A Tonic for the Troops.

***

Clannad / Enya – Clannad had been creating its unique combination of traditional Irish folk, Celtic, pop and new age music since the early 70s. It took ten years for the group to achieve international success, primarily through its work on various movie and television soundtracks. Eithne Ní Bhraonáin, better known as Enya, struck out on her own in the mid-80s and found even greater success creating ethereal, multi-layered vocal orchestrations that walked a fine line between pop and new age.

***

The Corrs – This three sisters and a brother act enjoyed a great deal of worldwide success in the ten year period between 1996 and 2006. The band’s sound, epitomized by hits like “Runaway” and “Breathless,” leaned heavily toward pop-rock, but contained a fair sprinkling of traditional Irish influences and instrumentation.

***

The Cranberries – This Limerick-based alternative rock band enjoyed plenty of airplay and chart success for most of the 90s on the basis of its two great strengths – sharp pop songwriting (typified by hits like “Linger,” “Dreams,” and “Salvation”), and the pure, powerful voice of lead singer Dolores O'Riordan.

***

Rory Gallagher – The late, great blues-rock guitarist Rory Gallagher died too young – he was only 47 when years of substance abuse finally caught up with him in 1995. Although his albums sold over 30 million copies worldwide, perhaps his most important and lasting contribution to music is evidenced by his acknowledged influence on guitarists like The Edge, Slash, Johnny Marr, Glenn Tipton, and Brian May.

***

House of Pain / Everlast – In the early 90s, white rappers were still a novelty, and legitimate white rappers were an even bigger rarity. Spittin’ lyrics in a full-on brogue, Everlast stepped to the plate not as a copycat, but as a “copy that.” With an even more successful solo career he demonstrated his range in a variety of musical genres.

***

Van Morrison – Morrison is the reigning monarch of Irish singer-songwriters. Fans might question whether this Rock and Roll Hall of Fame inductee should be recognized more for his exceptional songwriting or for his unique, soulful voice. Fortunately, there’s no need to rush a decision – at age 63, Morrison is still going strong.

***

The Pogues – Some reviews of Pogues concerts talk of shows of unparalleled power and elegance, others of performances marred by incoherent drunkenness. The focal point of contradiction is always Shane MacGowan — singer, songwriter, and enigmatic leader of the group — the man who's equally responsible for the Pogues' greatest achievements as well as its occasional downfalls.

***

Thin Lizzy – For my money, Thin Lizzy is one of the most underrated rock bands of all time. Lead singer Phil Lynott was a fine songwriter, and a charismatic front man. The group was one of the pioneers of the twin lead guitar sound, and a terrific live act.

***

U2 – Okay, Bono and the boys can get a bit pretentious at times, but as a band they’re still the current kings of the mountain. The group has been around long enough to be considered classic rock, but as evidenced by its new chart topping effort, No Line on the Horizon, the band is still taking chances – and finding a large audience in the process.

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Carrie Underwood Does Motley Crue on 'American Idol'

My friends are usually very surprised to learn that I’ve never watched a full episode of “American Idol.” Knowing how much I love music and how I try to stay hip to new artists, they are astonished by my indifference to the show. Call me old-fashioned, but I still prefer musicians to work their way up the ladder – playing local clubs and bars and building their audience and reputation one fan at a time.

I’m sure the contestants who make it to the finalists round on the show have worked hard and are dedicated to their music. But by its very nature, the “American Idol” setup is flawed.

I’ve always maintained that being a music critic is much more time-consuming than reviewing theater, movies, television, or books. In every other case, only one viewing or reading is necessary to form an opinion. Music, on the other hand, must be listened to repeatedly before a valid opinion can be formed.

How many times has your opinion of an album changed the more you listened to it? Sometimes a CD that didn’t grab you for weeks ends up being one of your all-time favorites. On the other hand, music that has instant likability often loses its appeal and proves trite or shallow in the long run. But with “American Idol,” the whole point is to gauge the public’s instant, knee-jerk reaction.

Shouldn’t an artist’s songwriting ability also play a part when judging his or her overall talent? On “American Idol” it’s not even considered. Maybe the name of the show should be changed to “American Idol Cover Artist.”

There have been American idols chosen from the country and soul/R&B genres, but most are cast out of the same homogenous Top-40 pop-rock mold. If you are a fan of bluegrass, hip-hop, reggae, or jazz, don’t expect to see an “American Idol” winner representing your favorite style of music anytime soon.

All that being said, I did tune in the conclusion of the Wednesday, March 11 show. I wanted to hear how well country-pop ingénue Carrie Underwood could pull off a version of Mötley Crüe's “Home Sweet Home.” It was about what I expected - a country-rock-pop ballad that reminded me of Poison's "Every Rose Has Its Thorn."

The season-four winner recorded a cover of the metal band’s most famous power ballad to serve as the new swan song for voted-off contestants. If watched the show and you like what you heard, the song will be available as a digital single exclusively on iTunes through March 16. After that it will be released via other online music retail sites. A portion of the proceeds from sales of the single will benefit the Humane Society of the United States.

"American Idol" airs Tuesdays at 8 pm and Wednesdays at 9 pm on Fox.






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RACING KITES FLYING HIGH WITH NEW EP

New Jersey's Racing Kites headlines a show this Friday, March 13 at Wilmington, Delaware’s Harmony Grange showcasing five young, energetic pop-rock bands. Joining Racing Kites on the bill are suburban Philly’s The Skylife, The Dangerous Summer from Ellicott City, MD, Horrible Horrible Creatures from Chester County, PA, and Elkton, Maryland/Newark, Delaware-based Christian rockers Love Beyond Reason.

For Racing Kites, the gig is an early stop on a cross-country tour (see complete tour dates below) in support of its brand-new five song EP, Be My Runaway. It’s also a homecoming show for guitarist and backing vocalist Matt Federer, a native Delawarean who still resides here.

The band, which also includes singer-songwriter Alex Ziabko, drummer Rick Szpakowski, guitarist Matt Howard, and bassist Preston Rahbari, has been steadily gaining momentum and growing its fan base since forming three years ago. Racing Kites’ 2006 release, We Hold It All Together sold close to 2,000 CDs and 2,300 downloads on Itunes. Absolutepunk featured them as a “top band to know,” and last year Abercrombie & Fitch selected Racing Kites’ CD sampler to be played in its stores nationwide.

Be My Runaway should only further the group’s chances of landing a recording contract. These young 20-somethings play well-written, high-energy, melody driven pop-rock anthems in the Fall Out Boy, Cartel, All-American Rejects vein.

The title track is typical of the smart, clap-your-hands appeal of the five songs on Be My Runaway. Ziabko sings his young love tales with heart-on-his-sleeve sincerity – all the better to strike a chord with the band’s large contingent of female fans. Backing harmonies, sing-along choruses, and layers of power chords only add to the infectious nature of tunes like “All Night Is Alright,” “Takeover,” and “Tonight’s Attraction.” For a change of pace, there’s the bouncy, acoustic-based “My Everything.”

There’s nothing groundbreaking on Be My Runaway, but everything is done with a professional flair and style. Just as important, the guys all sound like they’re having a blast. Their sense of fun and excitement is contagious and should translate well to a packed house at the Harmony Grange this weekend.

Tickets for the 6 p.m. show are $10. Harmony Grange is located at 3201 Limestone Road in Wilmington. If you can’t make it to Friday’s show, Racing Kites will also perform a free acoustic show at Hot Topic at Wilmington's Concord Mall on Saturday, March 14 at 6 p.m.

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Racing Kites Tour Dates

March 12 Blairsville, PA The Corner Pocket

March 13 Wilmington, DE Harmony Grange

March 14 Wilmington, DE Hot Topic: instore

March 15 Winchester, VA ZeroPak

March 17 Wilmington, NC Soapbox

March 20 SXSW

March 21 SXSW

March 22 San Antonio, TX White Rabbit

March 25 Dallas, TX Live @Mokah

March 26 Rosewell, New Mexico The Unit Center

March 27 Tempe, AZ The Sets

March 28 Palm Springs, CA Ignition

March 30 San Francisco, CA Sub Mission Art Space

April 1 Tacoma, WA Viaduct

April 3 Palmdale, Ca The Crossing

April 4 Irvine, CA Bamboozle Left
Verizon Wireless Amphitheater

April 5 Irvine, CA Bamboozle Left
Verizon Wireless Amphitheater

April 17 LaCrosse, WI The warehouse

April 18 Mokena, IL The SoundLab

April 19 Morris, IL The Korova

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NICOLE ATKINS WALKS A FINE LINE BETWEEN MODERN AND RETRO

Singer-songwriter Nicole Atkins has been riding a wave of positive press and publicity since the October 2007 release of her full-length major label debut album, Neptune City, which she named after the northern Jersey shore town in which she grew up. The album received positive reviews in publications like Entertainment Weekly, USA Today, and Spin, and Atkins was named one of the “Top 10 Artists to Watch” by Rolling Stone.

Atkins built national recognition performing with her band, The Sea on the late night TV circuit, including “The Late Show with David Letterman,” “Late Night with Conan O'Brien” and “The Late Late Show with Craig Ferguson.” They were also featured (playing themselves) in a television commercial for American Express as part of its “Are You A Cardmember?” campaign.

Atkins music sets introspective lyrics to Brill Building-style pop fused with lush, atmospheric layers. The 30-year-old Atkins calls her cinematic songs “pop-noir.”

“It took me a long time to find my sound,” she says. “When I first started writing songs, they were kind of country-ish. I was into that [sound], but I was also really into ’68 garage rock and psychedelic music. I could never figure out how to put together all the sounds I wanted into one. After many years of trial and error, it finally happened.”

Atkins sings in a traditional, melodic, retro style that may have been at least partly inspired by all the classic lounge singers she witnessed accompanying her parents on weekend trips to Atlantic City. Her sense of drama was kindled by her participation in school plays.

“I did a lot of musical theater growing up,” she says, “but I was always more drawn to singers like Roy Orbison, Scott Walker, or the Righteous Brothers – people that sang in a really dramatic way. Even the Beach Boys on Pet Sounds – things that just really have a soundscape.

“It’s a shame people don’t really sing with melody anymore,” Atkins adds. “All of my songs are really emotional. They’re stories. There might not be that many words to them, but it’s just the way that they’re sung, or the violin or piano lines underneath – that tell the whole story.”

Atkins and the Sea have been touring for over two years.

“We’ve been touring so much the shows have gotten pretty dialed in,” Atkins says. “It’s easy and fun for us now, whereas before we were just finding our footing.”

Atkins says the years she spent playing to audiences of 15 people taught her how to work a crowd. Even when playing to large crowds, she says she tries to create an intimate, interactive atmosphere.

“That’s what’s most fun about what I do – just being on stage and getting to live through all the experiences of the songs and interacting with the crowd, telling stories and jokes,” she says. “It should almost be like me and the people in the audience are at a party together and I’m the loudmouth in the room. I almost get more upset if one of my jokes bombs than if I flub a note on one of the songs.”

In concert, the band has no trouble recreating the lush sound of Neptune City, but Atkins says the energy level is turned up a few notches.

“Our live sound is pretty true to form, but it’s a lot more raw and rockin’,” she says.

After nearly two years on the road, Atkins says she’s looking forward to returning to the studio to record her next album.

“I’m excited to see what these 30 songs are going to turn into on a 14-song album,” she says. “There are some that are similar to Neptune City. Then there are some that are almost like dirty blues songs, in a Black Keys or Jon Spencer Blues Explosion-type way. That’s why I’m glad there are so many different styles and elements in my sound. We’re kind of free to take it where ever we want.”

The new album won’t be out until sometime later this year, but fans check out Nicole Atkins Digs Other People’s Songs, a four-song EP of cover tunes Atkins and The Sea recorded between legs of the current tour. It features songs by the Doors (“Crystal Ship”), the Mamas and the Papas (“ Dream A Little Dream”), the Church (“Under the Milky Way”), and Nada Surf (“Inside of Love”) and is available for download at Amazon.com.

“Yeah, I listen to a lot of different music,” Adkins says about the eclectic nature of the collection. And judging from the positive buzz surrounding her, other people dig Nicole Atkins’ songs, too.

“I worked really hard for seven years as a solo artist, and then one summer I made a demo that turned into these songs and got a band together,” Atkins says. “Everything just fell into place. It happened quick, but it was seven years in the making. Finally I had a cosmic bone thrown to me.”

The Hit Man

Kenneth “Babyface” Edmonds has been one of the biggest names in popular music for over 20 years. The multitalented singer, songwriter, and producer, has written, and/or produced dozens of Top-10 hits for some of music’s top stars, including Aretha Franklin (“Willing To Forgive”), Toni Braxton (“Another Sad Love Song,” “Breathe Again”), Whitney Houston (“I’m Your Baby Tonight” “Exhale (Shoop Shoop)” ), Boyz II Men (“End of the Road,” “I’ll Make Love to You”), Pink (“Most Girls”), Madonna (“Take A Bow”), and many others.

The 10-time Grammy winner has also enjoyed an extremely successful recording career with eleven albums of his own. Known primarily for his smooth, romantic ballads, his hits include “Whip Appeal,” “Every Time I Close My Eyes,” “It’s No Crime,” and “When Will I See You.”
Touring in support of his current Island Records release, Playlist, Edmonds recently performed at Atlantic City’s Borgata Casino Hotel.

Playlist marks a departure for Edmonds in both song selection and style. Of the album's 10 songs, only two are originals. The other eight are covers of songs that Edmonds says influenced him as he was growing up, including Eric Clapton’s “Wonderful Tonight,” James Taylor’s “Fire and Rain” and Dan Fogelberg’s “Longer.”

When Playlist was released in September 2007, some long-time fans were surprised to learn that Edmonds’ early mentors were soft-rock, rather than R&B, artists.

“I started listening to this music as a kid, probably around the seventh grade,” the 48-year-old Indianapolis native explained in a November 2007 interview with BET. “When we used to go to church, I would sneak out and listen to the car radio. Most of the R&B stations were playing church choirs, which I didn’t want to hear. But most of the other pop stations were playing stuff like James Taylor, Bread, the Beatles and Bob Dylan. I’d already started doodling with the acoustic guitar. Obviously, you couldn’t play James Brown on the acoustic guitar, so I started playing those pop songs.

“That pop music really talked to me, because they were romantic songs. I was a kid who was always in love; I was always trying to write pretty songs. That experience definitely influenced me to be a songwriter and to really emphasize melody.”

In an exclusive telephone interview with Atlantic City Weekly, Edmonds promised a “walk down memory lane” for fans attending shows on his current tour.

“It’s a combination of things, including songs from Playlist, my hit songs, as well as older songs from my other records,” he said. “I even do a medley of songs that I wrote and produced for other people. It’s a lot of fun. I think most people come with the perception that they’re coming to a romantic, mostly ballad driven show, not necessarily one with a lot of energy. But actually the show has a lot of energy, with the combination of things that I've done for myself as well as for others. The audiences have been very receptive, and we've had a good time.”

Edmonds began playing in local bands while still in high school. In his late teens he joined a funk group called Manchild, which signed a record deal in 1977 and released three albums. He earned his nickname while on a side gig as part of Bootsy Collins’ backing group.

After Manchild broke up, Antonio “L.A.” Reid asked Edmonds for help writing some material for a group he was putting together called the Deele.

“I joined the Deele initially as a writer,” Edmonds says. “I came on to help them with a few demos. It was after they got a record deal that L.A. asked me to be in the group.”

Although the Deele scored a few hits in the mid-to-late 80s (most notably “Shoot Em Up Movies” and “Two Occasions”), Edmonds and Reid began producing and writing for other artists on the side, landing hits with Pebbles’ “Girlfriend” and the Whispers’ “Rock Steady.” After the Deele's third album was released in 1988, the duo left the group to continue their outside activities full-time. They co-founded the LaFace record label in 1989.

Edmonds says his approach to songwriting doesn’t change, whether he’s writing for himself or for another artist.

“When I break it down, it's always about what is believable – either for myself or for another artist. It’s really all the same – you’re always looking for great melodies and a great story.”
He says sometimes, as was the case with his current single, “Not Going Nowhere,” the song comes together quickly.

“It flowed out like a conversation,” Edmonds says. “That’s happened to me before. I wrote ‘The Day’ when I found out I was going to be a father. It was five o'clock in the morning, and I got out of bed. I sat down at the piano, and it just came out of me.”

Early in his career, Edmonds demonstrated his versatility not only as a performer, but also as a songwriter and producer. Today he believes that early success has been a key to his longevity.

“There are a number of artists who came out at the same time that I did, and you don't really hear about them in the same way anymore,” he says. “It’s partly because I was a writer and producer for so many other artists and had success with it. Enough people in the industry knew about it, and that gave me a platform that wasn’t the norm. Because of that I ended up being able to stay in the game a lot longer.”

While he’s equally adept at performing, producing, and songwriting, if he were forced to pick just one full-time pursuit, Edmonds doesn’t hesitate.

“I believe I'd be a songwriter,” he says. “As a writer you’re able to touch a great number of people, and if you write the right song, it lives forever.”

Linda Eder - Back to the Beach

There was a time when singer and Broadway star Linda Eder could stroll down Atlantic City's Boardwalk on a crowded summer evening and go unnoticed. In fact, it happened on a fairly regular basis in the mid 1980s. Back then, Eder was a recent transplant from Minneapolis, building a reputation and fan base performing her show four times a night, six nights a week at Harrah's.

In the years since, Eder's celebrity profile has risen considerably. In 1987, she tried out for the television talent show Star Search, and won a spot on the first episode of that show's 1988 season. She proved unbeatable for an unprecedented 12-week run. The Star Search appearances led to a record contract and her big break; she was cast as Lucy in a new musical version of Jekyll & Hyde.

The show debuted in 1990 at the Alley Theatre in Houston, Texas. In April 1997, Jekyll & Hyde made its way to Broadway. That year, Eder was nominated and won a Theater World Award for her performance as Lucy. Since then, she's appeared on stage in Beauty and the Beast, The Civil War and Camille Claudel, and has released eight solo albums, including her most recent, 2005's By Myself: The Songs of Judy Garland.

Eder has performed in Atlantic City numerous times since her lounge act days. While she considers herself a mid-level celebrity at best, her days of going unnoticed in a crowd have passed. In February 2006, she returned to perform two shows with singer and pianist Michael Feinstein at the Atlantic City Hilton.

"It's a new show — an idea that we've wanted to do for a while," Eder said at the time in an interview for Atlantic City Weekly. "We put it together last year and did five shows to try it out. It was so much fun, and the response was fantastic, so we've got a lot more booked."

Eder and Feinstein are on stage together for the entire show, with the exception of two short solo segments where each performs two or three songs apiece. The duo is accompanied by Eder's seven-piece touring band, under the direction of John Oddo.

Touted as an evening of "masterpieces from the American songbook," the show includes songs by legends like Irving Berlin and Duke Ellington, as well as more contemporary artists.

"It's everything from Steve and Eydie, to Sonny and Cher, to Joni Mitchell, to more current material," Eder says. "My definition of a standard is anything that is written well enough so that it stays around as the years go on. New standards are being created all the time."
Eder says she enjoys the variety afforded by successful careers as both a stage performer and recording artist. At this point in her life, however, family considerations have kept her from committing to another Broadway show.

"I want to do it again, but I'm not in a big rush," she says. "It's a wonderful experience and great fun, but it's also the most work. I know the hours that it involves. I have a six-and-a-half year-old son who's now in school, and I know that if I were in a show on Broadway, I really wouldn't see him that much. So I'm very tempered by that.

"There is a piece in the works being especially written for me that I really like, so we'll see…. We're progressing with that, but it would be at least two years before it would be ready to come to New York."