New Kids on the Block fans, alternately known as either Blockheads or Thirty-something Female Masochists, formally declared vindication today regarding ticket prices for the boy band’s upcoming reunion tour. Ever since it was revealed that the band (best known for such classic songs as…uh…uh…never mind that, there’s more to a band that the songs they record) would be reuniting, critics, music fans, those with functioning temporal lobes, and cultural observers with a modicum of good taste have questioned the band’s motives in reuniting after a blissful nearly 20-year layoff. Yet the band’s fans are now having the last laugh, as the reasonable ticket prices for the tour have confounded skeptics and silenced critics who leveled the age-old charge that the Kids “are just in it for the money” and that a reunion tour “would be more pointless than a surf board in Siberia.” For the NKOTB tour starting in September, ticket prices range anywhere from $35 for a view near the rafters to upwards of $80 for the best floor seats. Prices which, the vast majority of Blockheads agree, are more than appropriate for a band of NKOTB’s stature. “Of all the bands that could described as a footnote on the epic ass of music, NKOTB was the biggest of all!” exclaimed user Iluvjordan in a recent internet posting. “Only between $35 to $80 to see my favorite childhood band at a coldly impersonal, enormous, cavernous arena? Sign me up!” Although the band was rehearsing 20 hours a day to perfect their instrument-less song and dance craft, an announcement via the band’s website explained the band’s decision to offer such cheap, inexpensive, music-superstar-level prices: “In continuing the NKOTB tradition of honoring its dedicated fans, tickets for this tour have been priced in keeping with rates for other artists of NKOTB’s caliber. We used equivalent artists like Tom Waits and Bob Dylan, as well as other reunited bands such as The Stooges, to gauge our market value. The best tickets only cost about $16 per Kid, though Danny might of course get less.” Kathy McMontgomery, an avid 35 year-old Blockhead from Wheeling, West Virginia who still boasts about her NKOTB ankle tattoo, took a quick break from her work-at-home telemarketing job to express a view shared by many of the band’s fans: “All we’ve heard since the reunion was announced was that the band was doing it just for the money. Let’s be clear: the ticket prices for this tour clearly answer that accusation.” Husband John McMontgomery, a rare male NKOTB fan who didn’t request that his identity be withheld for this report, echoed his wife’s sentiments: “An NKOTB reunion comes along, if you’re really, really, really lucky, only once in a lifetime. Although you can’t really put on a price on that, I think it’s fair to say that the prices speak for themselves.” The Blockheads also feel that the going rates for the upcoming tour confirm their belief that the band’s primary motives in touring are strictly fan-based. “No question these low, low, bargain basement liquidation ticket costs clearly show the Kids are doing the tour for the fans,” stated Annie Franzen-Crosby of Kansas City, MO. “With these ridiculously low ticket prices, it’s clear the Kids aren’t interested in making any profit. This is truly a tour for the fans, just like we also thought.” Franzen-Crosby added, a bit less diplomatically, “All those critics who thought the reunion was simply a way for the band to cash in on some people’s love of irrelevant, nostalgic, mediocre, disposable kitsch can shove it. We’re rough.”

The greatest suspense surrounding this year’s presidential election is over, as Ricky Martin announced his endorsement of Hillary Clinton today. In a release from Clinton’s press office, Martin said “These elections will have historic repercussions both in the United States and the world. Senator Clinton has always been consistent in her commitment with the needs of the Latino community,” to which Clinton responded “I am honored to have Ricky Martin’s support. In addition to his great talent, Ricky is committed to improving the world.” If he has any hope of winning, Barack Obama’s only hope is to secure the much-coveted thumbs up from Afroman, though Martin may be too tough to overcome: his last endorsement of a candidate was for George W. Bush in 2000.

When Carole Cole, Nat King Cole’s daughter, selected Collectors’ Choice to reissue Nat’s entire Capitol LP catalogue on compact disc, fans salivated at the prospect of having some of the most beautiful recordings in their personal collections. Some of Nat’s LPs would be appearing on CD for the first time in the United States, making the compilation a must-have for serious collectors. Some selections would be packaged as “twofers,” placing two albums on one compact disc. One such twofer contains Nat’s 1959 record Welcome to the Club and 1960’s Tell Me All About Yourself. The cover art for Welcome to the Club is suggestive of the tone of the record, showing a smiling photo of Nat on the marquee of a posh nightclub and a starry-eyed couple on the front walk. Joining with the Count Basie Band (but sadly not the Count himself) for this set of recordings, Nat made one of his most resolute statements to date. Welcome to the Club told the world that Nat had indeed joined another club and that his jazz roots weren’t the only offerings he could make to the world of music. He was now geared towards belting popular standards and would become an icon for doing just that. Welcome to the Club features Gerald Wiggins subbing for Basie on piano (Basie had to sit out on the recording due to “contractual restrictions). Wiggins capably handles the compositions, but one has to wonder how disconcerting it was for him serving as the stand-in for one piano master while another one, Cole himself, looked on. The environment for the album is set effectively thanks to a determined performance from Wiggins. The record is packed with traditional standards, running the range from “Mood Indigo” to “She’s Funny That Way.” The album’s amusing title track has Cole relishing the addition of a new forlorn member to the “club” and serves as a fine introduction. The band alternates easily from splashy flurries to an effortless sway on “Anytime, Anyday, Anywhere,” a slow ballad that has Cole’s voice meld entirely into the immaculate Basie backdrop. And “I Want a Little Girl” uses bluesy swing to keep things moving.page 1 | 2

It’s been a little more than a year since I first spoke about a pop-punk band from Chicago called 1997.  They were one of the few bands I was introduced to that I admitted I liked even though I have grown tired of the pop-punk scene.  Within a year of being with Victory Records the band had survived a certain hardship many bands simply can not get through but 1997 somehow managed to pull through it and put forth On The Run, the band’s sophomore release. A lot of things can happen in a year and this is no exception to the sextet group of friends as they made a tough change.  One of their own decided to split ways for personal reasons just after their debut album was released and suddenly the band was without an important female vocalist.  Perhaps it was a sign of good fortune or just pure luck but the band quickly found a replacement singer who promptly fit in.  1997 continued supporting their debut release and toured non-stop with many nights slept in their van.  Touring coast to coast with other Victory artists such as Aiden may have not been the most luxurious of tours for 1997, but it paid off as the band was able to share their music with new fans.  Their persistent attitude paid off with decent album sales and the sense of gratification making the band want to record a follow-up. The band hit the studio in January to record its follow up but this time with a new vocalist.  The pop-punk feel still is present and at times grows stronger but this time is mixed with folk sounds making for a notable listen.  It appears that the long year that 1997 experienced really helped stimulate this release. “One Track Mind, Four Track Hear” starts out very pop-punky and emo-ish but soon is transformed to more of a mellow passionate approach as soon as newest addition Alinda Marroni introduces her vocals.  Folksy “Sunset Beyond Black Clouds” had a nice tone throughout with the harmonica and piano.  The song just felt more mature and previous tracks and was one of my choice songs on the CD.  “4am Conversation” was bittersweet with quarrelling vocals between Alinda Marroni and Kevin Thomas.  “January 19th” really reminded me a lot of Taking Back Sunday at times because of the singing style, but otherwise was a little boring for my likes.page 1 | 2

Regarded as a master of the minimal genre, South American producer and DJ extraordinaire Luciano recently revealed to Beatportal that he has an album planned for release later this year, and that it will see him return to his roots in house music. Interviewed by the site while in Romania for the Sunwaves festival, Luciano spoke about his love for the country – where he’s regarded as something of a god – drawing many parallels between the Romanian and South American club scenes. When quizzed about the possibility of a long awaited Luciano album, he replied; “That’s true, an album is due to come out from me at the end of this year and it will be back to house. There will be lots of tracks with vocals on them and there will be some funk too. I’ve planned lots of collaborations with singers and live musicians. That’s all I want to say about it now, as I want it to be a surprise.” To check out the full interview head here. RSS del.ici.ous Digg Facebook

What do comic book superheroes, jungle warriors and Playboy playmates all have in common? This year, they’ll be onstage at the MTV Movie Awards. Well, sort of. Previously announced Hollywood megastars like Jack Black, Lindsay Lohan and Steve Carell will be joined at this year’s ceremony by a newly announced crop of presenters, including Sarah Jessica Parker, Will Ferrell, Ben Stiller and Dwayne “The Rock” Johnson. Presenter Robert Downey Jr. will be making a cameo appearance as Tony Stark in “The Incredible Hulk,” but audiences needn’t wait until then to see Iron Man and the Hulk together, as the “smashing” pair of Edward Norton and Liv Tyler have also confirmed that they’ll present at the awards show, broadcast live this year on Sunday, June 1, from the Gibson Amphitheatre in Universal City, California. Also joining the fun are Emma Stone and Katharine McPhee from “The House Bunny.” The new presenters can mingle on the red carpet with stars Mark Wahlberg, Seth Rogen, Megan Fox, Jennifer Hudson, Anne Hathaway, James Franco, Rumer Willis, Brendan Fraser and Danny McBride, all of whom will be handing out Golden Popcorns to the lucky winners. This year, the top nominees include films like “Superbad” (five nominations), “Juno” (four noms), “Transformers,” “Enchanted,” “Knocked Up” and “Pirates of the Caribbean: At World’s End” (three noms each). The 17th annual MTV Movie Awards will be hosted for the second time by comic Mike Myers, and will include live performances from both Coldplay and the Pussycat Dolls. Don’t’ forget to vote for you favorite nominees by visiting MovieAwards.MTV.com by May 23. The MTV Movie Awards will air live on MTV on Sunday, June 1. All the latest updates on nominees, presenters, performers, voting, contests and much more can be found on MovieAwards.MTV.com. And check out Movies.MTV.com for the latest movie news, trailers, photos and more!

Photo by Shannon McClean On June 2 in the UK, Trangressive Records will beam down a three-song EP for Iron and Wine’s "Lovesong of the Buzzard", a track from last summer’s The Shepherd’s Dog LP. The EP includes the non-album tracks "The Arms of a Thief" and "Serpent Charmer", familiar to U.S. fans who nabbed a copy of the limited-edition expanded version of The Shepherd’s Dog from Sub Pop. The set arrives in the midst of the calm before the Iron and Wine touring storm, heading to a continent near you shortly. Sam and co. recently added a number of European festival dates to follow their appearance at Lollapalooza, and those shows with the Swell Season. Lovesong of the Buzzard EP: 01 Lovesong of the Buzzard 02 The Arms of a Thief 03 Serpent Charmer Iron and Wine: 06-11 Minneapolis, MN - First Avenue 06-12 Davenport, IA - Capitol Theater 06-13 St. Louis, MO - Pageant Theater 06-14 Manchester, TN - Bonnaroo 06-15 Columbus, OH - Newport Music Hall 07-04 Rothbury, MI - Rothbury Festival (Sam Beam solo) 07-12 Redmond, WA - Marymoor Park (SP20 Festival) (Sam Beam solo) 08-03 Chicago, IL - Lollapalooza 08-06 Oslo, Norway - Øya Festival 08-07 Copenhagen, Denmark - Vega 08-08 Gothenburg, Sweden - Way Out West Festival 08-09 Rees-Haldern, Germany - Haldern Festival 08-10 Myslowice, Poland - Off Festival 08-12 Modigliana, Italy - Strade Blue 08-13 Feldkirch, Austria - Pooolbar Festival 08-15 Salzburg, Austria - Frequency Festival 08-16 Biddinghuizen, Netherlands - Lowlands Festival 08-17 Crickhowell, United Kingdom - Greenman Festival 09-27 Austin, TX - Austin City Limits Festival 09-29 Dallas, TX - Palladium Ballroom (Sam Beam solo) # 09-30 Albuquerque, NM - Popejoy Hall (Sam Beam solo) # 10-02 Tucson, AZ - Rialto Theatre (Sam Beam solo) # 10-03 San Diego, CA - SDSU Open Air Theatre (Sam Beam solo) # 10-04 Los Angeles, CA - Greek Theatre (Sam Beam solo) # # with the Swell Season

One of the most striking things about Ready Fire Aim’s debut is how taut the production is. Each track on This Changes Nothing unfolds with vigorous synth, charismatic rhythm, and vocals that fold right below the music. Singer Sage Rader’s collaboration with DJ and producer Shaun Morris is an audacious project, but everything about their partnership sounds natural. The comparison game is delicate business when reviewing something new. With Ready Fire Aim, the comparisons are readily apparent from the opening notes of This Changes Nothing. Hints of Nine Inch Nails play with touches of Depeche Mode and birth an unreservedly danceable blend of grimy synth-pop, trip-hop, and industrial rock with a killer beat and an alluring set of melodies. Every outwardly natural instrument is squeezed and pushed through effects pedals and production techniques. Beats are clipped and snipped together with the precision and love of a dedicated connoisseur. The melodies are easily spread and form the driving force, moving the record through some rather extensive songs without letting up. For a debut, This Changes Nothing is a brave record. Songs venture to and flirt with the five-minute mark, which can be strenuous for this type of music when it’s not done well. As it is, Morris and Rader have composed a mesmerizing debut. The album begins on a lingering note, as electric violin is put through the ringer by Morris and Rader’s voice coos over the soft electro-beats and guitar touches as he builds to an Erasure-like chorus on “End of Over.” Production is valiant on the guitar-driven pop of “Wannabe Your,” one of my personal favourites from the album, and Rader’s channelling of Perry Farrell in the winding electro-fog of “I Would For You” is a clipped-beat marvel. Other tunes follow more traditional song structures, like the ode to funky British 80s pop that is “Beautiful Thing” or the glistening gloss of “So Fine.” Morris’ technical way of approaching the music matches wits perfectly with Rader’s desire to be a bit of an enigma and the end results are danceable songs tuned to technical perfection. This Changes Nothing cracks and sizzles through its 12 bold tracks, releasing an unrelenting blend of dance, pop, industrial rock, and infectious inevitable grooves. Ready Fire Aim’s debut album begs to be heard.

What’s usually a simple 45-minute flight from Las Vegas to Los Angeles turned out to be a harrowing ride for Jewel. The singer was making the trek from Sin City, where she was a presenter at the Academy of Country Music Awards, to our studio in Beverly Hills for her AOL Music Sessions taping. The American Airlines flight she and some of her record label reps were on was forced to make an emergency landing at Southern California’s Ontario Airport, due to a mechanical problem. “It was life affirming,” the singer told AOL Music after finally getting in from faraway Ontario Airport.While others seemed a bit shaken, the singer was remarkably cool about the whole affair. “I’ve had some rough landings in Alaska,” she said, explaining her calm demeanor. Jewel showcased several songs from her upcoming country album, ‘Perfectly Clear,’ during the Sessions taping. Leaving her band at home, she played a solo acoustic set that included her current single, ‘Stronger Woman,’ plus three other songs from the new project and her big 1995 hit, ‘You Were Meant For Me.’ We’ll have the exclusive live performance here on AOL Music on May 29.

Here at Rock Daily, we’re full of questions. Why has the weather been so volatile? How could the Mets get swept by the Atlanta Braves? And every Friday, what should this week’s Rock List be? Thus, this week’s Rock List is dedicated to songs that ask questions. Tell us what inquiring songs you love and on Tuesday we’ll add ‘em up and reveal the readers’ list. Until then, here’s our burning questions: Creedence Clearwater Revival — “Have You Ever Seen the Rain?” R.E.M. — “What’s the Frequency, Kenneth?” Fairport Convention — “Who Knows Were the Time Goes?” Radiohead — “You and Whose Army?” Frank Zappa — “Why Does It Hurt When I Pee?”