MUSIC MAIN

We Found Love

Mon, 24 Oct 2011 03:17:00 EDT

Explicit

It Will Rain

Wed, 09 Nov 2011 06:52:00 EST

Bruno Mars Video It will rain

Tears Dry on Their Own

Mon, 25 Jul 2011 02:53:00 EDT

Rehab (live)

Mon, 25 Jul 2011 07:37:26 EDT

Amy Winehouse Performs Rehab Live

Monster

Fri, 15 Jul 2011 06:56:32 EDT

The Lazy Song

Wed, 13 Apr 2011 09:56:00 EDT

Bruno Mars

Good Girl

Tue, 10 May 2011 04:05:38 EDT

MTV PUSH VIDEO Alexis Jordan

Born This Way

Mon, 28 Feb 2011 05:47:00 EST

Lady Gaga, Born this Way

Till The World Ends

Thu, 07 Apr 2011 10:47:00 EDT

When Will I Feel Love

Thu, 10 Feb 2011 03:51:00 EST

MTV Exit Promotion Stop Human Trafficking

Big Time Rush: "The City Is Ours"

Thu, 20 Jan 2011 05:03:39 EST

BTR sings their new song "The City Is Ours" in Times Square with enough energy & action to fill a whole episode.

Price Tag

Thu, 27 Jan 2011 12:12:16 EST

PUSH | Far East Movement | Like A G6

Thu, 11 Nov 2010 06:31:54 EST

Far East Movement performs "Like A G6" for MTV PUSH

Kiss and Tell (Live)

Thu, 01 Apr 2010 04:00:00 EDT

MTV PUSH Kiss and Tell Live

Waka Waka (This Time For Africa) (Featuring Freshlyground)

Wed, 22 Sep 2010 07:04:48 EDT

English Version Video - New Version

On To The Next One [Jay-Z + Sw

Mon, 23 Aug 2010 06:33:06 EDT

On To The Next One [Jay-Z + Swizz Beatz] (Explicit Video)

My Chemical Romance Danger Days!!

This Is War, live at Rock Am Ring - World Stage

Wed, 07 Jul 2010 07:17:00 EDT

30 Seconds To Mars perform live at the Rock Am Ring festival, Germany

Your Favorite Video 2010 European

Taylor Swift - Speak Now - LIVE

WORLDSTAGE: MALAYSIA 2010

Tue, 14 Sep 2010 10:29:00 EDT

MTV PUSH: MIKE POSNER

WORLDSTAGE: MIKA

HURTS

Thu, 29 Jul 2010 10:00:00 EDT

The sky is notepaper-white and the pavements have been cleaned. Outside the bars of Thomas Street people sit alone at tables, hunched inwards over cigarettes and phones. I’m walking to meet Hurts. They’re working underground near here; writing songs in a basement beneath Manchester’s centre.

On my way down into the building, I meet another local band. They seem flustered and nervous. They tell me that they’re off on tour. When they discover that I’m going to see Hurts the lead singer sets down the amp he’s carrying and seems on the verge of tears. ‘What do those two do in there?’ he asks.

Adam Anderson and Theo Hutchcraft sit side-by-side in chairs. The room is sparse and has a dusty wooden floor. There’s some recording equipment against one wall and a microphone in the opposite corner. Occasionally, Anderson pulls a guitar across his lap and inspects the frets for a moment. Hutchcraft takes a comb from his pocket, manoeuvres it between his fingers, then replaces it. They both seem different, at first. Anderson, the calculating visionary. Hutchcraft, the born pop-star. And yet there is a strong sense of loyalty between the two men. Above all, they both seem impossibly calm.

It’s a few months since they signed to an imprint of Sony. It was a decision they made in Berlin, having escaped there to get some perspective on their situation. It was a chaotic period. Even in Berlin, they say, they were tracked down by the MD of a German record label. ‘He told us that people aren’t happy,’ says Hutchcraft, smiling. ‘And that they needed our music.’

Silence surrounded Hurts at the start. There was no screaming house-party shows, no twittering, no posturing or hyperbole. They’ve spent the last year moving regularly from suburb to suburb, spending time in Broughton, Rusholme and Bellevue, as well as Berlin. A mystery surrounds them both. Though today, they seem relaxed and happy to discuss their pasts.

‘My dad was a milkman in Hazel Grove for thirty years,’ says Anderson, monotone but cheerful. ‘I’ve not really been anywhere,’ he adds. ‘My granddad was a wartime entertainer. He played banjo for the Queen.’

Hutchcraft says he was ‘born in North Yorkshire. I came to Manchester after I left home. As a kid, I travelled. We owned a caravan. We spent some time in Australia, some time in the middle-east.’

Both have spent the majority of the past four years on the dole. ‘I told the government I wanted to be a talk-show host and they gave me forty-four pounds a week,’ says Anderson. ‘It was ok.’

‘It was fine,’ says Hutchcraft. ‘We had nothing.’

Both worked, too. During the first Hurts sessions Hutchcraft was touring with British Super-bikes, working backstage. Anderson filmed the greyhound races at Bellevue dog track. He was still filming dogs when Hurts began to gather momentum. ‘It was odd,’ he says. ‘One minute you’re watching a man inject steroids into the hind leg of a dog, the next you’re on the phone to Rick Rubin and he’s saying how much he loves your video.’

Anderson and Hutchcraft met outside a Mancunian nightclub just before Christmas 2005. Their friends were having a punch-up and the two of them got talking about music. Over the subsequent year they communicated only via the internet from their homes in Salford and Longsight. Anderson sent backing tracks. Hutchcraft sent back vocals. ‘It was like we couldn’t meet in public,’ says Anderson. ‘Perhaps it was your [Hutchcraft’s] lifestyle, I don’t know. But we made music together before we knew each other.’

Their musical backgrounds were different. ‘I learnt to sing by singing along in clubs,’ deadpans Hutchcraft. Anderson, meanwhile, had an ambition to write scores for television. ‘I did one for channel five once,’ he tells me. ‘But they hated it.’

The previous band the two masterminded was ‘Daggers’. Neither seems uncomfortable talking about this period. With ‘Daggers’, Hutchcraft and Anderson manufactured a party band. A hyperactive pop group that divided audiences.

‘Daggers’ were tightly wound. They were aggressive, hostile and obsessive in their pursuit of pop. ‘We studied songs constantly,’ says Hutchcraft. ‘Everything was fast. We wanted to write the perfect pop song. We wanted to construct the greatest pop band on the planet. We couldn’t quite do that.’

The ‘Daggers’ experiment reached its peak in September 2008 when Hutchcraft and Anderson took the band to London to play a showcase alongside Beyonce’s sister, Solange Knowles.

‘It was a car crash,’ says Anderson. ‘You could see A&R men edging backwards out the room.’

‘It went wrong,’ says Hutchcraft. ‘It was a relief.’

In late 2008, Anderson and Hutchcraft returned to Manchester. ‘We were done. We had nothing to do.’ They began writing differently. ‘It was pretty effortless,’ says Hutchcraft. ‘The songs just started to come. Completely different. We weren’t pissed off, really, or worried. We were hopeful, melancholy. We just started writing these songs.’

They wrote a song called ‘Unspoken’ late one evening. They recorded it immediately and, having listened to it once, they called up the various members of ‘Daggers’ and told them that it was over. The following day Hurts flew to Verona.

It’s the period in Italy that Hutchcraft and Anderson seem most guarded about. ‘We went searching for Italo-disco,’ says Hutchcraft, taking his comb from his pocket and running its edge across the palm of his hand. ‘But what we found was Disco-Lento. That’s all.’

Mancunian rumour says that Hurts performed fairly regularly during the month they spent in Verona. But both Hutchcraft and Anderson are indifferent on the subject. ‘It’s over now,’ says Anderson. ‘We stayed in the home of a Soprano. But she was an amateur Soprano.’ And with that we move on.

They play me some music at a moderate volume. Often these moments can be pretty excruciating; perched on chairs with musicians, listening to their output. But this isn’t like that. The atmosphere is calm and I feel strangely medical.

I realise as the first song begins that I have no preconceptions, no expectations. This is a rare state and it feels good. What I hear sounds a little like the self-assured, epic balladeering that I associate with American R&B. The music is spacious, confident and connected to joy. There’s a sense that Hurts have an open, intrigued and uncomplicated relationship with contemporary music. They’ve engaged with songwriting in an unbiased and unrestricted way. It’s refreshing, unguarded. It’s not ravaged by cool and there’s no genre-splicing gimmick here. The statement of Hurts is an emotional one.

If their sound recalls the global and their history seems oddly European, there is also a strong Mancunian dimension to Hurts. Anderson is only truly animated when talking about the suburbs he writes in. ‘Broughton,’ he says, almost wistfully. ‘Broughton is a beautiful area.’

Hutchcrafts’s Manchester is the warm, mist-strewn world of Vallette, rather than the matchstick men of LS Lowry. ‘Really,’ he says. ‘Mine is an outsider’s view. Manchester isn’t a lairy place, or a macho place, particularly. It’s quite gentrified. It’s hopeful and bleak. Manchester respects its heritage. It’s about development, not restoration. That’s what Hurts is about, too.’

‘I enjoy the statistics and the passion of sport,’ says Anderson, firmly, when I ask what else he does. ‘I’d like to build a reverb chamber some day. I love music. It fills the void in me, I feel. It fills some of it, at least.’

‘All my life I’ve struggled with hobbies,’ says Hutchcraft, then he bites down on the tip of his thumb. ‘I love Otis Reading and The Righteous Brothers,’ he says, after some time. ‘I like soul music. I love great voices. We’re both inspired by film soundtracks, too, and…’ He bites the tip of his thumb once again and his forehead creases a little. ‘I suppose I’m fascinated by female emotions,’ he says. ‘I mean, I’m interested in them. They influence me…’ He covers his mouth with a sideways palm for a moment. Then he smiles, looks me in the eye and says, ‘I listen to Prince.’

It’s like being in the eye of a storm. In the hour I spend with them a silenced phone grumbles and flashes frequently but is always ignored. Anderson and Hutchcraft just sit on chairs, side-by-side, serene. Their sentences seem, at times, blunt and down to earth. And yet there’s something about the two that feels warm, humorous and alien. Pressure and expectation don’t seem to weigh that heavily on either of them. They discuss the chicken restaurant ‘Nandos’. They talk about the influence of Music Concrete on the band. They are musicians who have an unfaltering faith in their vision. They talk about their debut album with a sense of excitement, a sense of pure pleasure and with complete confidence in their ability to move people and entertain them. When I leave, they immediately lock the door.

Outside on the pavement the local band I encountered earlier are now loading their gear into a blue splitter bus.

‘What did they say?’ the lead singer asks, perched nervously on his skinny legs, pulling on a fag.

‘Just this and that, really,’ I say.

I stand and watch them shifting their gear for a moment and I find myself picturing Hurts.

Beneath this pavement.

Making music.

Impossibly calm.

Joe Stretch

JUSTIN BIEBER

Mon, 22 Mar 2010 04:40:00 EDT

Pop/R&B singer Justin Bieber was barely into his teens when he released his platinum-selling debut, My World, and became one of the 2009's youngest success stories. An Ontario native, Bieber had placed second in a local singing competition two years prior and began posting his performances on YouTube that would rack up over 10,00,000 views. The videos caught the attention of Scooter Braun, a talent agent and former So So Def marketing executive, who helped Bieber gain an impromptu audition with the R&B star Usher. Impressed by what he saw, Usher -- along with Island Def Jam chairman L.A. Reid -- quickly signed the 15-year-old Bieber to a recording contract.

His debut album, My World is an intimate look into the mind of a budding young renaissance man. With production from star hit men like The Dream and Tricky Stewart who produced "Umbrella" for Rihanna and Beyonce's latest smash, "Single Ladies (Put A Ring On It)," Justin has everything he needs to achieve pop supremacy.

Bieber released his first single, "One Time," in May 2009. Supported by a popular video that featured an appearance by Usher, "One Time" went platinum in both Canada and America, a feat that was replicated later that year with the release of My World. The disc was technically an EP, featuring only seven songs in its original version with it's follow-up My World 2.0 ready to hit stores in March 2010. Bieber knew people didn't want to wait "over a year and half" for new music therefore it was broken up into two parts.

The debut single from My World 2.0 is "Baby" ft. Ludacris that released in January 18. The next expected single is ?Never Let You Go' according to Rolling Stone who confirmed Colin Tilley has already completed it's shooting.

Bieber was recently invited to sing on the We Are The World 25: for Haiti charity song where he sang the first lines originally sung by Lionel Ritchie.

Justin Bieber will be MTV's Push Artist of the Month in March.

By the end of 2010, Bieber issued My Worlds Acoustic, a set featuring acoustic versions of nine songs off the My World discs, as well as one new song. The following February, the 3D documentary Never Say Never was released to theaters. The seven-track Never Say Never: The Remixes, released just days after the film, maintained the flow of Bieber product, and featured appearances from the likes of Kanye West, Usher, and Miley Cyrus.

[Source: allmusic/defjam/wiki]

Don't Use B.O.B. "Bobby Ray"

Thu, 22 Sep 2033 01:23:00 EDT

Can you call your life an adventure? Sure, you’ve been to amusement parks and seen movies with the word “adventure” in it. But can you truly call your life an adventure?

21-year old Rebel Rock/Grand Hustle/Atlantic artist/producer B.o.B can, and if you’ve watched closely enough, you’d know exactly why the multi-talented lyricist and musician is naming his debut album B.o.B Presents: The Adventures of Bobby Ray.

Growing up east of Atlanta, Georgia in Decatur, the artist born Bobby Ray Simmons was exposed to the best of both worlds, taking daily bus trips from the ‘burbs to the ‘hood, splitting his school years between attending affluent magnet schools and the “urban” Columbia High School (also the alma mater of comedic actor/philanthropist Chris Tucker). These early adventures to environments that he never really fit into forced B.o.B to create his own world as an adolescent. A world where his ears acted as antennas snatching any and every bit of information, hoping that all of it would make sense one day. Like most kids his age, growing up in the MTV generation, things didn’t start to become clear until music got involved.

“Rap wasn’t my first exposure to music, but it definitely had the first impact on me,” says B.o.B, mentioning the first rap CD he could call his own was DMX’s 1998 album Its Dark and Hell Is Hot. “I was watching DMX, 2Pac, Biggie and then Eminem. Growing up, you see them breaking rules and you want to do that. That’s what made me turn from a fan to duplicate it and try and make my own.”

B.o.B’s career was practically spawned from breaking the rules. Teetering on the fine line between bored and bad while in high school, B.o.B wasn’t exactly a star student. It wasn’t until family friend and show promoter Brian “B-Rich” Richardson intervened, giving B.o.B a challenge; if he started doing better in school, he’d allow him to record music at his home studio.

After weeks of experimenting and even going through a tumultuous stint as a member of a rap group called Da Clinic, B.o.B grew frustrated and almost quit music to start working at the mall. B-Rich, who now took on the role of manager, convinced B.o.B to stay at it and that he’d have him signed to a record deal within six months. The first step on the journey came when B.o.B was just 17-years old, as the underage rapper performed at a showcase inside T.I.’s Club Crucial nightclub in spring 2006. His relaxing, self-produced track “Cloud 9” caught the ear of record industry dot connector TJ Chapman. That summer, while his friends were working at the same mall he almost quit music for, B.o.B was in New York signing his first record deal with producer Jim Jonsin’s (T.I.’s “Whatever You Like,” Lil Wayne’s “Lollipop”) Rebel Rock imprint.

In true ATLien fashion, B.o.B’s debut single “Haterz Everywhere” hit the music world like a comet in 2007, immediately making him a face and name to remember. His string of mixtapes, Cloud 9, The Future and Hi! My Name Is B.o.B built from that momentum and made him even more prolific, landing him on coveted magazine cover, being featured on a Times Square billboard for L-R-G’s Spring 2008 campaign.

Adding fuel to the flames, B.o.B’s career saw another plus when he signed to Hip Hop powerhouse Grand Hustle that same year. Grand Hustle was actually the first label to show interest in signing B.o.B early on, so the move was actually fateful.

But just when the world thought his star could shine no brighter, B.o.B came to a fork in the road on his adventure and found that he had more to offer. In early 2009 B.o.B introduced the world to his other side, Bobby Ray. His recreation wowed audiences at the highly popular South By Southwest music festival and showed fans that he was more than just “a beast from Decatur.” Now showcasing his guitar, drum and piano playing skills, B.o.B released his acclaimed mixtape B.o.B vs. Bobby Ray and redefined what it meant to be a balanced, universal artist.

After proving that he makes music that resonates all over the globe and even on top of it (B.o.B sung the hook to former arch rivals T.I. and Ludacris’ hit “On Top of the World”), B.o.B has drawn comparisons to Andre 3000 of Outkast. But the journey that B.o.B Presents: The Adventures of Bobby Ray takes the listener on will have you mentioning him in the same breaths as other Bob’s like Dylan and Marley.

The album’s intro, “Don’t Let Me Fall” features the multi-instrumentalist playing every sound on the mood-switching track. He then displays his lyrical dexterity via songs like “Bet I” featuring T.I. and long time collaborator Playboy Tre. From there B.o.B’s Adventures takes you to where and who he is now, as Bobby Ray. On “Ghost In The Machine” Bobby Ray “grabs his bags” and seeks out life’s secrets while “Airplanes” featuring Hayley Williams (of Paramore) has him imagining the “what if’s” he’s found along the way.

B.o.B also serves up doses of reality on “The Kids” featuring Janelle Monae where he raps “always in detention for lack of attention/you can call it deficit, but I just didn’t listen,” making himself the voice of a generation that feels let down by the education system. With “Magic” Bobby Ray offers a garage band sound that’s easily comparable to Blink 182 and Sum 41, the words to the lead single “Nothin’ On You” featuring Bruno Mars may very well become screenshots if you listen with your eyes closed.

While the album also includes rare cameo appearances from the likes of Eminem (“Airplanes (Part II)”), Lupe Fiasco (“Past My Shades”), B.o.B is in no way overshadowed as he produced a majority of B.o.B Presents: The Adventures of Bobby Ray himself. B.o.B has more than succeeded in presenting his life as a roller-coaster journey. For you, the listener, who may still be seeing some adventure in your life? Let this serve as the soundtrack.

MTV WORLDSTAGE: GORILLAZ

See the band and their cartoon craziness on stage live at the Roundhouse in London for an unbelievable Worldstage event.]]>

Green Day Rockband is Here!

MTV WORLDSTAGE: RED HOT CHILI PEPPERS

MTV PUSH: SELENA GOMEZ

MTV WORLDSTAGE: DEPECHE MODE

MTV WORLDSTAGE: LINKIN PARK

Green Day: Last Of The American Girls

Now, 15 years after MTV viewers helped a little video called “Basket Case” become an instant classic, we’re proud to have the Exclusive Global Premiere of Green Day’s latest single, “Last Of The American Girls.”

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