Fast 5 is a high-energy compilation with more variety than the other soundtracks from the Fast and the Furious franchise.
There are only two rap tracks purely in English on this album, but both deliver. The album intro, "How We Roll" features Busta Rhymes, J-Doe, Reek da Villain and Don Omar on the hook. The most interesting inclusion in the soundtrack is Furiously Dangerous, a Ludacris cut with up-and-coming songstress Claret Jai singing the hook. The track also features Slaughterhouse, the rap super group consisting of Crooked I, Joe Budden, Joell Ortiz and Royce da 5'9". If you're a Budden fan, you'll definitely love the 16 bars that Joey Jumpoff delivers. This soundtrack marks the third album that composer Brian Tyler has contributed to in the Fast franchise. Tyler produced three instrumental tracks for the score, which range from cinematic to industrial rock. Don Omar like Brian Tyler, this is the third Fast film soundtrack that he appears on. His track Danza Kuduro was an obvious choice for the soundtrack, as it was an infectious hit single back in August of 2010 when it first dropped. What is impressive most about this album was the inclusion of the Portuguese-language urban tracks from Brazil. There are five Brazilian cuts in total, all with terrific beats, ranging from rap to Brazilian Funk. Including the 2003 track "Carlito Marrón" by Bahia artist Carlinhos Brown.
"We're definitely not a band that's shy. We love to hear ourselves talk. We want to be seen as much as possible. We want to be so big that we can't even walk down the street." Mark the words of Redfoo, the programming brain behind electro-hip hop duo LMFAO, who, along with his cohort (and nephew) Sky Blu, have already initiated a full-scale assault on the clubs. In the last year alone, three self-produced and self-distributed LMFAO tracks — "I'm In Miami Bitch," "Lil' Hipster Girl" and "Yes" — have become as ubiquitous on the dance floor as any hit by the likes of Rihanna or T.I., while remixes of Fergie's "Clumsy," Kanye West's "Love Lockdown" and Katy Perry's "Hot 'N' Cold," have lent instant credibility to two guys who've turned clowning around into an art form and a business. It's all part of an elaborate plan for world domination. No, really. For Foo and Sky, as they refer to each other, what started as a natural collaboration (uncle and nephew, who happen to be close in age, tinkering with drum machines and recording software) with a mix tape thrown in as an afterthought, has evolved into a multi-platform musical movement. With one key mission: live tonight like there's no tomorrow. Foo and Sky call it Party Rock, and it's the name of their debut album, label (via the will.i.am Music Group and Interscope Records), clothing line and general outlook on any given day. "It's always better to have a party in your life," explains Foo. "Fun and laughter, the girls, dancing, celebrating… We want to feel the same way walking down the sidewalk as we do on stage." Which explains an awful lot about their street attire. The guys, who are devout PETA members, favor pimp jackets, oversized glasses (minus the actual glass), faux fur embellishments and the occasional leopard spandex skin tight pants (girls sizes only). If it's not vintage, then it’s their own Party Rock brand, which Foo and Sky wear exclusively. And their stylish strut seems to be working. "We get way more women now," says Sky. Looking just over the horizon, the path is promising, to say the least. The guys have already been recruited by Lady GaGa and Chris Cornell for single remixes, and are fielding requests from a host of major artists in the pop and hip hop worlds. And with their full-length debut scheduled for release this spring, expect the buzz to hit a feverish pitch in the coming months. "Party Rock is the kind of record a band would make on their third album," Foo deadpans. "It's gonna be our Thriller — it's meant to take you away, to escape to this world of fun, dance, sex, craziness, do-what-you-want attitude. It's our lives."
Madeleine Peyroux is in the midst of her journey. “I wanted to explore some new sounds,” says Peyroux, best known for her stunning, gold-certified 2004 album, “Careless Love.” “That would be the most exciting thing that I could think of as a musician. I’ve been recording my voice and my guitar together long enough to know this was not the limit.” Peyroux, who was named Best International Jazz Artist at the 2007 BBC Jazz Awards, has lost none of her compelling ability to reinvent a lyric and give it soul-shaking meaning through her intricately nuanced vocal shadings. But she’s broadened her musical palette here, embracing an organic, American roots sound. “Standing On the Rooftop,” her fifth solo album following 2009’s “Bare Bones”, encompasses a wide spectrum from the lulling, gentle “Lay Your Sleeping Head, My Love” (adapted from the W.H. Auden poem of the same name) and the stunning, spare “Super Hero” to the clever, whimsical “Don’t Pick a Fight With a Poet.” Peyroux wrote solo as well as with a number of collaborators, including former Rolling Stone Bill Wyman. The two met when he approached Peyroux at a jazz festival in Nice. “He was at the festival to see B.B. King,” she recalls. “He said ‘I’m a fan of yours. I have all the records.’ And I was actually quite stunned.”
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