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Elton John Gives Leon Russell Lead Single on Great New CD

Roger Friedman
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Elton John Gives Leon Russell Lead Single on Great New CD

I’m kind of kvelling (which is Yiddish for tweeting, I think) about Elton John and Leon Russell’s album, “The Union,” set to be released on October 19th.

Sorry I can’t wait ten more days. And also, it’s a collaboration among Elton, Leon, and Bernie Taupin, the lyricist who must be given dollops of credit. This trio has fashioned a landmark album, the kind of thing we used to take for granted in the good old Seventies and even Eighties.

“The Union” is indeed a union of these remarkable talents, but not only them. The group of musicians included comprises Neil Young on a surprise vocal, Rose Stone (sister of Sly) on percussion, and a group of legendary vets like Jim Keltner, Marc Ribot, George Bohanon, Robert Randolph, and Don Was. The whole package is produced by T Bone Burnett with wit, grace, intelligence, and a true understanding of all these musicians’ artistry.

First of all, how cool is Elton John? He’s given the lead single to Leon Russell. “If It Wasn’t for Bad” just made this year’s eligibility date for the Grammys—the album comes out 19 days too late. But if the NARAS voters don’t put this in Best Song and Best Record, then the whole awards process is a waste. With no less than Booker T. Jones on B3 organ and trombones wailing away—and a tuba!—“If It Wasn’t for Bad” is real music. It’s a glorious slice of authentic Southern sweet potato pie dripping with melted English toffee.

http://www.youtube.com/watch?v=rXS-Ipjs7qM

And then “The Union” begins. There are some of the best Elton John-Bernie Taupin songs ever, like “Monkey Suit” and “When Love Is Dying” as well as an unexpected hit from Leon and Bernie, a couple of great Russell numbers, and an Elton-Leon knockout called “A Dream Come True.” Neil Young sings on “Shiloh,” which is sort of the title track. And there’s a magnificent track called “There’s No Tomorrow,” composed by Elton, Leon, T Bone Burnett and James Timothy Shaw.

Elton told me about this project last winter, and we talked about how much Leon Russell had influenced his early records like “Tumbleweed Connection” and “Honky Chateau.” Coming back to this inspiration now, Elton sounds rejuvenated. I can only hope that he gets to sing Russell’s “Tightrope” when they perform in concert, and Russell can break loose on “Honky Cat.”

By the way, neither Leon Russell nor Bernie Taupin is in that ridiculous Rock and Roll Hall of Fame. But Donna Summer is on this year’s list of induction nominees. So that tells you how much that group’s reputation has been diminished.

Don’t hesitate—go now to Amazon or ITunes or wherever and pre-order “The Union.” It’s the best album that will be released in 2010, and maybe 2011 as well. (Certainly including 2009 and some of those other years.)

Julia Roberts: America’s 1990s Sweetheart Losing Her Audience

Roger Friedman
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Julia Roberts: America’s 1990s Sweetheart Losing Her Audience

Julia Roberts? She was so BIG in the 1990s, nothing could stop her.

But in 2010, “Eat Pray Love” now dribbles to $80 million domestic box office, with the film playing in just a few theaters so Columbia Pictures can hit a round number.

Around the world, “EPL” has $40 million banked. It’s not so much considering the international locales. In Italy the movie did $4 million. It’s unclear whether there are movie theatres in Nepal. So far, there’s been no release in India, where Julia’s character spends time, or Australia, where at least people speak English.

When the expenses are totaled up, “EPL” should look pretty awful on paper. The official line was a $60 million budget, but with Javier Bardem and James Franco, all the locations and promotional stuff around the world, $100 million won’t seem far fetched. And Julia probably took $15 million off the top.

But with all the talk recently of Renee Zellweger being in trouble (nonsense, I say), it’s Roberts who’s really at a crossroads. Since “Erin Brockovich” in 2000, Roberts has not “opened” a major film that was hung on her. All of her $100 million plus films have been ensemble pieces like the “Ocean’s” movies or “Valentine’s Day.”

But “Duplicity” last year was a bust. So were “Charlie Wilson’s War” and “Closer.”

The big era of Julia: the late 1990s, when “Runaway Bride,” “Step Mom,” and “My Best Friend’s Wedding,” along with “Brockovich” were the tent poles in an amazing run.

But when the heat is gone, it’s gone. And it does seem like Roberts’ choices of material since that time has left her cold. The problem: pedestrian roles, with no focus or vision that the audience understands. This is in direct contrast to Sandra Bullock, who’s been amazing (with lots of help of course) keeping her eye on the ball.

David Linde: Lava Bear Deal 9/27

Roger Friedman
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David Linde: Lava Bear Deal 9/27

Hollywood Swinging: Bob Berney’s Back, David Linde’s On His Way

From September 27th:

In the continuing game of musical chairs Hollywood style:

Our pal Bob Berney is back. He’s finalized his deal with Graham King‘s GK Films, which just released “The Town.” Bob is joining Graham and Peter Schessel for FilmDistrict, a new branch of GK. Some of their films will come through Sony’s TriStar and Triumph labels. The main thing is that Bob knows how to find or make good films. He tried to help Apparition last year, but they didn’t have the apparatus. Oh well. Good sense here prevails.

David Linde, ex of Universal and Universal Focus, and another good guy with good taste, I hear may also be striking out on his own. He has a production company called Lava Bear. Look for an announcement soon.

We need the good guys! And their good movies.

Page Six’s Richard Johnson Leaving; NYC Gossip About to Have Sea Change

Roger Friedman
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Page Six’s Richard Johnson Leaving; NYC Gossip About to Have Sea Change

UPDATE 12:30PM EST 10.7.10: I’m told that the deal for Johnson to move off of Page Six was “months” in the making–or at least since he was offered a job at the Hollywood Reporter. Since Col Allan wouldn’t let him out of his contract, Johnson will move to Los Angeles and work on the Page Six “app” for various devices until said contract runs out, sources say.

EARLIER:

Richard Johnson is leaving the New York Post’s Page Six after more than 20 years. He says he’s moving to Los Angeles to do some digital thing for News Corp. I think this means “will be playing golf” and “learning to parasail.” Whatever: Richard deserves a break.

His replacement is Emily Smith, a British journalist who’s a lot of fun and very witty.

But she’s not Richard, who had his favorites in New York. And now the landscape of the city’s cultural gossip world is about to undergo a sea change.

For one thing, mentions of Nello’s overpriced Italian eatery on Madison Avenue is about to suffer from lack of exposure. Ditto plenty of other well known establishments. Those endless plugs for the same people–we know them–are over. Smith is going to be more of a lone ranger, and less wedded to the usual suspects.

Yes, the sound you’re hearing right now–like thunder–is of publicists’ jaws dropping to the ground.

As for Page Six: you know, it’s been spotty lately. There’s been talk of Richard leaving all summer. But even so, just when you think Page Six is asleep, they come up with something great. And that lead would come from Richard’s vast network of contacts. He will be sorely missed in a town that’s getting blander by the minute.

PS Cindy Adams outlasted him. Yowza.

Is the Musical “Les Miz” Finally Headed to Film?

Roger Friedman
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Is the Musical “Les Miz” Finally Headed to Film?

You’d think after twenty five years someone would have made a film version of the musical “Les Miserables.”

And yet, none exists.

The picture is parked with Working Title and Universal Pictures, but has no star, and no director.

It does have a script that’s being worked on. At Sunday’s splashy anniversary adventure at the O2 Arena in London, producer Cameron Mackintosh explained it thusly:

“Bill Nicholson is writing the script. But then of course there are choices for directors. We need someone who can reimagine it and open it up. After all, there’s no dialogue. It’s just singing.”

We discussed the “Sweeney Todd” movie. “But they always had talking. So we do add talking? Or keep it the way that is?”

And then there’s the question of casting. The opera star Albie Boe was such a sensation on Sunday as Jean Valjean that he received a standing ovation in the middle of the show. Mackintosh and company would have to decide whether to put in a quote-unquote-movie star or just hire Boe. Mackintosh was so excited on Sunday that he might have done just that on the spot. It’s not a bad idea.

One thing’s for sure: Working Title would be hard pressed to find better players than Norm Lewis and Ramin Karimloo for Javert and Enjolras. Each was excellent, although Karimloo might do better as Marius, the male romantic lead.

But Mackintosh and all the other players in this drama agree: it’s time for “Les Miz” the movie. Christmas 2012, anyone?

Oscar Race For Best Actor Already Has Too Many Players

Roger Friedman
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Oscar Race For Best Actor Already Has Too Many Players

Even as the Academy of Motion Picture Arts and Sciences considers speeding up the Oscar race–a January or early February show for 2012–this year’s Oscar race for Best Actor is hot in October.

Why don’t we just give the awards out as the movies are released? I mean, really: the whole thing is going to be over before it’s over!

Anyway, the new race for Best Actor is tight in October! That’s because so many films were ready early, and too many bloggers have already decided to wear out the process before its begun.

But here goes: consider the gazillions the studios will have to spend to make it to the finish line this time around. Already in the mix are Leonardo DiCaprio for either “Inception” or “Shutter Island”; Ewan MacGregor for “Ghost Writer”; Jesse Eisenberg in “The Social Network” and my long shot favorite, Michael Douglas for “Solitary Man.” (This is a performance that if seen by Academy voters could be the upset of the year.)

Add to this list who’s coming: James Franco in “127 Hours.” Colin Firth in “The Kings Speech.” Ryan Gosling’s nuanced work in “Blue Valentine.”  And don’t forget Matt Damon for “True Grit” or “Hereafter,” Jeff Bridges for “True Grit,” Mark Wahlberg for “The Fighter,” and even Kevin Spacey in “Casino Jack.”

There are so many movies that only critics or press have seen, and that Academy voters have to sift through to make decisions. It takes weeks and weeks to get there. And for most the process won’t begin until well after Thanksgiving. Imagine if next year they had just three weeks to make those choices. Yikes!

Lady Gaga, Yoko Ono Squawking on Thin Ice

Roger Friedman
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Lady Gaga, Yoko Ono Squawking on Thin Ice

I couldn’t make this up if I tried. Yoko Ono celebrated John Lennon’s 70th birthday by giving herself a tribute in Los Angeles. On Saturday, John’s real birthday, she’ll be in Iceland. John Lennon was always associated with Iceland, as everyone knows. Whatever.

Here’s the report from my favorite music industry website, hitsdailydouble.com:

 “Yoko Ono celebrated her late husband John Lennon’s 70th birthday the only way she knew how, with an all-star tribute to her own music at the downtown L.A. Orpheum Theatre Saturday night, the second of two shows  in which son Sean Lennon led a newly reconstructed Plastic Ono Band through a selection of his mom’s greatest hits.

After an hour-long set that included her harrowing disco hit, “Walking on Thin Ice,” a series of guest stars, including actors Joseph Gordon-Levitt, Carrie Fisher and Vincent Gallo, along with Perry Farrell, RZA, Sonic Youth’s Thurston Moore and Kim Gordon and the warmly received experimental duo Tune-Yards, performed Yoko songs from throughout her career, as the guest of honor caterwauled and squawked in her patentede avant-garde bird calls.

The only John Lennon song (and the show’s sole “sing-along moment”) came with Sean and Paul Simon son Harper’s touching rendition of “Oh, Yoko.” The highlight was Lady Gaga, who appeared in a sheer, sparkly black pant-suit that showed off her own “Bottom,” perhaps a tribute to Yoko’s avant-garde film of the same name, as the two ended the evening writhing around together on top of the piano like Michele Pfeiffer in The Fabulous Baker Boys, Gaga thanking the pioneering Ono for “being so brilliant and such an inspiration to so many women.”

Those expecting versions of “Cold Turkey” or “Imagine” went home disappointed, though there was a closing jam on “Give Peace a Chance.”

Susan Boyle: Les Miz Writer OK That She Took Out a Verse of His Song

Roger Friedman
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Susan Boyle: Les Miz Writer OK That She Took Out a Verse of His Song

One person missing from the festivities at Sunday’s 25th anniversary performances of “Les Miserables” in London: Susan Boyle.

The singer, who was launched on the show “Britain’s Got Talent,” is nevertheless incredibly popular with the people who made “Les Miserables.” Her recording of “I Dreamed a Dream,” they say, has revived the show with a new generation.

Show and song lyricist Herbert Kretzmer told me last night at the after party at Indigo: “I love her. I wish there were a hundred more like her!” Kretzmer is awaiting his first royalty statement since Boyle made “I Dreamed a Dream” an international hit last year. He told me that the song only worked because of Boyle’s personal life story, and how she became identified with dreaming the dream.

One thing Boyle fans may or may not know: she eliminated a verse from the song for her record. Kretzmer said: “The verse that goes, He slept a summer by my side’ didn’t seem appropriate for a woman of her, uh, age,” he noted.

Boyle is equally loved by show producer Cameron Mackintosh and composer Alain Boublil. “She completely revived interest in the show,” Mackintosh observed.

Boyle’s fine; but for my money, Lea Salonga’s version of the song, which she sang in the blockbuster show last night at the O2, is far superior, richer, and sung with texture and grace. Check it out on the DVD and see what I mean.

And note to Lou Reed: see how happy they all are? Once the money comes rolling in from Boyle’s cover of your “Perfect Day,” you’ll be a new man. Kretzmer, apparently, has “several” homes. Dream that dream!

Nick Jonas, Unlikely “Les Miz” Star at 25th Anniversary

Roger Friedman
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Nick Jonas, Unlikely “Les Miz” Star at 25th Anniversary

Nick Jonas, teen pop sensation, was the unlikely draw at producer Cameron Mackintosh’s 25th anniversary “Les Miserables” extravaganza Sunday night in London.

Mackintosh put on two shows Sunday–one in the afternoon and the big one in the evening. He filled the O2 Arena twice in one day with “Les Miz” fans and gave them a superstar concert version of the show followed by a finale featuring knock out performances from the original 1985 cast.

Lea Salonga and Alfie Boe — opera star turned overnight musical theater sensation–headlined the spectacular event. Indeed, Boe was such a hit Sunday night that he received a standing ovation in the middle of the show as he finished the song “Bring Him Home.” Later even Mackintosh said that in that 25 years no one had received a standing ovation during the show. It was a first.

But the big draw seemed to be 18 year old Nick Jonas as Marius, the star crossed lover of the show’s heroine, Cosette. One third of the pop trio the Jonas Brothers, Nick has to be given kudos for doing a run in the West End as Marius and then jumping in with last night’s all star cast. His voice is not yet on a par with the musical and opera stars around him, but he gave it his all.

After the show, Nick said that even his brothers had been surprised when they saw him do the show. And the demands of this kind of singing, he said, had improved his pop singing. He’ll find out soon when the brothers go on a tour of South America.

PS Original director of “Les Miz,” Trevor Nunn, was a no-show on Sunday night. They say that he and McKintosh are feuding–undoubtedly over money. Sources say Nunn declined his invite. He was the only missing member of the original team.

Ian McKellen Waiting for “Hobbit” Papers

Roger Friedman
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Ian McKellen Waiting for “Hobbit” Papers

Sir Ian McKellen was one of the many celebs at the “Les Miz” 25th anniversary show on Sunday night at London’s O2 Arena.

Just finished with a stage production of “Waiting for Godot,” Sir Ian is now Waiting for Peter Jackson. He’s supposed to appear in Jackson’s “Hobbit” movie, and is hopeful that the lawyers involved will have papers for him to sign soon so he can reprise the pivotal role of Gandalf.

“It’s still a matter of MGM and Warner Bros. sorting things out, but I’m told they’re close.”

Sir Ian also told me that he’s never heard a word from anyone about the upcoming reboot of “X Men.” McKellen has played Magneto in the first three films.

“The last I heard, nothing was happening. Then I read about the new production.” Likewise, he hasn’t heard about the new “Wolverine” or anything new from the Marvel-Fox productions.

Sir Ian was busting with pride about “Les Miz” and the fantastic 25th anniversary show put on Sunday night by Cameron Mackintosh. “And it’s British!” he declared. “Americans aren’t the only ones who can do musicals.”

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