Category: LMFAO

Live: LMFAO has fun with debauchery

LMFAO's Redfoo and Sky Blu stay in character and play debauchery for laughs and fun at Staples Center as part of Sorry for Party Rocking Tour.

The members of LMFAO are nobody's idea of responsible citizens.

In the L.A. club-rap duo's first big hit, known on the radio as “I'm in Miami Trick,” Redfoo and Sky Blu lay out a lifestyle of cut-and-dried hedonism: “Drink all day, play all night,” they croak over a slithering synth-bass groove, “Let's get it poppin'.” It's a devotion to the pleasure principle that only deepened with last summer's “Sorry for Party Rocking” album, whose No. 1 singles — “Party Rock Anthem” and “Sexy and I Know It” — established LMFAO as A-list libertines.

Earlier this year, when Madonna required a spritz of next-generation intemperance for her Super Bowl performance, she knew whom to call.

Photos: LMFAO in concert at Staples Center

Redfoo and Sky Blu — the son and grandson, respectively, of Motown Records founder Berry Gordy — lived up to those low-down reputations Tuesday night at Staples Center, where LMFAO brought its Sorry for Party Rocking Tour to a full house peppered with fans borrowing Redfoo's garish retro-'80s look. (Think neon, leopard print and glasses that may not have contained lenses.)

Minutes into the concert, Redfoo said that the ratio of women to men in the audience looked to be about 8 to 4 — perfect, he decided, for an act that rhymes with “ratio.” Later, the song “Shots” climaxed with the frenzied raiding of an onstage bar by the duo and its dance crew.

For all its cartoon sleaze, though, LMFAO flashed an earnest, almost scrupulous side Tuesday that complicated what might've been perceived as brain-killingly simple.

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LMFAO gets Staples Center date

LMFAO will headline Staples Center June5
All that working out has apparently paid off for the L.A. dance-rap yuksters LMFAO. The duo has announced a sweeping new tour with one especially validating hometown stop at Staples Center on June 5.

The duo, known for its neon-splattered techno-rap singles such as "Sexy and I Know It," "Party Rock Anthem" and "Shots," has lately been receiving some measure of qualified critical praise. The act's goofy tracks can simultaneously fill dance floors and poke some gentle fun at alpha-male masculinity and hip-hop's acquisition porn. The Staples Center show is the largest local headlining date of its career (though LMFAO's recent Super Bowl halftime show appearance had a bigger audience), and it's clear evidence that Redfoo and Sky Blu have become bona-fide megastars.

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Critic's Notebook: LMFAO's brand of party rock uniquely American

Think what you will about Redfoo and SkyBlu's absurd and catchy anthems as LMFAO, but there's no denying the potent blend of regional dance music running through the duo's sound.

American electro hop duo LMFAO: Skyler Gordy, left, and Stefan Gordy.

Last week LMFAO had the No. 1 song in America. Again.

This time it was for the L.A. rap/dance/pop duo's ode to self-infatuation, "Sexy and I Know It" — an infectiously simple dance-floor ditty with a relentless rhythm and a video that has been viewed more than 188 million times on YouTube. Last year's ubiquitous hit, "Party Rock Anthem," currently at No. 6, is a truth-in-advertising title if there ever was one (347 million views).

Created by an uncle-nephew team who rose in Los Angeles' club scene in the mid '00s and made a splash with their in-your-face debut album, "Party Rock," in 2009, "Sexy and I Know It," from the 2011 conciliatory follow-up, "Sorry for Party Rocking," has worked its way into America's subconscious through repetition and sticky, simple chords. It's a song that — even heard faintly while passing Forever 21 at the mall — can ruin an entire weekend by looping in your head.

It's getting harder and harder to ignore LMFAO and less certain that it'll ever go away. For the last three years the group, which consists of Redfoo (Stefan Kendal Gordy, 36) and SkyBlu (Skyler Austin Gordy, 25), has surpassed even the most snobbish haters' worst fears. After rising through the pop music ranks with a combination of iTunes sales, club dates, funny videos and, most important, key placement in reality shows including "Jersey Shore," "Real World: Cancun" (they were a featured story line) and the early Kardashian hit "Kourtney and Khloe Take Miami," 2011 was their breakout year, and 2012 looks to push them even further. Last week they were the second most subscribed YouTube music channel in Saudi Arabia, Kenya, Tunisia, Ireland, Russia and Poland and in the top 20 across a spectrum of cultures who you would hope would know better.

America's most broadly influential cultural export, music, has in the opening stages of the decade infected the world with the LMFAO virus, one whose lyrical thrust is joy through hedonism — ridiculous celebratory anthems and occasionally funny male fantasies of sexual magnetism earned through a combination of, in the words of its 2009 anthem "Shots": "Jägerbombs, lemon drops, buttery nipples, Jello shots," and good old-fashioned gin.

Few will mistake Redfoo and SkyBlu for Leiber and Stoller. But within the group's sound lies an interesting sonic history, even if it's often eclipsed by the stupidity, and regardless of whether they prove every last non-party-rockin' critic right and vanish tomorrow, a document of their existence seems warranted. They are, after all, the son (Redfoo) and grandson (SkyBlu) of Motown Records founder Berry Gordy Jr., are Grammy nominees, have a combined YouTube viewing tally of almost 800 million, and have another single rising on the charts. 

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Adele logs top-selling album and song of 2011

Adele Adele
To the surprise of virtually no one, Adele’s “21” is officially the top-selling album of 2011, with a final tally of 5.82 million copies, while the British soul singer’s single “Rolling in the Deep” was the year’s bestselling song with 5.81 million copies, according to Billboard, based on Nielsen SoundScan's year-end sales report.

Adele’s album has not dropped out of the Top 10 since it entered the chart at No. 1 in February. It is now in its 14th non-consecutive week as the nation’s top-selling album.

Michael Bublé’s latecomer holiday entry “Christmas” was the No. 2 selling album of the year with nearly 2.5 million copies, followed by Lady Gaga’s “Born This Way” (2.1 million), Lil Wayne’s “Tha Carter IV” (1.9 million) and Jason Aldean’s “My Kinda Party” (1.6 million).

The remainder of the top 5-selling digital songs behind “Rolling In the Deep” are LMFAO’s “Party Rock Anthem” (5.5 million), Katy Perry’s “E.T.” (4.8 million), Maroon 5’s “Moves Like Jagger” (4.1 million) and Pitbull’s “Give Me Everything” (3.9 million).

Industry -wide perhaps the best news in the year-end figures is that album sales increased over the previous year for the first time since 2004, up 1% to 330.6 million units, compared to 326.2 million in 2010. Overall music sales, including albums, singles, music video and digital tracks, increased nearly 7% in 2011 compared to a year earlier.

More from Nielsen SoundScan’s year-end report will be reported in Thursday’s Calendar.


U2, Taylor Swift have highest-grossing concert tours of 2011

The most memorable moments of 2011

Adele to have surgery to treat vocal cord hemorrhage. What is it?

-- Randy Lewis

Photo: Adele's performance in February at the 2011 Brit Awards at the O2 Arena in London. Credit: Joel Ryan / Associated Press.

One Song: 'Party Rock Anthem' by LMFAO is not worth celebrating

Party rock is in the house? Please, no.


Two-hundred twenty-eight million people have watched the “Party Rock Anthem” video on Vevo since it was uploaded in March 2011, so we're a little late in the game to argue against it. It's the 15th most viewed video on YouTube ever, and no doubt nearly a billion other people worldwide have heard that squirrelly 130 beat-per-minute rhythm and squiggly melody in an ad, booming out of some teenager's car or torturing an inner consciousness as an earworm. The anthem to rocking the party has been the most ubiquitous, and loathsome, song in America for the last six months. It's not going away, ever.

It's not just the music — which seems to steal the worst ideas from every cheesy house track of the past two decades — but the message. How many tweens are rapping along to the words “I'm running through these hos like Drano,” and therefore equating sex with getting the muck out of a sink?

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Live review: Black Eyed Peas turn Staples Center into intergalactic playground


There was a moment at the Black Eyed Peas concert Tuesday night at Staples Center when the screams from the audience were enough to shatter glass and earlobes, and it had nothing to do with the powerhouse group.

In fact, the moment occurred during opener Ludacris’ set as the rapper introduced special guest Justin Bieber, the precocious pop sensation who dominates the trending topic stream of Twitter on a daily basis. The 16-year-old took the stage to perform his hit “Baby” with every bit of swagger as the single-named pop stars he is now bumping off the charts.

With the crowd at its feet, and a few girls close by tweeting their hearts out, this was the moment that set the tone for what would be a night of sensory overload as the group responsible for dominating the pop charts last year with its album “The E.N.D.” hit the stage.

Tuesday was the last of two dates the Peas played in Los Angeles, and there wasn’t a single sign of fatigue as they played hit after hit.

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The Crystal Method surprise even themselves with triumphant L.A. return


Not counting the group’s triumphant appearance at last year’s Electric Daisy Carnival and a Coachella or two, big beat electronica duo the Crystal Method has not performed a stand-alone set in Los Angeles for six long years. That's an eternity, especially when measured against the platinum-selling group’s choice to maintain a SoCal home base since the early '90s.

But all that is about to change with the group’s date at Hollywood’s Avalon on Friday night – a rare live set booked into the Crystal Method’s North American “Divided by Night” tour that band members Ken Jordan and Scott Kirkland promise will be “full of surprises.” So much so, that until fairly recently, they didn’t know for sure what was going to happen.

Pop & Hiss bumped into the Vegas natives on the red carpet at the Grammys last month, moments after it had lost out to Lady Gaga in the best electronic/dance album category. Adding insult to the injury of their defeat, the pop diva skipped collecting her trophy in order to primp for show time, leaving the Crystal Method to stew in its own vitriolic juices.

“Lady Gaga took us down and she couldn’t even show up to collect the award,” Kirkland groused. “Next year, I think they should implement a thing where if you’re not in the room to collect the award, your award goes to someone else. It’s like, if you put in to win the blender, you’ve got to be there to win the blender, right? You gotta be there to win the award!”

A recap of our conversation follows.

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Backstage on Grammy day with LMFAO


The Times gave plenty of inches to the Grammys' winners tally, quotes from stars and unpacking What It All Means. But we thought you'd like to see the planning, wisecracking and behind-the-scenes machinery that an artist goes through on his or her first time being nominated.

We couldn't have asked for better hosts than the bawdy electro-rap duo LMFAO, who were up for (but did not win) best electronic/dance album and presented a bevy of awards at the pre-telecast.

We followed them from their hotel room into the limo, onto the red carpet and into their seats at the Grammys on Sunday. Read the whole story of their Grammy day right here, or watch The Times' red carpet interview with the pair after the jump. Who is that dapper, dashing fellow standing to the left of them in the video though?

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