Pop

Rock critic Ken Tucker reviews the hit debut single of the girl-group Edens Crush and the new comeback CD God Bless the Go-Gos by (of course) the Go-Gos.

The founder of the Mamas and the Papas, John Phillips. He died of heart failure on Sunday. He was 65. Phillips was the principal songwriter for the pop group which had a string of hits from 1966 to 1968 when the group broke up. Their hits included Monday, Monday, California Dreamin, I Saw Her Again Last Night and others.

Editors Robert Gottlieb and Robert Kimball have collaborated on the new book “Reading Lyrics” (Pantheon Books), an anthology of some of the most important lyricists of the last century, including the lyrics of George M. Cohan, Irving Berlin, Cole Porter, Ira Gershwin, Lorenz Hart, Dorothy Field, Frank Loesser, Johnny Mercer, and more. The book covers the time period 1900-1975. Robert Gottlieb is the author of “Reading Jazz,” and Robert Kimball is the editor of complete lyrics collections of Cole Porter, Ira Gershwin, and Lorenz Hart.

Rock critic Ken Tucker looks at the new pop compilations reminiscent of those sold by K-Tel records on T-V in the seventies. This series is “Now That’s What I call Music,” and Ken looks at #5, with hits from Destiny’s Child, Janet Jackson, Everclear and Mystikal.

Singer/songwriter Paul Simon. In 1964 he and Art Garfunkle, as the duo Simon & Garfunkle, hit number one on the pop charts with the song “Sound of Silence.” They continued with 5 albums that all sold gold. After a split in 1970, Simon continued writing songs and took up a solo singing career. His albums include “Still Crazy After All These Years,” “Graceland,” and “Rhythm of the Saints.” His new album is “You’re The One.” (Warner Bros.)

Rock critic Ken Tucker reviews the debut C-D from singer-songwriter Nelly Furtado, called “Whoa, Nelly.”

World music critic Milo Miles reviews Senegalese Youssou N’Dour’s new CD, “Joko.” (Nonesuch Records)

Kathleen Hanna and Johanna Fateman of the band, Le Tigre (lay-TEE-gruh). Hanna was the lead singer of the 90s band Bikini Kill. Bikini Kill was part of the music/cultural/feminist movement know as “Riot Grrl,” which focused on the concept of ‘girl power” and young women’s empowerment. The movement was based primarily in Washington, DC and Olympia, WA, and its members formed bands, wrote fanzines, and held meetings, protests and festivals. HANNA was a leader and spokesperson for the movement. Her first solo project after Bikini Kill was called Julie Ruin. She then formed Le Tigre.

Rock critic Ken Tucker considers what pop music Al Gore and vice presidential candidate Joseph Lieberman might use tonight at the conclusion of their convention.

Music critic Milo MIiles reviews new albums by two Latin artists: “Make Up for Lost Time” (High tone) by Little Willie G. and “Nava” (Ryko latin label) the debut album by Nava.

Singer-songwriter Shelby Lynne. We will listen to her songs and talk to Lynne in studio. Her new CD, “I Am Shelby Lynne” (Universal/Island) is part country and part soul. This is the 6th album for this Alabama-born singer, but it is the first album in which Lynne writes most of the songs. Her other albums were products of the Nashville country music scene. With this new album, Lynne has won over critics and fans alike. Lynne is currently touring the US.

Husband and wife song writing team, Barry Mann and Cynthia Weil, the duo responsible for such songs as “You’ve Lost that Loving Feeling,” “On Broadway,” “We Gotta Get Out of This Place,” “Here You Come Again,” “Don’t Know Much,” and more. The two met when they were both working in the famous songwriting landmark, the Brill Building— Mann as a composer and Weil as a lyricist. The two have been writing ever since. In edition to their many pop hits, Mann and Weil have also written songs for films.

An in-studio concert and interview with guitarist Bill Frisell. His latest recording is “Ghost Town” (Nonesuch).

Editor Tom Kuntz and reporter Phil Kuntz. Their new book “The Sinatra Files: The Life of an American Icon Under Government Surveillance” (Three Rivers Press) excerpts and analyzes portions of the FBI’s massive file on Frank Sinatra. The file is 1,275 pages long and was begun in the mid 1940s and lasted until 1972. Tom Kuntz is the editor of “Word for Word,” a column in The New York Times Week in Review section. Phil Kuntz is a staff reporter for The Wall Street Journal.

Rock critic Ken Tucker reviews Britney Spears “Oops! Did It Again” and Hanson’s “Third Time Around.”

Ex-co-leader of the septet Squirrel Nut Zippers, Tom Maxwell. His new recording as a solo artist is “Samsara” (Samsara Ltd.) On the album he continues the work he started with the Zippers, harkening the sound of hot jazz, but also blues and gospel, Country and Western, and even Chinese opera.

Singer/Songwriter Aimee Mann. She’s best known for her work on the soundtrack for the film “Magnolia.” Her song “Save Me” from the film was nominated for an Oscar. Her new release is “Bachelor No. 2.” Previously the album was available over her website (Aimeemann.com) and at her concert performances. Now it is available in stores. Mann and her manager had bought the master tapes from her record label in an effort to retain creative and marketing control. It’s the first recording to be released on Mann’s Superego Records.

Singer/guitarist Alex Chilton has been playing music for decades. As a teenager he was a member of the Memphis Band Box Tops. He was 16 years old when they recorded their hit, the R&B song “The Letter.” Later with the band “Big Star” he became a underground hero. After dropping out of sight to kick an alcohol addiction, Chilton returned to performing. By then many younger bands, REM and The Bangles, considered him a legend. Chilton’s new release (as a part of a trio) “Set” (bar-none) was recorded on the spur of the moment, and without overdubbing.

Contributing editor for Vanity Fair David Margolick. In his new book “Strange Fruit: Billie Holiday, Café Society, and an Early Cry for Civil Rights” (Running Press), Margolick traces the history and impact of the song “Strange Fruit,” a ballad about lynchings which became Billie Holiday’s signature song. It was written by a Jewish school teacher who was inspired to write the song after seeing a newspaper photograph of a lynching.