Crowded House frontman Neil Finn has given his stamp of approval to Miley Cyrus and Ariana Grande’s new cover of his band’s 1986 classic “Don’t Dream It’s Over.”
The pair’s video, which features them performing while clad in footie pajamas, hit the Web yesterday. It’s part of Cyrus’ “Backyard Sessions” to raise awareness for her Happy Hippie Foundation, which aids homeless and LGBT youth.
Cyrus recently surprised fans by covering Dido’s “No Freedom” on her own and the Replacements’ “Androgynous” with help from Joan Jett and Against Me’s Laura Jane Grace.
“What a life that song has had,” Finn tells Billboard exclusively of “Dream.” “I’m happy to see them enjoying it so much and hope it inspires some donations to a good cause.”
“Don’t Dream It’s Over” is arguably the best-known song in the catalog of Crowded House, who rose to fame in the 1980s from the ashes of seminal New Zealand rockers Split Enz. “Dream” hit No. 2 on the Billboard Hot 100 in the spring of 1987 and has since been covered by everyone from Sixpence None The Richer and Susan Boyle to Faith No More and Diana Krall.
Crowded House split in 1996 but reunited a decade later, and has since released two studio albums and toured extensively. Finn tells Billboard he is writing songs for a new album, performing rare solo shows in Melbourne and Sydney later this month and has just produced an album for young New Zealand artist Jesse Sheehan. What’s more, “I’m studying volcanoes in my spare time,” he says.
MIKE WILL MADE-IT IS HIP-HOP’S NUMBER-ONE PRODUCER AND ALSO ONE OF ITS YOUNGEST. AS POP PRINCESS MILEY CYRUS EXPLAINS, WHEN SHE TOOK HIS SOUND MAINSTREAM, IT WAS A MATCH THAT COULD ONLY BE MADE IN AMERICA.
Mike Will [Mike WiLL Made-It] had a vision for me first, before anyone else knew I was going to have this revolution. He saw it before he even knew if I was working on music. He was like, “Someone get ahold of Miley Cyrus. I don’t know if she’s making music, but she’s gonna be working on it when she hears this song!” There isn’t a huge difference between urban culture and country music culture. People don’t realize that cowboys and gangsters are the same thing. I’ve talked to Mike Will about growing up around Johnny Cash and Waylon Jennings, and he would be like, “They’re gangsters.”
In 2013 I did the MTV VMAs. Mike was inspiring me a lot that year. To me, hip-hop was similar to how my mom described the good rock scene when she was young. Hip-hop became the new punk because that was the rebellious place to be making music. The idea of innovators versus imitators is something that he and I battle with a lot. Mike has such a sound now, it’s hard to go to a club without hearing that sound. Even with me, you have to take it as a form of flattery, but people try to make a Mike Will sound—and a knockoff isn’t ever as good. Some people can’t tell, but there is a sophistication to Mike’s sound.
People are shocked by the fact that he’s 24 years old. It’s the same thing with me…people can’t believe, when they talk to me, that I’m only 22. It’s the lifestyle and the ambition. The reason people always listen to me in my business meetings is because nobody knows where young people are going more than young people. He’s like me because when we want something, we don’t take no for an answer. When you have that drive, people forget how young you are. He’s more than a producer. I think he’s building an empire. When you look at what 50 Cent did with Vitaminwater or what Dre did with Beats, it all started with music, and Mike knows how to build himself. That’s like Dolly Parton. It’s funny to mention her, because Dolly is a country star with big titties and glitter, but inside she is a businesswoman. I’m a musician, and at one time I was less credible than I am now—although a lot of people accepted it because this is America—and I know that Mike has so much more he can do within art and fashion and business. He’s only 24 so he has forever to do it.
Of course, we have differences. I never had a problem, with my parents flying me in and out of L.A. to become who I am, but Mike had to do it all himself, out of a basement in Atlanta. He wasn’t born into this, he got here strictly on music, which is more than a lot of people can say. That’s where he got “Mike WiLL Made-It.” He really got here because of himself and that’s the most respectable thing. I love when people are underestimated. He started making beats at 14 and was working as a manager, hustling these three kids around Atlanta. He’s always been above his age and trying to hustle. He would take risks and stay out late from school, and look at how his life has changed.
Fans can now see Miley Cyrus come in like a wrecking ball once again.
The singer’s iconic video shot (but this time, clothed) is the latest wax figure on display at Madam Tussauds Las Vegas.
Together, the figure and the ball weigh more than 200 pounds, according to a press release touting the newest addition. The release also notes that along with a 30 foot long chain, the top of Miley’s head to the bottom of the wrecking ball will stand higher than 10 feet, and the figure and the ball took a team of 20 artists more than six months to create.
Following today’s unveiling, Cyrus’s figure will be installed in the attractions’s Music Room.
he last time Miley Cyrus released an album, she came in like a big heavy thing that comes in super hard and stuff. But it looks like she’s taking a more subtle approach this time around.
On Sunday (Mar. 8), Miley Instagrammed a video from the recording studio of her singing waaaaaaailing what appears to be a new song.
“Why do people only show forgiveness,” Miley sings, “when they wanna sound cool in a song?” Oh my god, if she’s lyrically subtweeting Ruben Studdard I will scream.
Miley’s #dirtyhippie mentor, Flaming Lips frontman Wayne Coyne, was also in the studio, and he posted a video of his own to Instagram a day prior.
You can hear a reverb-heavy Miley vocal playing in the background — not sure if it’s the same song Miley posted about though.
While Miley’s kept pretty mum about her Bangerz follow-up, she did perform a new song inspired by a friend’s dead cat at Art Basel in December.
The “We Can’t Stop” singer also revealed on “Entertainment Tonight” that she’s been hard at work “every day” in the studio.
“I’ve got all of it [recorded],” she revealed to “ET.” “I just don’t know what I kinda want to go out there. Just when I think I have my record done, something new happens where I want to write about it.”
After a brief appearance in the opening monologue of “SNL 40,” Miley Cyrus brought the house down towards the end of the night with a soulful, country-inflected cover of Paul Simon’s “50 Ways To Leave Your Lover.”
more: These Are The Most Legendary Moments From ‘SNL 40′ Live
The song didn’t just feature Miley on vocals, though — and they were gorgeous, highlighting Miley’s highly underrated, excellently husky singing voice. It also had former “Saturday Night Live” cast member Fred Armisen on tambourine… And the entire band, and crowd, singing along.
For those of you more aware of the “Wrecking Ball” singer than Simon, it was a lovely tribute: Cyrus is one of the few guests to both host and perform on the show, and Paul Simon did the same. The only difference, Simon first pulled double-duty on the second ever episode of the show, on October 18, 1975.
So in a way, Miley wasn’t just paying tribute to a musical legend, she was also — and appropriately, for the 40th anniversary special — bringing that legacy full circle.
Now let’s have Paul Simon cover “Wrecking Ball” in the nude.