Courtesy of Columbia
We say almost everything because you'll never guess who replaces Will when he calls in sick. That's right, big-shot movie star Gwyneth Paltrow.
She'll be joining the cast to perform Cee-Lo Green's 'Forget You' -- which has caused a big splash under its original, raunchier name 'F--- You' -- as well as 'Umbrella' by Rihanna and songs from 'Chicago' and 'Singing in the Rain.'
It seems Paltrow's caught the musical bug herself lately. She recently released 'Country Strong,' the title track to her upcoming movie in which she play a former star on the comeback trail.
Sadly, Will's not the only member of the school's staff to get sick, leaving cheerleading coach (and general thorn in the glee club's side) Sue Sylvester temporarily free to abuse the power of the principal's office.
The song comes from the band's critically acclaimed 2010 album 'The Suburbs.'
Like much of that record, 'Modern Man' is less fiery and attention-grabbing than some of the band's previous work. But don't worry, as the song unfolds, its subtle but perhaps deeper charms reveal themselves pretty quickly.
Lead vocalist Win Butler narrates the thoughts of a man fending off sleepless frustration about his role in the world over an intricate, shuffling rhythm:
"So I wait in line, I'm a modern man / And the people behind me they can't understand / Makes me feel like / Something don't feel right / Like a record that's skipping / I'm a modern man / And the clock keeps ticking."
Muted handclaps and strings occasionally threaten to bring things to a full boil, but instead, a tension-maintaining restraint prevails throughout.
You can listen to 'Modern Man' from Arcade Fire, along with other great new alternative music on AOL Radio's perfectly named New Alternative First station.
The track is available on the semi-supergroup's first full-length album, 'Gone for Good.'
The elegant string section and a crackling drum beat combine to bring extra depth and color to the song's spare and ruminative guitar work.
Meanwhile, Klein's low, rich voice laments an attraction that never develops into a full-fledged romance: "Baby you and me / Although we're thick as thieves / As funny as it seems / The only time I love you is when you leave."
The band, which features Joseph Arthur as well as members of Great Northern, Polyphonic Spree and Twilight Singers, are led by Jeff Klein, who worked with the other musicians either through his solo work or as a member of the Twilight Singers.
At the start of the commercial, White is precariously poised on the edge of a tall building. Rather than encouraging him to step away, the crowd on the street below convinces him to skate down.
He does, and soon after, 'Let's Rock-n-Roll''s sleazy hard rock guitar attack kicks in. The setting then switches to the virtual world of the game, where players are apparently able to morph their surroundings to make them more skate-friendly.
Lead singer, songwriter and band founder John Allen explains his band's credo very simply as both song and skateboarder roll on:
"So let's roll / Save my soul / So let's rock-'n'-roll / I'm just an endless road / I guess I sold my soul / I gave I everything I had to rock-'n'-roll."
Courtesy of Arista Nashville
Jackson's version of Cash's searing declaration of love will be included on his upcoming greatest hits collection, '34 Number Ones.'
Throughout this largely faithful, if somewhat smoothed out reading of Cash's most famous tune, Jackson trades most of The Man in Black's brooding menace for a more relaxed, experienced perspective.
Still, the passion in the lyrics, well, burns through: "I fell into a burning ring of fire / I went down down down and the flames went higher / And it burns burns burns / The ring of fire."
'34 Number Ones,' which celebrates Jackson's twenty year long career as one of country's most dependable hit makers, will be in stores on Nov. 22.
You can listen for Alan Jackson's performance of 'Ring of Fire' and other great new country songs on AOL Radio's New Country First station.
The song, co-written by none other than Sonny Bono, appeared on the Stones' 1965 album 'December's Children (and Everybody's)'
As a fictional actor dodges vague questions at a press conference in a spot that can best be described as "arty-farty," Keith Richards' guitar wails away in the raw, unrestrained manner we haven't heard from the band in decades.
Meanwhile, Mick Jagger exalts in his prospects for a new romance, a theme that was probably repeated at least a few times over his career.
"She called me baby / Well I got the feeling / In my soul / I'm gonna love you / No one above you / Come on baby / Just let me love you, yeah!"