U2 guitarist still pursuing Malibu development (AP)

LOS ANGELES – The guitarist for U2 and several other property owners whose proposal to build a cluster of mansions overlooking Malibu failed to get past state regulators have filed lawsuits against the California Coastal Commission.

The lawsuits filed Friday argue that the basis for the commission's decision to deny their permits in June was not legal.

The property owners say they are five separate owners each building a single home on separate lots, an argument that would have made it more difficult for the commission to reject their proposal.

The commission, however, determined there was enough evidence to show the project was under common ownership, coordinated and led by U2 guitarist The Edge, whose real name is David Evans.

The proposal called for five multilevel homes of up to 12,785 square feet to be built on 156 acres in the Santa Monica Mountains. Project designs said the homes would have the top green building certifications and the guitarist himself said the mansions would be some of the most environmentally sensitive in the world.

"When we buy property zoned for residential use, we expect to be able to build a home," said Fiona Hutton, spokeswoman for the property owners. "But in this case, after years of working cooperatively with the Coastal Commission and planning the most environmentally sensitive homes possible, government changed the rules and is now denying these families right to use their land."

Project opponents, however, including the National Park Service said the development would scar the expansive ridgeline. The musician and his partners had appeased one of its staunches opponents, the Santa Monica Mountains Conservancy after agreeing to give the agency more than $1 million, dedicate nearly 100 acres to open space and provide public access to hiking trails if the homes were approved.

In the end, the majority of the commission deemed the project too environmentally destructive to allow and voted against permitting it.

Charles Lester, acting executive director for the commission, could not directly comment on the lawsuit because they had yet to see it but said the commission had ample evidence to support its decision.

"The commission had a comprehensive presentation on this issue and felt there was a legal basis for their vote," he said.

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Jill Scott still in shock over No. 1 "Light of the Sun" (Reuters)

NEW YORK (Reuters) – Six weeks have passed since R&B singer Jill Scott hit No. 1 on album charts with "The Light of the Sun," and she still finds herself in shock.

That may sound odd from the Philadelphia native whose debut album, "Who is Jill Scott? Words and Sounds Vol. 1" was released 11 years ago. Since then, she has recorded more music and become a well-respected actress with roles in films such as "Hounddog" and "Why Did I Get Married," as well as starring in HBO television series "Ladies No. 1 Detective Agency."

But for "Light of the Sun," Scott took a new path in her singing career. She veered into hip hop, and the road that heretofore was less chosen, proved to be a good direction. Scott kicked off her 18-city Summer Block Party tour this week in Boston and stopped in New York on Thursday night.

"I (still) don't believe it...I have a copy (of the Billboard album chart), but I still don't believe it," Scott told Reuters about her success with "Light of the Sun."

"Somebody sent me a text message, 'Congratulations on the No. 1 album,' and I thought they were talking about the R&B chart. I was really happy about that. Then I found out it was the No.1 album in the country. It's overwhelming," said Scott.

"Light of the Sun" marks other significant milestones for Scott. The record was her first project since a split from Hidden Beach Recordings last year, and it is the inaugural project for her Blues Babe imprint in collaboration with Warner Bros. Records.

On the new album, the classic rap songs she listened to growing up and the current hits she keeps in rotation today heavily influenced Scott, she said, whose musical style has typically been a fusion of soul, jazz and R&B.

PERSONAL FAVORITES

One of her personal favorites on the new album, "All Cried Out Redux" features Doug E. Fresh, who was a pioneer in rap music and among Scott's early favorites in the genre.

"As a child of hip-hop, having recording anything with Doug E. Fresh is just surreal," said Scott.

Houston rapper Paul Wall, whom Scott calls one of the "nicest guys in hip-hop," joins her on "So Gone (What My Mind Says)" representing the voice of a mesmerizing, but less than chivalrous, lover she can't seem to shake.

How did the transformation to hip hop come about?

Last year, Scott was on a neosoul tour opening for singer Maxwell, singing the songs with which her fans were familiar, such as "Lyzel in E Flat" and "The Way." But Scott said her head, and heart, were in hip-hop.

"I started thinking about what kind of music I needed to hear before I went on stage. I think that was the catalyst. I need to hear Lupe Fiasco, Rick Ross and Mobb Deep," she said.

Hip-hop not only influenced the sound of this album but also Scott's recording style, approaching the music from the position of wanting to freestyle the beats, rhythms and lyrics.

"I went in and had fun. I didn't really write much. Some of the songs were recorded in one take. I freestyled pretty much the entire record," Scott said, echoing respected lyricists such as Jay-Z, who famously does not write down his lyrics.

"So Gone," for instance, was almost entirely improvised, Scott said.

In keeping with the old school theme of her album, Scott's Block Party tour is deejayed by acclaimed producer, master of turntables and fellow Philadelphian, DJ Jazzy Jeff.

The tour also reunites Scott with Doug E. Fresh. Vocalist Anthony Hamilton and R&B band Mint Condition open the show.

The tour next visits Detroit and has further stops in Chicago and Cleveland before ending on August 28 in Houston.

(Editing by Bob Tourtellotte)

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Review: Faithfull still rocks but acts her age (AP)

By CHARLES J. GANS, Associated Press Charles J. Gans, Associated Press – Thu Jul 21, 11:23 am ET

Marianne Faithfull, "Horses and High Heels" (Naive)

Marianne Faithfull has survived a roller-coaster-like ride through life to reach the age of 64 that her friends, the Beatles, once celebrated in song. On her new CD, Faithfull still rocks but acts her age, unlike some of her contemporaries who vainly chase after their lost youth.

On "Horses and High Heels," which reunites her with producer Hal Willner, Faithfull shows her mastery at finding familiar and obscure songs to cover that she can relate to personally and transform. On the Carole King pop ballad "Goin' Back," a 1960s hit for Dusty Springfield, she poignantly recasts it to reflect the viewpoint of an older woman looking back on her past. Her distinctive world-weary, gravelly voice and acting skills add gravitas to the melancholic, fatalistic "Past, Present and Future," a quirky song by the Shangri-Las, spoken rather than sung to an accompanying theme based on Beethoven's "Moonlight Sonata."

After overcoming writer's block following recent bouts with cancer and depression, Faithfull includes four originals among the 13 tracks that draw on recent life experiences. The guitar-driven "Why Did We Have to Part?" expresses regrets over a romantic breakup. The Celtic folk-inspired title track creates haunting late-night images of horses' hooves and women's high heels clattering on the streets of Dublin and Paris — the two cities the British expat now calls home.

This album, recorded in New Orleans, has some songs that almost seem out of character for a singer long associated with the dark side of life. The rollicking blues-rock "No Reason," by British songwriter Jackie Lomax, sounds like a Rolling Stones song, while Allen Toussaint's "Back in Baby's Arms," with guest appearances by Dr. John and Lou Reed, finds Faithfull singing soul with a funky groove. Dare we say that Faithfull has finally arrived at a happier place?

CHECK THIS TRACK OUT: On her original "Eternity," Faithfull samples the late Rolling Stone guitarist Brian Jones' 1968 recording in Morocco with the Master Musicians of Jajouka in an uptempo, and surprisingly optimistic, folk-rock song.

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