Best of 2011: Albums

1. Adele - 21. This year, Adele's 21 proved resolutely that the pop album is not dead. That a young woman from Britain can release an album to near universal acclaim and appeal is really something, recalling the great pop albums of the '80s. In an era where tastes are sliced, diced, dissected, genred and market-tested to death, it's nice to know we can still all come together around something that we all like because it's just that good. Best: Someone Like You.

2. Lady Gaga - Born This Way. Lady Gaga is basically the polar opposite of Adele, but I have plenty of space for her and her dazzling third album in my year-end top 10. Born This Way was funkier and more ambitious than The Fame or Fame Monster, ultimately proving to be her best and most cohesive work yet. Even if the singles aren't all hitting #1 anymore, she's still got the touch. Best: Born This Way.

3. PJ Harvey - Let England Shake. This was the critics' favorite album of 2011, but don't let that stop you from enjoying it too. History buffs will appreciate Harvey's historical references to specific World War I battles. Music fans will just enjoy her eclectic mix of sounds and clever lyrics. Best: The Glorious Land.

4. The Strokes - Angles. This is the one album among my favorites that I'm surprised to see missing from most other year-end lists. I thought Angles, The Strokes' fourth album, was a winning return to form form the band many consider the most "important" of the '00s indie rockers, putting in some of their trademark simple arrangements but also exploring new wave and other territory. Best: Machu Picchu.

5. Foster the People - Torches. I'll give Torches the award for the year's best debut. Foster the People--aka this year's MGMT--dominated pop radio this fall with "Pumped Up Kicks," but their lively debut has lots of other gems from the indie band. I'm surprised they haven't scored a follow-up hit yet. Best: Helena Beat.

6. Will Young - Echoes. Here's one I'm not surprised isn't on a lot of year-end lists, but it's a shame, for Will Young turned out another fine pop album with Echoes, employing producer Richard X to give his love-spurned pop songs a pleasing electronic veneer. Best: Jealousy.


7. Coldplay - Mylo Xyloto. Coldplay continue to earn their keep on this fifth album. Although at times it feels that Chris Martin & company are too eager to please, they still churn out their brand of pop/rock uplift effectively. Best: Every Teardrop Is a Waterfall.


8. Florence + the Machine - Ceremonials. On their second outing, Florence Welch & co. rocked out with even bolder and better songs than on their 2009 debut Lungs, with a larger than life sound that proves everything and the kitchen sink can be a god thing. Best: Shake It Out.


9. The Weekend - House of Balloons/Thursday/Echoes of Silence. The modern R&B mix tape became a staple of 2011, as artists too cool for things like labels, albums and selling their music, took to the internet to give us free tastes of their remakes, remixes and original songs. The Weekend's House of Balloons was the best of that set, but his follow-up Thursday was interesting too, and although I'm just starting to enjoy his third set, Echoes of Silence, it's clear already that it ranks up with the other two. Best: What You Need.

10. Beyoncé - 4. With I Am...Sasha Fierce, Beyoncé proved she could put out a blockbuster two-disc concept album that stocked radio with hits and earned her critical acclaim at the same time. With her fourth album, 4, she didn't have to prove anything, freeing her to buck the electro trend and put out a mostly acoustic set ranging from the manic "Countdown" to the Prince-worthy "1+1." Although it didn't sell as well, it showed a great deal of artistry and continued growth. Best: Countdown.

11. Foo Fighters - Wasting Light. Along with Adele and Lady Gaga, this is one of three albums released this year nominated for the Grammy Award for Album of the Year. Although some said it was a surprise, I thought it was totally deserving, representing a solid set of muscular guitar-rock. Best: These Days.

12. The Decemberists - The King Is Dead. Gotta love a good indie band from my hometown, especially when they start the year off with putting out a great album like this. When I reviewed this album, I said they reminded me of a folksier, more backwater R.E.M. Best: Down by the Water.

13. St. Vincent - Strange Mercy. This was my first exposure to American musician St. Vincent, who put out this highly compelling set of eclectic and deftly produced tunes. Best: Chloe in the Afternoon.



14. James Blake - James Blake. Another important trend this year was dubstep, which, frankly, I still have trouble identifying, but apparently this was one example. Whatever you want to call it, I thought it was crafty, soulful electronic that recalled both The XX and Bon Iver. Best: The Wilhelm Scream.

15. Lykke Li - Wounded Rhymes. Joining the long line of Swedish pop tradition (Abba, Roxette, Ace of Base, Max Martin, Robyn) this year was Lykke Li, whose lo-fi production style was, in many ways, the antithesis of the usual Nordic gloss, but still with an ear for a good pop tune. Best: Sadness Is a Blessing.

16. Noel Gallagher's High Flying Birds. Sure, Oasis split last year, but they all kept making music. You'll find the rest of the gang further down this list. Both were very good, but I felt that Noel Gallagher's songwriting skills meant that his album was just a little bit better. Best: If I Had a Gun...

17. Take That - Progressed. Take That's album Progress was one of my favorite albums of 2010. In fact, it's one of my favorite pop albums of all time. This follow-up EP was a welcome second helping of that album's greatness. Best: When We Were Young.



18. Amy Winehouse - Lioness: Hidden Treasures. Posthumous releases should always be viewed with suspicion, but thankfully this one manages to be an appropriate tribute to an amazing singer gone before her time. Her modern take on '60s soul remains one of pop music's most interesting tricks in recent years. Best: Our Day Will Come.

19. Jessie J - Who You Are. Jessie J received so much hype that it would be hard for the singer to live up to it. And yes, her album wasn't "all that," but it was still pretty decent pop from the strutting "Do It Like a Dude" to the affecting title track. She's got a lot of people in her corner. Album #2 could be even more interesting. Best: Who You Are.

20. The Civil Wars - Barton Hollow. Like Isobel Campbell & Mark Lanegan, Robert Plant & Alison Krauss and Glen Hansard and Markéta Irglová, The Civil Wars achieves a beautiful alchemy with the tried-and-true formula of a male/female vocal harmony over a lovelorn folksy sound. And then they kicked up their heels with the album's title track. Moving and fun. Best: Poison & Wine.

21. The Black Keys - El Camino. These southern-influenced blues rockers from Ohio shifted their sound more toward classic rock & roll for this seventh album. More and more they sound less like the stopgap for The White Stripes' absence and more like that duo's worthy successor. Best: Dead and Gone.


22. Ed Sheeran - +. I didn't get around to reviewing this album, since I only recently got it (consider it a 4/5 rating). Although I wasn't initially sold on Sheeran via "The A Team," in the end, I was ultimately won over by his acoustic-leaning pop debut, particularly its more upbeat tracks. Best: Lego House.

23. Radiohead - The King of Limbs. That Radiohead's eighth album is more of an exercise in sounds than in songs means this album won't be for everyone, but for those who like Kid A and Amnesiac because of that, then should be up your alley. Best: Bloom.


24. Kasabian - Velociraptor!. Fourth album by British rockers Kasabian finds them mining familiar '60s territory but with a bolder take than on their last album. Best: Days Are Forgotten.



25. Death Cab for Cutie - Codes and Keys. For their seventh album, these indie rockers from Bellingham, Washington, make their sound lighter and more modern than their recent works. Hints of Arcade Fire permeate the buoyant title track with its deep mix of strings, piano, guitar, bass and drums. Best: Codes and Keys.

26. Bon Iver - Bon Iver. The last thing Wisconsinite folk singer Justin Vernon probably thought when he released his 2008 debut, For Emma, Forever Ago, was that a few years later he'd be a major influence in alternative rock music. Even Kanye West got into him. On this second Bon Iver album, he gets a little more adventurous and manages to still please, even despite the deafening hype. Best: Towers.

27. Gil Scott-Heron and Jamie XX - We're New Here. Serving as an effective stopgap before the hotly anticipated second album from The XX, its member Jamie XX remixed nearly every track from the late soul and jazz poet Gil Scott-Heron, reinterpreting his quirky, final spoken-word album into a satisfying dose of late-night electronica. Best: The Crutch.

28. Frank Ocean - Nostalgia, Ultra. Singer Frank Ocean has been tipped to be a major breakout star next year. This year, however, he's already racked up a lot of acclaim for his self-released mix tape, a winning mix of original songs and remakes where he sings over popular songs with his own new lyrics. Best: Strawberry Swing.

29. Fleet Foxes - Helplessness Blues. Like Bon Iver, this is another indie act that achieved significant acclaim with its folksy debut and followed it up this year with a second album of similarly great material. Title track "Helplessness Blues" proves that, like Mumford & Sons have shown, folk music doesn't equate always with slow and quiet. Best: Helplessness Blues.

30. Raphael Saadiq - Stone Rollin'. Retro R&B is a trend right now for sure, but with so many great examples of it, like this eclectic set from Raphael Saadiq, I'm not ready for it to end. Stone Rollin' is an eclectic, decade-jumping work with a of heart and soul. Best: Go to Hell.


31. Wilco - The Whole Love. Wilco's eighth album delivers much of the same from the band as what we've heard before--accomplished alt. rock with influences from country and '70s rock. But it's the dynamite 7-minute opener, which dabbles a bit in Radiohead Kid A electronica and delivers a 2-minute guitar solo, that makes this album worthwhile. Best: Art of Almost.

32. The Naked and Famous - Passive Me, Aggressive You. Although "this year's MGMT" ended up being Foster the People, New Zealand's The Naked and Famous auditioned for the role with this lively, at times moody debut of new wave revival pop. Best: Young Gun.


33. Kanye West & Jay-Z - Watch the Throne. Two kings of rap show they can effectively share the throne with this collaboration, one of the year's most hotly anticipated albums. As you'd expect, modesty is rarely displayed on this album chock full of ego and big-name guests (including two acts named above). Best: Why I Love You.

34. Beady Eye - Different Gear, Still Speeding. One fourth of the former Oasis is up at #16 and the rest are here at #34. It might sound corny to say these albums sound like brothers, except for the fact that they literally are made by brothers, so its fitting. Oasis fans should find solace in the fact that both albums are pretty great, with this being the bolder and more upbeat of the two. Best: If I Had a Gun...

35. Rihanna - Talk That Talk. Another year, another Rihanna album. On her sixth outing, the Barbadian singer continued global chart domination with her most risque work yet, continuing to churn out frothy dance pop and laid back island-inspired grooves. Best: We Found Love.

36. Britney Spears - Femme Fatale. Britney got her career back on track with 2008's Circus and she continued her hit streak this year with this unabashedly frothy dance pop album. She slowed down a bit for the album's final track, "Criminal," and that proved to be interesting too. Best: Till the World Ends.

37. Katy B - On a Mission. Those needing a lesson on contemporary dance music styles could do worse than listen to Katy B's debut album, on which she explores a variety of contemporary and (recently) retro dance styles, including dubstep, garage and drum 'n' bass. Best: Lights On.

38. Real Estate - Days. On Days, Brooklyn-based Real Estate's second album, the band churns out mellow and melodic rock. They don't produce much in the way of variety, but have a pleasant sound--the kind of music that's a nice soundtrack to a sunny Sunday afternoon. Best: Green Aisles.

39. Washed Out - Within and Without. Washed Out wears its influences on its sleeves--its ambient electronica evokes names like Moby and Chemical Brothers. Another "chill" album that lives up to that nickname. Best: Eyes Be Closed.


40. Glee: The Music Presents - The Warblers. With The Warblers release, Glee came as close as it may ever come to putting out a proper album, since the group, which is really actor/singer Darren Criss and Tufts University's male singing group The Beelzebubs, sing all these songs a cappella, effectively imitating a bevy of instruments. Best: Teenage Dream.

Worst Album of the Year

Moby - Destroyed. I supposed it's unlikely this is actually the worst album of the year. Hopefully I never had a chance to hear that. Still, I was awfully disappointed by this bland release, which only recycled his old sounds.

10 Videos

Rihanna (feat. Calvin Harris) - We Found Love
How long before Rihanna shows up in a movie? She seems interested in acting, with many of her videos depicting stories. "We Found Love" is the most fully formed we've seen from her yet, the story of a passionate but deeply troubled young couple on a drug-fueled course to self destruction. It has the look of a grimy art house film.



Beyonce (feat. J. Cole) - Party
Wow. This video is really cool and kind of shameless. It takes the beautiful (and filthy rich) Beyonce and recasts her as a trailer park girl. Love the grainy '80s look. The best bits--the girl who drinks from a hose, Beyonce smiling with the frying pan, the crimped hair, and the yellow faux fur jacket. Look for cameos from lil sis Solange and cousin Kelly.



Beyonce - Countdown
This video, dressed in '60s chic, couldn't be more different from "Party." As fun as that one is, this is really the better of the two, with a lot of interesting and retro visual film elements. The Audrey Hepburn homage works great. Check out the clearly pregnant Beyonce at 0:36.



Olly Murs - Dance with Me Tonight
I hadn't even heard this song yet until I just watched this video. What can I say? Great '50s swing-influenced song and a super cute video. Olly's looking better than ever.



Lady Gaga - You and I
This isn't exactly recent, but I hadn't watched it yet. It's definitely worth checking out. After the lo-fi production of "The Edge of Glory," "You and I" sees Gaga return to a more typically epic video. It's inspired by the song's lyrics about returning to Nebraska to salvage a failed relationship, but takes that story to an extreme, with imagery of a cybernetic chic Gaga, mermaid Gaga, and even a male Gaga, along with a ripped mad scientist (Taylor Kinney).



Nero - Crush on You
At first blush, it looks like this is going to be some gauzy teen love story set at a boarding school. Then--bam! It morphs into a '70s style horror movie, complete with cool lo-tech effects and lots of creepy images.



The Saturdays - My Heart Takes Over
Beautifully shot on location in Iceland with imagery that compliments the ballad nicely.



Loick Essien - Me Without You
"Me Without You" tries to do for Los Angeles was "How We Roll" did for London, but unfortunately doesn't pull it off. I think this video is dull, which is a shame, because I really like this song.



Labrinth (feat. Tinie Tempah) - Earthquake
This is mostly uninteresting computer animation with a blatant Mini product placement. Although I do like the weird robed guys that show up at about halfway.



David Guetta (feat. Usher) - Without You
Speaking of earthquakes...This video is awfully silly. The premise is that people all over the world dancing simultaneously to David Guetta's irresistible music cause massive tectonic upheaval that sends the continents on course to merge, allowing the people dancing on the various shores to unite and dance together in harmony. Of course if this were to really happen, they all wouldn't be smiling, they'd be dead.

New Album Releases June

Get ready for Beyoncé, who leads June's list of new releases, which also features the latest from Bon Iver, Arctic Monkeys and (finally) Sophie Ellis-Bextor (as well as a new album from her husband's band).

Beyoncé - 4 (June 24). This is the biggest album slated for summer so far, the fourth release from one of the world's biggest female pop stars. Last time out, she gave us a concept album of sorts, a two-disc set divided into calmer pop ballads and livelier upbeat songs. I Am...Sasha Fierce was another tremendous success for the former Destiny's Child frontwoman, nabbing her many Grammy nominations and three monster-sized global hits ("If I Were a Boy," "Single Ladies" and "Halo"). For this album, there's just one disc, but based on what I'm reading, it will be much more musically varied than Sasha, with Beyoncé naming influences like Stevie Wonder, Michael Jackson and Lauryn Hill--signaling perhaps more retro and hip-hop sounds--as well as Nigerian musician Fela Kuti. So far I've heard three songs from the album and they're all quite different. First up was "Run the World (Girls)," which had an explosive rhythm but failed to connect well with the public. Second single "Best Thing I Never Had," which I've only heard once but liked. And then there's "1+1," the album's first track, a guitar-backed ballad in the vein of "If I Were a Boy" available from iTunes as a preview track.

Bon Iver - Bon Iver, Bon Iver (June 21). Bon Iver's 2008 debut For Emma, Forever Ago, isn't the sort of thing I'd usually be attracted to. It's woodsy folk/rock recorded in rural Wisconsin doesn't seem like music for pop fans. Yet Bon Iver's gorgeous melodies are quite compelling and, although I didn't get this album until late last year, I've definitely fallen under its spell. And I'm not the only one. Bon Iver attracted the attention of Kanye West, who featured the band on several songs from last year's My Beautiful Dark Twisted Fantasy, most notably on "Lost in the World," which heavily samples Bon Iver's "The Woods." This albums first single, "Calgary," includes synthesizers, which is a big departure from the sound of For Emma. Definitely interested in hearing what they do this time.

Arctic Monkeys - Suck It and See (June 6). Based on what was being written in the British press, Arctic Monkeys arrived in late 2005 as the saviors of alternative rock music. Of course, nobody can live up to that kind of hype, but their 2006 debut and its 2007 follow-up were both satisfying sets of short, explosive songs. By the time they released their third album in 2009 though, they'd lost much of their luster. With this fourth album, it sounds like they may be taking a new direction. At least that's my impression from its first single, "Don't Sit Down 'Cause I've Moved Your Chair," which sounds totally different, with louder, deeper guitars and a more measured approach. The album is produced by James Ford, who produced their last two albums.

Sophie Ellis-Bextor - Make a Scene (June 5). It's been 4 years since Ellis-Bextor's last album, Trip the Light Fantastic. Since then there's been much uncertainty about what we'd get from her next. At one point there was going to be a greatest hits set, then a new album, which got pushed back, and changed its name, etc. Finally it looks like we're going to get this album, Make a Scene, which has already been released in Russia. It features new single "Starlight" plus the several tracks Ellis-Bextor has put out the last few years, "Bittersweet," "Not Giving Up on Love" and "Heartbreak (Make Me a Dancer)." The production lineup features big names like Calvin Harris, Freemasons and Richard X, and Cathy Dennis co-wrote two of the album's tracks.

My Morning Jacket - Circuital (May 31). American rock band releases its sixth album, the follow-up to the acclaimed 2008 disc, Evil Urges.

All Time Low - Dirty Work (June 6). American punk-rock group releases its fourth album.

Nerina Pallot - Year of the Wolf (June 12). British singer-songwriter releases her fourth album.

Owl City - All Things Bright and Beautiful (June 14). After breaking through big with the single "Fireflies" from their last album, Owl City returns with his third album of electropop.

The Feeling - Together We Are Made (June 19). British band releases its third album.

Lil Wayne - Tha Carter IV (June 21). Lil Wayne's 2008 album Tha Carter III was a massive hit, scoring the #1 single "Lollipop" and earning a Grammy nomination for Album of the Year. Since then, he's put out the comparatively underwhelming "rock" album, Rebirth, and last year's I Am Not a Human Being. So this could be a return to form, although it's yet to generate a hit single.

Vanessa Carlton - Rabbits on the Run (June 21). Remember "A Thousand Miles" from 2002? That was from Carlton's first album--this is her fourth.

Weird Al Yankovic - Alpocalypse (June 21). The king of pop music parody releases his 13th album, his first in 5 years. This time he takes on Lady Gaga ("Perform This Way," "Polka Face"), T.I., White Stripes and Taylor Swift, among others.

Limp Bizkit - Gold Cobra (June 28). Sixth album.

Album Review: Beyoncé - I Am ... Sasha Fierce (4.5 / 5)

This decade has seen the emergence of two major pop singers--a man and a woman--who used to front pop groups. The man is Justin Timberlake, who, since departing 'NSYNC, has had two massive albums and multiple #1 hits. The woman is Beyoncé, who since stepping out from Destiny's Child has had similar international success, hitting #1 in multiple countries with songs like "Crazy in Love," "Irreplaceable" and "Beautiful Liar."

Despite these massive hits, when looking back at Beyoncé's albums, they aren't as strong as you'd think they would be. The 2003 debut, Dangerously in Love, opened with several great upbeat tracks and then quickly slumped into ballads for the rest of the album. While "Be With You" and "Me, Myself and I" were pretty decent, most of the rest were a disappointment. B'Day, by comparison, only had a couple of ballads, one of which, "Irreplaceable," was a real gem. While overall a better album than her first, its formula of beat-heavy, retro-inspired ditties was a mixed bag of great treats ("Get Me Bodied, "Deja Vu," "Green Light") and those that were too thin musically ("Upgrade U," "Ring the Alarm").

With her third album, I Am...Sasha Fierce, Beyoncé tries to further her credentials as a diverse pop artist at home on formats from edgy R&B to traditional adult contemporary. It's an ambitious two-disc set, the first a set of pop ballads and the second consisting of more upbeat R&B/pop. As such, it merges the styles of her previous two albums, and here's the good news: both manage to succeed in ways I was concerned they would not.

Let's start with the first disc. Since I was largely dissatisfied with the ballads of Dangerously in Love, the prospect of sitting through a whole disc of them was daunting. I couldn't have been more wrong though. It's refreshing to see how much Beyoncé's grown as a ballads artist as they are the best songs here. Torchy "If I Were a Boy" is a strong opener, its gentle guitar-backed verses breaking forth with its powerful choruses. It's a call to men to treat their women better through the guise of Beyoncé proclaiming that if she were a boy, she would know how to treat her woman better.

Besides "If I Were a Boy," there are lots of other highlights on the first disc. "Disappear" is a wonderfully understated song, one of several that show Beyoncé understands (unlike some of her peers) that a ballad doesn't have to be belted out at full force to be an effective song. "Broken-Hearted Girl" sounds as obviously destined for radio as "...Boy," backed by a lovely melody of tender strings and plodding piano chords. "Ave Maria" is stunning, inspired by the classic aria of its moniker. "Satellites" is gentle, graced lightly by acoustic guitar and low strings.

One of the best aspects of these songs is how well they showcase the degree to which Beyoncé has grown as a singer. She sounds as good belting out "If I Were a Boy" as she does on the lightly breathy "Disappear," the soaring "Ave Maria," and the restrained "Satellites." Any critic who's previously asserted that her pipes aren't up to the task are proven wrong here. The only drawback of this disc is "Halo." Penned by Ryan Tedder ("Bleeding Love," "Apologize"), its attempt at an epic sound contrasts too harshly with the other, gentler tracks, making it come off as overly bombastic.

"Ave Maria" isn't actually a recording of the classic aria, but a piano-driven pop song inspired by it. It's actually pretty good too. And I don't think Beyonce has sounded as good on a ballad as she does on "Satellites," which also shows a restrained touch with an unusual arrangement of synths and acoustic guitar. This sounds like something from the '70s.

The Ryan Tedder-penned "Halo," however, is a disappointment--too bombastic. It's interesting hearing Beyonce put so much emphasis on ballads this time--giving them their own disc. In the past, they've been her weakest songs, especially on Dangerously in Love, although she made headway last time with "Irreplaceable."

Disc two begins with the delightfully frothy "Single Ladies (Put Your Ring On It)." It's hand-clap beats and quick-fire approach are reminiscent of B'Day's "Get Me Bodied," but with modern synth effects. It's a good beginning to the upbeat set that, while less consistently good as the first disc, explores a satisfying range of sounds. "Radio" is a charging swirl of beats, deep synth lines and electronic effects. "Sweet Dreams" is underpinned with a deep, very '80s synth groove.

Less satisfying is "Diva," Beyoncé's bid to be a hip-hop artist. She alternately sings and raps, mostly just saying over and over that "A diva is a female version of the hustler." Thanks for the insight B. Telecommunications has always been a special subject for Beyoncé (remember when Destiny's Child sang about canceling their MCI long distance service in "Bug a Boo?"), and she stays current with "Videophone," where's she's subjected to being taped by someone's cell phone. She coos about the event over a tuneless beat arrangement.

The standard version of this album is 11 tracks, but an expanded 16-track edition is also available. While I generally subscribe to the less-is-more philosophy, the additional songs are generally as good as the others, and in the case of the second disc, round the set out rather well. Of the two additional songs on the first disc, "Smash Into You" is the better of the two. While I like the guitar sound of "That's Why They're Beautiful," the song never takes off like it seems it should. Disc two's extras include old school- flavored "Ego," an engaging blend of horns and harmonized vocals and mid-tempo "Scared of Lonely," both of which give the "Sasha" half of this album greater depth than the party-minded songs that precede them. "Hello," however, suffers from an identity crisis as it mixes a sweet piano and strings melody with fast beats and lyrics, creating a disjointed tempo.

Despite the fact that having the songs separated into the slow and fast buckets allowed me to evaluate Beyoncé's growth in both modes, I think this album would have been stronger had she mixed them together into one cohesive package and jettisonned the weaker tracks. And the gimmicky "Beyoncé" vs. "Sasha Fierce" persona division is really pointless, as Beyoncé has always been a rather private star, so the first disc isn't revealing in the manner its been purported to be, and Beyoncé's never hidden by a personal before when she's churned out stompers like "Crazy in Love" or "Deja Vu." As a marketing gimmick, it isn't needed in this era of download sales where most people listening to this will have all the songs in one playlist anyway. Overall though this is a really strong album that succeeds in showing off Beyoncé as a multi-faceted pop act.

Best: If I Were a Boy, Ave Maria, Disappear, Satellites, Broken-Hearted Girl, Single Ladies, EGO, Radio, Smash Into You, Sweet Dreams

Fall Music Preview - November/December

November:

Release of the Month: Dido - Safe Trip Home (11/3) Finally, after 5 years, Dido is finally ready to release the follow-up to Life for Rent, Britain's biggest album of 2003. Her downbeat-influenced pop made her one of the world's most successful female artists early this decade. First single "Don't Believe in Love" debuts at radio next week, and her Web site is currently offering a free download of the track "Look No Further."

Beyoncé - Virtuoso Intellect (11/11) Timbaland produces, but not much else is known about Beyoncé's upcoming third solo album, other than it will surely be a massive success once it's out.

The Killers - Day and Age (No date). Produced by Stuart Price, the man behind Madonna's clubby Confessions on a Dance Floor, so expect this to be more along the lines of their first album, Hot Fuss.

Kelly Clarkson - TBD (11/18) Kelly Clarkson made headlines last year for her publicized spat with record exec Clive Davis. A very bad move, and her career suffered for it. My December, while not a bad album, was a commercial disaster, scoring only one somewhat major hit in "Never Again," damaging the momentum created by her amazing second album, Breakaway. Consequently, Kelly repented, vowing to improve on her fourth album. Ryan Tedder of OneRepublic is on board as producer.

Timbaland - Shock Value II (11/4). As if he isn't busy enough producing for others, Timbaland has another one of hits own star-filled collections coming out. This time he'll be featuring Madonna, Linkin Park, Gwen Stefani, Jordin Sparks, the Jonas Brothers, Rihanna, T-Pain, Kelly Rowland and Akon. Nobody you've heard of.

U2 - No Line on the Horizon (11/18) Perhaps the biggest band in the world for the last 20 years, U2 are on a roll. Last album How to Dismantle an Atomic Bomb won the Album of the Year Grammy in 2006. The band has hinted at a more experimental direction for this, their 12th studio album.

Also:

Fall Out Boy - Folie a Deux (11/4)
David Archuleta - TBD (11/4)
Brandy - Human (11/11)

December:

Ciara - Fantasy Ride
Britney Spears - 6th Album

Hopefully sometime this lifetime:

Whitney Houston - 6th studio album.

Beyonce's "Green Light"

I can't get enough of Beyonce's new British single, "Green Light (Freemasons Remix)." The video is below. I actually wasn't that interested in B'Day when it came out about a year ago, but I've gotten into it lately. I also really like "Get Me Bodied," her current American single. The Freemasons have turned several of her singles into really great house numbers, particularly the Shakira collaboration, "Beautiful Liar."