Album Review: Robert Plant & Alison Krauss - Raising Sand (4 / 5)

Okay, so I'm not a fan of either Robert Plant or Alison Krauss, but I was intrigued by this album when it was released. Unusual pairings have resulted in some pretty cool music, such as Kylie Minogue and Nick Cave's "Where the Wild Roses Grow" or last year's fantastic album by Belle and Sebastian singer Isobel Campbell and former Queens of the Stone Age singer Mark Lanegan, Ballad of the Broken Seas.

Just who are these people? Robert Plant is a British rocker best known for being the vocalist in Led Zeppelin, but whose solo work has crossed a number of genres, including blues rock. Alison Krauss is a bluegrass singer (bluegrass is like country crossed with folk--mostly acoustic stringed instruments, or so Wikipedia tells me). An odd couple for sure, but so was smoky Lanegan and sweet Campbell.

The results aren't as delightful as what Campbell and Lanegan made, but they aren't bad, with songs that land somewhere between country, folk, and the blues (or bluegrass I guess). The production tends to be pretty simple and often quite moody, such as on the sultry opener "Rich Woman," which relies heavily on bass guitar.

The twangy guitar of "Killing the Blues" makes it sound more country. It's a mellow song, a harmonic duet ballad with a gentle rhythm. "Through the Morning, Through the Night" is another country ballad, with Krauss taking the lead on the verses and Plant joining her for the chorus. It's a lovely, if not sad, piece. While Plant and Krauss sing together on many songs, often one or the other takes the lead. Plant gets the duty on "Please Read the Letter," a more rock-oriented number with a plodding guitar and percussion melody.

"Gone Gone Gone (Done Moved On)" is the upbeat highlight, with a guitar line reminiscent of The Smiths' "How Soon Is Now." It contrasts dramatically with the atmospheric "Polly Come Home," which is very, very slow, like it could be a track from the Brokeback Mountain soundtrack.

"Stick with Me Baby" has the strongest pop presence of any song. The duet has a warm sound and a nice, gentle melody, its guitar rhythm punctuated sometimes by cymbal. "Let Your Loss Be Your Lesson," another upbeat track, has a similarly strong melody. "Your Long Journey" is a genteel closing number, a soft duet devoid of percussion.

Raising Sand is a gentle collection of folksy songs, many of them remakes, mostly featuring acoustic instruments. Though some songs have a darker edge, most have a reassuring warmth that makes this a comforting listen.

Best: Gone Gone Gone, Please Read the Letter, Killing the Blues, Through the Morning Through the Night, Rich Woman, Stick with Me Baby

Album Review: Fall Out Boy - Infinity on High (3.5 / 5)

Don't let the introduction by hip-hop master Jay-Z or the fact that R&B/pop producer Babyface helmed some of the tracks fool you--this is a good ol' rock album full of big sounding guitars, big choruses and drums hit until you're sure the skins will bust. "Thriller," named after the Michael Jackson classic in yet another pop/R&B reference, dials up the electric guitar and includes enough lyrical references about the trappings of fame to you let you know this is a band whose fame is fairly new--developed between this and their first album, From Under the Cork Tree. Similar "The Take Over, The Break's Over" follows with bursting guitar and drums.

As upbeat as the first two tracks are, they're pretty mid-tempo compared to the album's first gem "This Ain't a Scene It's an Arms Race," a dramatic rant against the "emo" scene that punches the first two words of the lyric "god damn arms race" to reinforce the swear before launching into a manic sped up chorus. It's the best power pop/rock song on the album. The album's other major hit, the upbeat "Thnks fr th Mmrs" (you fill in the vowels) is a dramatic hit with orchestral flourishes biding time before the big, guitar-drenched chorus.

Though they do it well, the band can do other than big, loud, brassy numbers. Mid-tempo "I'm Like a Lawyer with the Way I'm Always Trying to Get You Off (Me and You)" has a plodding rhythm in the verses and a great hook in the melodic chorus. And "Golden" shows the band can also slow down the rhythm to do a lovely piano ballad, that, unlike a lot of bands that use perhaps a few chords or tinkles from a piano, actually manages to use a good deal of its dynamic range.

These songs, along with rollicking "Fame < Infamy," are my favorite tracks. A lot of the rest kind of sounds the same--loud, upbeat, guitar rock, such as "Hum Hallelujah," "The Carpal Tunnel of Love," and "Bang the Doldrums." The only other distinctive track for me was the final number, "I've Got All This Ringing in My Ears and None on My Fingers," which has a really cool opening with horns and uses piano throughout with little dramatic pauses.

Not a classic, but not bad. Probably one of the better hard rock albums I heard this year--certainly better than the disappointing An End Has a Start from the Editors. Seems a little too obsessed with singing about fame though; hopefully they'll grow out of it.

Best: Thnks fr the Mmrs, This Ain't a Scene It's an Arms Race, Me and You, Golden, Fame < Infamy, I've Got All This Ringing in My Ears and None on My Fingers

Album Review: Spoon - Ga Ga Ga Ga Ga (4.5 / 5)

Ga Ga Ga Ga Ga is a refreshingly good alternative album. Refreshing in that it works not because it's obsessed with being clever, but that it delivers good basic rock. The set is pretty much mid-tempo all the way--no swoony ballads, no clubby rock outs--and benefits from an excellent production. The bass guitars are prominent, the electric guitars crackle, the piano chords come through loud and clear.

"Don't Make Me a Target" is a great opener, with prominent bass guitar, rhythmic electric guitar, and sharp piano chords interspersed with hand claps. It has a staccato rhythm, and the punctuated sound permeates a lot of their songs, such as second track "The Ghost of You Lingers." The album title, according to Wikipedia, actually refers to their predilection to use staccato prominently. Here it's layered piano chords, which is a cool sound, but this is actually my least favorite song on the album, since I feel like it doesn't really go anywhere besides having cool piano chords.

Spoon gets back on track with "You Got Yr. Cherry Bomb," the album's best track. This upbeat, soulful track adds horns to the mix, with piano still prominent. Melodic "Don't You Evah" is also quite good, with a plodding character driven by bass and guitar. I also like the darker "Rhythm & Soul," which again has a strong guitar and bass interplay.

Other highlights include "The Underdog," perhaps the album's most upbeat track, which again prominently features a horn set in addition to the standard guitar/bass/drum combo. Tambourines and hand claps lend a retro flair too, '60s-ish perhaps. The track that follows, "My Little Japanese Cigarette Case" is quite a contrast, but I love it too. A leaner production and synth bursts give it a nice atmospheric quality. The bass guitar comes through great here too.

There's really nothing bad here at all. Strutting "Eddie's Ragga" reminds of Hard-Fi, whom I adore; "Finer Feelings" (not a Kylie remake) adds some electronic bleeps to the guitar, bass and hand claps mix, along with a harmonized vocal; and final track "Black Like Me" finishes the set on a quieter note with acoustic guitar and piano.

This is the Austin, Texas band's sixth album and a bit of a commercial breakthrough for them (it hit #10 on the Billboard 200). I'd never heard of them before, but I thought it was really cool.

Best: You Got Yr. Cherry Bomb, Don't Ya Evah, The Underdog, Don't Make Me a Target, Rhythm & Soul, My Little Japanese Cigarette Case.

2007: The Year in Pop Music

Here's my rundown of the year's pop music stories, trends, quirks, and whatever else I feel like expounding on:

• Amy Winehouse. How glorious a pop music figure is Amy Winehouse? Everything about her is this curious yin/yang balance. Back to Black was an amazing album, unspooling hit after hit--Rehab, You Know I'm Know Good, Back to Black, Tears Dry on My Own, Love Is a Losing Game--each one unique, clever, soulful, and sad. Her biggest hit of the year, "Valerie," began life as a Radio 1 Live Lounge performance before landing on her producer Mark Ronson's pet project, Version. She's got an amazing voice, but she sounds 34, not 24, which means she got that voice for some hard living. Her songs are witty, raunchy and in-your-face. But unlike many of her pop peers, she's not being ironic--she really does have substance abuse and emotional problems. "They tried to make me go to rehab but I said no no no" sounds cool until you realize it's not just a lyric, with the bitter truth unspooling through the tabloids over the course of the year, bringing me too...
• Tabloid queens. What is it with bad girl celebs this year? Winehouse excepted, it's like they realized their albums and movies would never be enough to net them publicity, so they ran around shaving their heads, driving recklessly, posing for mugshots, and serving time. Britney had perhaps the most amazing year of all, surprisingly capping it with an album that managed not to tank. The fate of her children though, remains in the balance, speaking of which...
• Babies and bad lyrics. Babies were everywhere in pop music this year. Unfortunately, they weren't a cause for celebration. Britney Spears lost custody of hers. And Britney's little sister Lynn, having seen from her older sister's example how beautiful motherhood could be, announced that she will join those ranks next year. Maybe she thinks that since she's starting earlier (16), she'll be better off than Brit. Then there's the music, where babies lent some of the year's worst lyrics. Natasha Bedingfield's comeback flop "I Wanna Have Your Babies" has them "springing up like daisies." Shayne Ward, pining for a beautiful girl in "Breathless" said "And if we had babies they would have your eyes. I would fall deeper watching you give life." Mmm..hope he feels the same way about the ensuing diapers.
• Attack on spelling and grammar. Pop music and spelling/grammar have never mixed well (remember Sinead's "Nothing Compares 2U?"), but this year had some particularly egregious fare. I love Timbaland's "The Way I Are," but every time I read the title I wince. Then there's Pink's equation song, "U + Ur Hand," which really needed an parenthetical answer ("= luv @ 1st site"). T-Pain scored a hit with "Buy U a Drank," the "U" aside, what exactly is a "drank?" Sounds like past tense of "drink," so does that mean it's an empty glass? Gee thanks T-Pain, thanks for this empty sticky glass you bought me. Next time I'll take a pint of ale.
• British sophomore slumps. Sophomore slumps are, of course, well documented, but it seems like an inordinate number of British acts suffered them big time this year. Natasha Bedingfield's NB lacked a proper "These Words" or "Unwritten" hit, James Blunt's "1973" was no "You're Beautiful," KT Tunstall got airplay but no sales for "Hold On" or "Saving My Face." The bands fared similarly, many getting one big hit, but then tanking with all the rest, a la Kaiser Chiefs, Hard-Fi, The Editors.
• R&B embraces electro and the '80s. After being dominated by the melody-free "beats" of the last few years, R&B & Hip-Hop took a nice turn back toward being tunesome this year, finding inspiration in the '80s, electro (or both), delivering such gems as Kanye West's "Stronger" and "The Good Life" and Rihanna's "Umbrella," "Shut Up and Drive," and "Don't Stop the Music." Even 50 Cent picked up on this trend, with the winning Justin Timberlake collaboration "Ayo Technology."
• Clive Davis rules the industry. This truism was proven again and again this year. Kelly Clarkson dare speak out publicly against him? No hits for you Kelly! Her third album managed only the moderate hit single "Never Again," which she has since adopted as her mantra. In contrast, after third season X-Factor winner Leona Lewis caught his eye, she's on the way to becoming a massive international star next year.
• The music industry (finally, maybe) embraces technology. There's still some ripples of angst on this issue, but things are starting to look better. ITunes began offering DRM-free tunes, at a premium for a while, but now at the same price. Radiohead famously released their album from their Web site, allowing fans to pay whatever price they wanted. More back catalogs got added to iTunes, including much of the Beatles' solo work (still not their catalog proper). Still awaiting Garth Brooks to throw his hat in the ring.
• Female pop artists dominate. For every notable male pop artist I can probably name four or five female ones. This year was no exception, with Justin Timberlake being the only real male game in town. Compare that with the chart domination this year by Fergie, Rihanna, Beyonce, and Nelly Furtado, most of whom were still working last year's albums. Next year should be no exception, with new discs on the way from Madonna, Mariah Carey, and Dido by June.
• The UK chart has gone crazy. For the first year since I started following the British singles chart, it actually produced the same number of #1 hits as the Billboard Hot 100--17 singles. That's down from a record 42 #1 hits in 2000. The change in chart rules that allows any track to chart led to a few oddities--singles charting way in advance of a physical release, the assault of seasonal tunes in December, and the few one-offs like the return of Phil Collins' "In the Air Tonight" and the radio station promotion that returned Billie's 8 year-old "Honey to the Bee" to the chart.

Personal Chart, 12/29/2007

TW LW Title - Artist
1 .... 1 .... Apologize - Timbaland Featuring OneRepublic (2 wks @ #1)
2 .... 3 .... Call the Shots - Girls Aloud
3 .... 6 .... Clumsy - Fergie
4 .... 2 .... Bleeding Love - Leona Lewis (7 wks @ #1)
5 .... 9 .... Love Is a Losing Game - Amy Winehouse
6 .... 7 .... No One - Alicia Keys
7 .... 4 .... Change - Sugababes
8 .... 8 .... Valerie - Mark Ronson Featuring Amy Winehouse (1 wk @ #1)
9 .... 5 .... Hate that I Love You - Rihanna Featuring Ne-Yo
10 .. 14 .. Relax, Take It Easy - Mika

Best of 2007: Books

I love to read, but last year was just too crazy to do much of it. Consequently I only read 13 books last year, so this year I recommitted myself to reading and nearly doubled that. It's hard though with all the distractions of life (this blog being a primary one). Here's my list of the top 10 fiction I read this year released within the last two years:

1. Harry Potter and the Deathly Hallows - JK Rowling. JK Rowling penned the perfect wrap-up to her monolithically popular series. With such weighty expectations, it would have been understandable if this fell short--even a little bit--but she met the challenge head on, pushing the story past its boarding school trappings into the larger, broader (and scarier) world beyond the Hogwarts school, as Harry, Hermione and Ron cross the threshold into adulthood. It's naturally the darkest book yet, with a body count and battle scenes to rival any action film. It revisits locales and characters from throughout the series, tying up loose ends here and there. And just as Order of the Phoenix burst Harry's romantic vision of his father by showing how even James Potter was once an arrogant teen too, here too-perfect Dumbledore is also revealed as having some skeletons in his closet (and no, I'm not referring to the post-publication revelation from Rowling that he's gay). That good guys turn out to be flawed and bad guys turn out to be penitent (sometimes) shows the extent to which this series isn't a simplistic morality tale, but a rich modern take on humanity.

2. The Reluctant Fundamentalist - Mohsin Hamid. A Princeton-educated Pakistani, living the American Dream as a successful New York businessman, confronts his place in the world following the changes in the U.S. and his home country after 9/11. The short, simple prose of this moving novel betrays its rich thought-provoking nature. It's not what I expected, and that I expected something different reveals on a personal level the now deeply rooted prejudices harbored by post-9/11 Americans.

3. The Abstinence Teacher - Tom Perrotta. Perrotta takes a defining issue of the so-called culture war and uses it to pit two opposing "warriors" against each other, who ultimately come to understand (and maybe love) each other. It's also laugh-out-loud funny, especially the chapter where a group of teachers attend a punitive weekend session for straying from their abstinence-only curriculum.

4. Finn - Jon Clinch. The trend of building a novel around the embellished story of a classic novel's minor character (Geraldine Brooks' March won the Pulitzer last year for doing so with a Little Women) continues with Finn, the dark tale of the origin and fate of Huckleberry Finn's father. Using modern language Clinch has effectively woven his own brutal story around the 19th Century Twain classic.

5. The Echo Maker - Richard Powers. At times humorous and gut-wrenching, this is the story of an urban woman who returns to her small town roots to care for her brother who, following a traumatic accident, suffers a brain damage condition where he can remember but not recognize those he loves.

6. A Thousand Splendid Suns - Khaled Hosseini. The follow-up to The Kite Runner manages to delve deeper into Afghan society, this time focusing on the evolving place of women in the country before, during and after the grip of the Taliban. It's predictable, but the emotions are genuine, and the story is satisfying.

7. The Road - Cormac McCarthy. Not recommended for the clinically depressed; McCarthy's bleak novel follows a father and his young son on a post-apocalyptic journey across the charred Earth to find the remnants of humanity--if they still exist.

8. The Emporer's Children - Claire Messud. Pampered twentysomethings manage to waste their lives striving to define themselves against the expectations built their whole lives that they are meant to be something more than anyone else. A good novel for anyone who wonders how the Manhattan set live.

9. The Ruins - Scott Smith. What starts off run-of-the-mill (two young couples take a boozy vacation in Mexico) quickly turns dark and terrifying as an afternoon expedition in the jungle turns into nightmarish science fiction, crossing the breaking points of human endurance, compassion, and suffering.

10. On Chesil Beach - Ian McEwan. Ian McEwan continues to prove that he's one of the most important working novelists with this compact yet dense story of the breakdown of two newlyweds' relationship at the start of their honeymoon. I read this contemporary novel about a traditional 1950s British couple right before reading Revolutionary Road, a 1950s novel about a non-traditional American couple. Nice contrast.

Other books I read and loved. Nonfiction: Mother Tongue by Bill Bryson (a nugget-filled history of the English language), Garlic and Sapphires by Ruth Reichl (the engrossing memoir of the now Gourmet editor's stint as the New York Times food critic), Under the Banner of Heaven by Jon Krakauer (examination of the growth, evolution and breadth of Mormon religion). Classic Fiction: The Grapes of Wrath by John Steinbeck, Revolutionary Road by Richard Yates. Disappointments: The Yiddish Policeman's Union by Michael Chabon (noirish crime fiction, was fine until the disappointing conclusion), Consolation by Michael Redhill (cool premise weaving a modern story and a historical one both set in Toronto, but I never believed in the characters).

Album Review: Rilo Kiley - Under the Blacklight (4.5 / 5)

Rilo Kiley is a Los Angeles-based band that's grown steadily from its independent label roots to a mainstream major label rock band. Such an evolution usually draws ire from a group's early adopters, while picking up many more fans along the way. Since I'm in the latter category, no such ire from me, only adoration for this fantastic album, the band's fourth.

Breezy country-leaning "Silver Lining" opens the set like a breath of fresh air, swaggering onto the scene with twangy guitars, piano chords, and sharp percussion. It doesn't hurt that lead vocalist Jenny Lewis has a great voice too, and she sounds great throughout the album. Her combination of smoothness, restraint and heft reminds me a bit of Liz Phair, with a little folksy Sheryl Crow. "Close Call" contrasts the easy living feel of "Silver Lining" with a darker rock vibe, reminiscent of the early '90s. "The Moneymaker" also has a dark vibe, but an older rock strut.

Cutesy "Breakin' Up" is laced with electronic flourishes, similar to much of the songs from their second album, The Execution of All Things, although to my ear its '80s sound recalls Gwen Stefani's solo work more than the band's prior stuff. Closing track "Give a Little Love" has a similar sound.

"Under the Black Light" also opens with a dose of synths, but quickly shifts in a guitar-driven mid-tempo format. It's a richly melodic track and a definite highlight.

Critics have compared Under the Blacklight to Fleetwood Mac. Since I'm not familiar with them beyond the major hits, I won't go too far into that (my partner, who was a Fleetwood Mac fan in the '80s agrees the comparison is apt). I'm willing to bet that the atmospheric and plodding "Dreamworld" may be case in point, sounding somewhat like "Dreams" (certainly the title might indicate a connection). Lead guitarist Blake Sennett joins Lewis on this track, another winner.

The album sags slightly in the second half. "Dejalo" is an odd disco-funk number with a little Spanish thrown in. Countryish "15" about the loss of teen virginity is a little over the top and the horns come on a bit too strong. Thankfully these are short songs.

Things pick up again with upbeat, old school "The Smoke Detector," whose scratchy guitars and '70s swank sound like this could have played in that Pulp Fiction diner (can't you see John Travolta and Uma Thurman grooving to this?). Upbeat, twangy "The Angels Hung Around" is good too.

Mostly upbeat, but with some dark tracks too, Under the Blacklight has a lot going for it, not the least of which is a varied sound crossing elements of rock, country and dance from the '70s to today. At under 40 minutes, it's a fun, compact set.

Best: Silver Lining, Under the Black Light, Close Call, Dreamworld, Give a Little Love, Breakin' Up

Best of 2007: Television

I'll start my best of the year lists with TV. With the writers' strike still unresolved, who knows if I'll even be able to do this list next year. I don't watch a lot of television, so in order to get 10 shows here, I have to include a couple that I at least watched, but was disappointed in.

1. Battlestar Galactica (Sci-Fi). It took a bit of a dip in its third season, primarily from the set of stand-alone episodes in the middle of the season, but the new version of BSG continued to be television's most challenging show, offering socio-political commentary and multi-layered characters like no other show. The November special Razor wasn't as good as it should have been, but it was still a lot better than your average TV, and the longer DVD version helped flesh it out.
2. Lost (ABC). Lost really took a dip at the beginning of its third season, but about halfway through miraculously regained its footing, driving us toward a mindbending season finale that leaves the future of the show completely up in the air--the sort of cliffhanger on par with Battlestar Galactica's season 2 ending. Where will it take place? When? Are they in alternate reality now? Were they before? I cannot wait to get some of these answers.
3. Project Runway Canada (Slice). This is the Canadian version of the popular Bravo reality series, which debuted in October while I was vacationing there. Fortunately, some wonderful soul put the series on YouTube, which just concluded this week. While the U.S. version is having trouble finding its footing this year (and showing its age), this Canadian take revived the format's freshness, giving us a fantastic host (Iman), another genteel mentor (Brian Bailey), and a likable set of drama-ready contestants. They got it right with the final three, and the show's finale was really quite good. I was almost moved to tears when Elle Canada editor Rita Silvan gushed over Lucian Matis' collection, and his rival Evan Biddell, who'd picked on him all season, embraced emotional Lucian. And who couldn't love perky Marie Genevieve?
4. 30 Rock (NBC). The second season opener with Jerry Seinfeld was a clunker, but most of the rest of the episodes have been consistently laugh-out-loud funny. The cast continues to shine, particularly Tina Fey and Alec Baldwin.
5. The Amazing Mrs. Pritchard (PBS). This PBS import of last year's BBC miniseries broke the stuffy stereotype of Masterpiece Theatre. This show was fast-moving, modern, quirky, and, as a show about a grocery store manager who becomes Britain's prime minister, political. Jane Horrocks gave a fantastic performance in the title role. Shame on the Golden Globes for snubbing her.
6. Kathy Griffin: Life on the D-List (Bravo). Kathy Griffin's reality series was a lot better than I expected it to be. It was hilarious, but also touching, due to the unexpected death of Kathy's father. Is she really still on the D-List? I'm guess she's a solid B by now.
7. Project Runway (Bravo). So far this season isn't as good as the last two, but it's still decent television. What it needs is to focus on the contestants, who I haven't yet developed a reason to either love or loathe.
8. Pushing Daisies (ABC). Visually stunning, but already this new show is getting stale. Still, I do love the lead characters Ned and Chuck.
9. 24 (Fox). The fifth season was awesome, so how disappointing that the sixth was terrible. I'll keep watching out of loyalty, but season 7 better show some marked improvement quickly.
10. Chuck (NBC). This was the other new show I watched this fall, but I gave up on it after about five episodes. It was cute, but just not going anywhere, and the spy-lite formula isn't enough to sustain a series.

Album Review: The Arcade Fire - Neon Bible (4/5)

Now that it's the end of the year, I'm turning my attention to albums I missed earlier in the year, that now for a variety of reasons--awards, year-end lists, friends who insist--I feel I should review. Last week I wrote about Bruce Springsteen's Magic, arguably the year's most acclaimed rock album. Canadian collective The Arcade Fire's second album, Neon Bible, is looking like the year's most acclaimed alternative album (sorry White Stripes). I was disappointed in their first album, 2005's Funeral, which had one great song ("Power Out"), but was largely unfocused.

Neon Bible is an improvement over Funeral, but I'm still not ready to give the band the same pedestal many critics have. There are several good songs, but I feel like too much of it--particularly the second half--sounds the same: a chuga-chuga-chuga-chuga rhythm over a layered soundscape with an overly dramatic male vocalist whose voice is merely so-so.

The albums starts off great though. "Black Mirror," my favorite track, is propulsive, building a great dramatic soundscape through a variety of instruments, including a fantastic strings section that comes in sharply half way through. Upbeat "Keep the Car Running" is good too. It has a similar big sound--as do many of the songs--but comes off hopeful in comparison to the darkness of "Black Mirror." "Neon Bible," at barely over 2 minutes, feels more like an interlude than a song. It dispenses with the usual bombastic arrangement in favor of a few stringed instruments and a chant-like vocal.

The "break" of "Neon Bible" quickly gives way to the church-like "Intervention," which announces itself immediately with pipe organ. Then this vibrating instrument comes in (I'm not sure what it is, but it appears to be an Arcade Fire favorite, showing up throughout the album), followed by the drums and strings and the big sound is back. "Black Wave/Bad Vibrations" reminds me of the New Pornographers, having at first a female lead vocal and then later the male when the song takes a sudden turn. It's an interesting track, dramatic, dark, and romantic. I like that bass guitar gets the spotlight at the beginning of "Ocean of Noise," which has a simpler arrangement (bass guitar would be completely drowned out in most of these songs). Then that same high-pitched vibrating instrument shows up (what is it?).

It's in the next three songs that the album lets me down. None are bad, but they all repeat elements we've heard in the earlier better tracks. "The Well and the Lighthouse" has the same plodding rhythm as "Black Mirror," and it was at this point where the male lead's lack of vocal talent started to get to me. "Antichrist Television Blues" has the similar upbeat feel of "Keep the Fire Running," but is less interesting. "Windowsill" has that chuga-chuga-chuga rhythm, but at least it comes from a different instrument, and I like the use of strings and horns in its second half.

"No Cars Go" is better. Yes that vibrating thing is there, but musically this is a good track. I like the combination of the male and female voices and the symphonic touches. Final track "My Body Is a Cage" is slower, darker, and again features organ, giving it a hymn-like quality.

Neon Bible is a good album, but I don't think it's a masterpiece by any means. I didn't pay much attention to it lyrically (it's just generally not what I do), but what I did hear was pretty dark. The lush soundscapes are interesting, but at times threaten to overpower the music, and too many of the songs have the same plodding rhythm. Where there is variation though, they succeed quite well.

Best: Black Mirror, Keep the Car Running, Intervention, Black Wave/Bad Vibrations, No Cars Go, Ocean of Noise

My Year-End Lists

I'm prepping my year-end media lists. I'll be doing TV, books, movies, albums, and possibly singles. I'll probably do TV and books first. I have three more albums to review before I can do my albums list. Movies is trickier, since there are 5-6 recent releases I'd really want to see before commiting to that. I might have to do a provisional movie list and update it.

UK Chart Notes

• It's a surprise #1 this week for Katie Melua and Eva Cassidy's remake of "What a Wonderful World," a charity release to benefit the British branch of the Red Cross. The story behind this single is rather remarkable. Eva Cassidy was an American singer from Bowie, Maryland, that according to Wikipedia, was mostly unknown outside the Washington, D.C. area when she died of cancer in 1996. In 1998, a posthumous release of her tracks called Songbird was released in the UK, and 3 years later became at #1 hit after promotion of the video for "Somewhere Out There" on the BBC television show Top of the Pops 2. Katie Melua is a british pop singer, frequently noted as the British version of Norah Jones, who first hit the top 10 in 2003 with "The Closest Thing to Crazy," followed by four other top 40 hits. The song "What a Wonderful World" was first recorded by Louis Armstrong and became a #1 hit in the UK in 1968. Almost 40 years later it becomes by far the biggest single by either Katie Melua or Eva Cassidy, knocking Leona Lewis from her 7-week run at #1 with "Bleeding Love."
• Katie and Eva dash any hope of Soulja Boy sneaking in a #1 hit before the big Christmas week. "Crank That" moves up seven spots to #3.
• Christmas favorites continue their charge up the UK chart. Leading the pack of 10 entries--a whole fourth of the top 40--is Mariah Carey's "All I Want for Christmas Is You," up four to #4, followed by the Pogues at #8 with Fairytale of New York, Wham! at #14 with "Last Christmas," the Wizzard at #16 with "I Wish It Could be Christmas Everyday," Andy Williams at #21 with "It's the Most Wonderful Time of the Year," Slade at #22 with "Merry Xmas Everybody" and the similarly titled Shakin' Stevens track "Merry Christmas Everyone" at #23, Band Aid's "Do They Know It's Christmas at #27, Chris Rea's "Driving Home for Christmas" at #35, and finally John and Yoko and the Plastic Ono Band at #40, "Happy Xmas (War Is Over)."
• German dance act Cascada scores its fourth top 10 hit at #10 with "What Hurts the Most," the remake of the single popularized in American by Rascal Flatts.
• Following the successful run in 2005 of re-releases of Elvis Presley's #1 hits, another run of singles was released one per week over the last 18 weeks--this time singles that did not hit #1. The last of which, "Burning Love," hit #13 last week, so in theory, this should have been our first Elvis-free week in some time. But coming along nicely to prove there is no such thing as popular music without Elvis, Scouting for Girls enters the top 40 at #33 with "Elvis Ain't Dead."
• So next week is the big Christmas week. Leading the pack is the X Factor winner Leon Jackson, with his remake of Mariah Carey and Whitney Houston's 1998 single, "When You Believe." Anything is possible, but realistically new singles by Sugababes, Filo & Peri, Kate Nash, and The Killers really don't have a chance. Expect "When You Believe" to easily top the chart this weekend.

Personal Chart, 12/22/2007

TW LW Title - Artist
1 .... 2 .... Apologize - Timbaland Featuring OneRepublic (1 week @ #1)
2 .... 1 .... Bleeding Love - Leona Lewis (7 wks @ #1)
3 .... 3 .... Call the Shots - Girls Aloud
4 ... 10 ... Change - Sugababes
5 .... 5 .... Hate that I Love You - Rihanna Featuring Ne-Yo
6 .... 7 .... Clumsy - Fergie
7 .... 9 .... No One - Alicia Keys
8 .... 6 .... Valerie - Mark Ronson Featuring Amy Winehouse (1 wk @ #1)
9 ... 14 ... Love Is a Losing Game - Amy Winehouse
10 .. 4 .... 2 Hearts - Kylie Minogue

Album Review: Bruce Springsteen - Magic (4/5)

I bought this album in anticipation it would be nominated for the Album of the Year Grammy Award. That it was passed over came as a surprise to me and the pundits, although, I suppose not to the music industry itself, since they didn't vote for it. Still, while this is not my typical listening fare, I ended up liking it quite a bit, for it is a classy, if not classic, rock affair that blends upbeat music with brooding lyrical themes.

"Radio Nowhere" kicks off the collection with a jolt of fuzzy electric guitar and prominent drums, getting an infusion of blaring horns at the bridge. While the music is upbeat, the lyrics tell another story--one of disconnection and disillusionment, explicitly from the music on the radio, but implicitly from life as well. "You'll Be Comin' Down" similarly contrasts upbeat instrumentation with a dark lyric, this time about the fleeting nature of happiness. Joyous-sounding "Livin' in the Future" combines its rock swagger with such uplifting couplets as "The earth it gave away, the sea rose toward the sun. I opened up my heart to you it got all damaged and undone."

"Your Own Worst Enemy" changes course a bit, turning down the volume and adding a sharp string instrumentation. It's also vaguer lyrically, although (no surprise) that worst enemy is yourself. It's one of my favorites, as is "Girls in Their Summer Clothes," which manages (for awhile) to actually be both uplifting in tone and theme. Then there is a brief acknowledgement of lost love, and you know this song has its dark side too.

Harmonica begins "Gypsy Biker," which returns Springsteen to a common setting, small town America, to explore the pain of losing a soldier-brother to war, the storyteller turning to drugs to deal with the despair. The small town setting is also key to "Long Walk Home, " conveying that place as once welcoming but now lonely, suffering from disillusionment. It doesn't take a genius to know that driving "Last to Die" is also about the disillusioned America of post 9/11.

Many of these songs are big and loud, even when exploring dark personal territory. So when Springsteen finally slows down the tempo on meditative "Magic," it's a nice change of pace. The strings and acoustic guitar track is brief, but lovely. "Devil's Arcade" also touches on the impact of the Iraq war, told from the point of view of a woman whose soldier-lover has returned from war alive but damaged. It is a potent highlight, building from a gentle strings beginning to an angry guitar-filled middle, with Bruce repeating "the beat of your heart."

Bruce Springsteen is frequently hailed as a living legend. A "genius" of good ol' rock-n-roll. It is also said though that geniuses are often unhappy people, plagued by the knowledge of things the rest of us can never know. Springsteen delivers both with Magic. Listen to its surface and you hear a confident arena-ready rock album. Dig into the lyrical themes of war, loss, disillusionment, and strained relationships, and it tells another darker story.

Best: Devil's Arcade, Your Own Worst Enemy, Girls in Their Summer Clothes, Radio Nowhere, Magic, Livin' in the Future

Rolling Stone top 10 albums of 2007

1. M.I.A. - Kala
2. Bruce Springsteen - Magic
3. Jay-Z - American Gangster
4. Arcade Fire - Neon Bible
5. Kayne West - Graduation
6. Radiohead - In Rainbows
7. LCD Soundsystem - Sound of Silver
8. Rilo Kiley - Under the Blacklight
9. Against Me! - New Wave
10. Spoon - Ga Ga Ga Ga Ga

No surprise that M.I.A. and Bruce Springsteen top the list, although interesting that M.I.A., which they gave 4.5 stars, is above Bruce Springsteen, which was the only new album to get 5 stars (a "classic" rating) from them. Some usual suspects: Arcade Fire, Radiohead and LCD Soundsystem.

NME, Mojo and Uncut Albums of 2007

Here's NME's top 10:

1. Klaxons – Myths Of The Near Future
2. Arctic Monkeys – Favourite Worst Nightmare
3. Radiohead – In Rainbows
4. Arcade Fire – Neon Bible
5. Les Savy Fav – Let’s Stay Friends
6. Kings Of Leon – Because Of The Times
7. MIA – Kala
8. Biffy Clyro – Puzzle
9. The Cribs – Men’s Needs, Woman’s Needs, Whatever
10. Battles – Mirrored

So they went with the Mercury Prize winner as their top album, beating out Arctic Monkeys, who topped their list last year. Glad to see Radiohead so high, as it is a fantastic album.

Here's Mojo's top 10:

1. Radiohead - In Rainbows
2. Arcade Fire - Neon Bible
3. Bruce Springsteen - Magic
4. Arctic Monkeys - Favourite Worst Nightmare
5. LCD Soundsystem - Sound of Silver
6. The Good, The Bad & The Queen - The Good, The Bad & The Queen
7. The White Stripes - Icky Thump
8. PJ Harvey - White Chalk
9. Robert Wyatt - Comicopera
10. Kings of Leon - Because of the Times

A good deal of overlap between NME and Mojo, with four albums in both top 10s and close calls for LCD Soundsystem (#11 on NME) and Klaxons (#11 on Mojo). Apparently NME couldn't be bothered with Bruce Springsteen, who makes a prominent appearance here, and I suspect on many year-end lists. Glad to see Radiohead at #1 and some recognition for The Good, the Bad & The Queen, which is a great album.

Finally, here's Uncut's list:

1. LCD Soundsystem - Sound of Silver
2. Arctic Monkeys - Favourite Worst Nightmare
3. PJ Harvey - White Chalk
4. Robert Plant and Alison Krauss - Raising Sand
5. Wilco - Sky Blue Sky
6. Robert Wyatt - Comicopera
7. The Hold Steady - Boys and Girls in America
8. The White Stripes - Icky Thump
9. Radiohead - In Rainbows
10. Klaxons - Myths of the Near Future

Again, a fair amount of overlap, with Arctic Monkeys and Radiohead appearing on all three top 10s. LCD Soundsystem...hmmm...I know a lot of people liked this album, but I was so disappointed with it that I didn't bother to write a review. A real love it or hate it album I guess. Glad to see Wilco here--great album.

Billboard Hot 100 Year-End Chart 2007

Billboard's year-end charts are out this week. Topping the Hot 100 for 2007 is Beyoncé with "Irreplaceable." The single spent 10 weeks at #1 early in the Billboard chart year, which runs from the beginning of December 2006 to the end of November 2007. Beyoncé appeared in the year-end top 10 in 2003 at #4 with her first solo #1, "Crazy in Love" and last year at #10 with "Check on It." As a member of Destiny's Child she's appeared twice, at #6 in 2000 for "Say My Name" and #10 in 2001 for "Independent Women Part 1." She also appears this year at #62 with Shakira on "Beautiful Liar."

Here's this year's top 10:

1. Irreplaceable - Beyoncé (#1, 10 wks)

2. Umbrella - Rihanna Featuring Jay-Z (#1, 7 wks)

3. The Sweet Escape - Gwen Stefani Featuring Akon (#2, 1 wk)

4. Big Girls Don't Cry - Fergie (#1, 1 wk)

5. Buy U a Drank (Shawty Snappin') - T-Pain Featuring Young Joc (#1, 1 wk)

6. Before He Cheats - Carrie Underwood (#8)

7. Hey There Delilah - Plain White T's (#1, 2 wks)

8. I Wanna Love You - Akon Featuring Snoop Dogg (#1, 2 wks)

9. Say It Right - Nelly Furtado (#1, 1 wk)

10. Glamorous - Fergie Featuring Will.I.Am (#1, 2 wks)

Fergie and Akon each appear twice within the top 10, and Akon was close to getting a third (his "Don't Matter" is #11). Fergie also appears at #19 with "Fergalicious," while Akon also appears at #15 with "Smack That" and #33 on T-Pain's "Bartender," giving him five entries total. Two artists tie for the most entires on the chart, with seven each. T-Pain is at #5 and #33 mentioned above plus #49 on R. Kelly or Bow Wow's "I'm a Flirt," #60 on Plies' "Shawty," #84 on Baby Bash's "Cyclone," #88 on Bow Wow's "Outta My System," and #93 on Chris Brown's "Kiss Kiss." It's notable that he's a guest on six of his seven entries. Justin Timberlake also has seven hits on the chart, at #21 on Timbaland's "Give It to Me," #22 "What Goes Around...Comes Around," #26 "My Love," #39 "Summer Love," #63 "Sexyback," #87 on 50 Cent's "Ayo Technology," and #96 "Lovestoned." Carrie Underwood scores the rare and impressive feat of landing higher in the year-end survey (#6) than she ever actually did during the year (#8), owing to her single's amazing chart longevity.

UK Christmas #1

So, just like the last 2 years, it's pretty clear this year's Christmas #1 will be the single released by this year's winner of The X Factor. The winner will be declared this weekend. It will either be Rhydian Roberts, Leon, or Same Difference, pictured above from left to right. Whichever one wins will release their debut single on monday, which will be a remake of this song:

Golden Globe Predictions

The Golden Globe award nominees come out tomorrow. Although harder to predict than the Oscars, I'm going to give it a shot...Why not? Sometimes the Globes include 6 instead of just 5 nominees, so my sixth is in parentheses.

Movie Categories

Picture, Drama

American Gangster
Atonement
Michael Clayton
No Country for Old Men
There Will Be Blood
(Into the Wild)

Actor, Drama

George Clooney, Michael Clayton
Daniel Day-Lewis, There Will Be Blood
Emile Hirsch, Into the Wild
James McAvoy, Atonement
Denzel Washington, American Gangster
(Tommy Lee Jones, In the Valley of Elah)

Actress, Drama

Halle Berry, Things We Lost in the Fire
Cate Blanchett, Elizabeth - The Golden Age
Julie Christie, Away from Her
Angelina Jolie, A Mightly Heart
Keira Knightley, Atonement
(Jodie Foster, The Brave One)

Picture, Comedy/Musical

Hairspray
Juno
Once
The Savages
Sweeney Todd
(The Bucket List)

Actor, Comedy/Musical

Johnny Depp, Sweeney Todd
Richard Gere, The Hoax
Ryan Gosling, Lars and the Real Girl
Jack Nicholson, The Bucket List
John Travolta, Hairspray
(Phillip Seymour Hoffman, The Savages)

Actress, Comedy/Musical

Amy Adams, Enchanted
Helena Bonham-Carter, Sweeney Todd
Marion Cotillard, La Vie En Rose
Laura Linney, The Savages
Ellen Page, Juno
(Keri Russell, Waitress)

Supporting Actor

Casey Affleck, The Assassination of Jesse James by the Coward Robert Ford
Havier Bardem, No Country for Old Men
Hal Holbrook, Into the Wild
Phillip Seymour Hoffman, Charlie Wilson's War
Tom Wilkinson, Michael Clayton
(Russell Crowe, American Gangster)

Supporting Actress

Cate Blanchett, I'm Not There
Ruby Dee, American Gangster
Saoirse Ronan, Atonement
Amy Ryan, Gone Baby Gone
Tilda Swinton, Michael Clayton
(Charlize Theron, In the Valley of Elah)

TV Categories

Drama Series

Grey's Anatomy
Heroes
Mad Men
Lost
The Sopranos

Comedy Series

Entourage
The Office
Pushing Daisies
30 Rock
Ugly Betty

Miniseries/Movie

The Amazing Mrs. Pritchard (and Jane Horrocks for an actress nod)

Personal Chart, 12/15/2007

TW LW Title - Artist
1 .... 1 .... Bleeding Love - Leona Lewis (7 weeks @ #1)
2 .... 3 .... Apologize - Timbaland Featuring OneRepublic
3 .... 6 .... Call the Shots - Girls Aloud
4 .... 2 .... 2 Hearts - Kylie Minogue
5 .... 5 .... Hate that I Love You - Rihanna Featuring Ne-Yo
6 .... 4 .... Valerie - Mark Ronson Featuring Amy Winehouse (1 wk @ #1)
7 .... 8 .... Clumsy - Fergie
8 ... 10 ... Same Mistake - James Blunt
9 ... 14 ... No One - Alicia Keys
10 .. 20 .. Change - Sugababes

Atonement is a masterpiece

I saw Atonement today and I was blown away, which is really saying something. I had very high expectations for this film, having anticipated it since the moment I heard it was being made. I was worried it wouldn't live up, even if it was good but not great, but those fears were easily assuaged. It was phenominal.

The book it is based on is one of my favorites, and the film is a wonderful adaptation of the novel, capturing its essence while making its own statement about the power of storytelling, be it for devious or benevolent purposes. The film is visually stunning, and, remarkably, aurally stunning too. The sound of typing exists in the reality of the scene but also as part of the score, merging the two quite effectively.

The actors are also extraordinary. I was particularly taken by Keira Knightley, who transforms so effectively from her early scenes as a vibrant girl on the cusp of womanhood--beautiful, wealthy, the world at her feet--to the struggling woman whose life was so severely knocked off course, who looks like she's had life itself sucked from her. All three Brionys were good too, and bear a remarkable resemblance to each other, both physically and in mannerism, so that they are completely believable. James McAvoy was fantastic too.

I've already posted about the amazing one-take Dunkirk sequence, which works great in the film. Another fine scene is the electric love scene between Cecilia (Knightley) and Robbie (McAvoy) in the library. Here's a bit leading up to that. Notice the beautiful green dress Knightley wears.



Expect this film to be showered with well deserved Oscar nominations, probably 12: picture, actor, actress, supporting actress, director, adapted screenplay, cinematography, art direction, costume design, score, editing, and sound mixing.

UK Chart Notes

• For yet another week, Leona Lewis maintains her hold atop the British charts, once again topping the singles, albums, and airplay charts. Now extending its run atop the singles chart to 7 weeks, "Bleeding Love" becomes the longest-running #1 hit by a British female act. The longest running #1 hit by any female is Whitney Houston's 1992 remake of "I Will Always Love You," which spent 10 weeks at #1. Leona's album Spirit spends a 4th week at #1 in the albums chart, becoming the longest-running #1 album of the year, ending what had been a 4-way tie between albums spending 3 weeks at the top by Take That, Amy Winehouse, Arctic Monkeys, and Paul Potts.
• With Leona out of the way, I can focus on the other chart news of the week, the biggest being that with the download rules instituted this year, the December charts are being assaulted by Christmas singles like never before. Making the biggest splash is Mariah Carey's "All I Want for Christmas Is You," climbing 15 spots to #8 this week. The single spent 3 weeks at #2 when it was first released in 1994. That it can still chart in the top 10 13 years later is a testament to its popularity as perhaps the only seasonal song of the last 15 years that's become a certified classic.
• The Pogues also make a strong move with their seasonal favorite, "Fairytale of New York," up 21 spots to #12 this week. This track also hit #2 when it was first released in 1987, but unlike Carey's received official re-releases over the last couple years, hitting #3 in 2005 at #6 last year.
• Dance act Cascada lands at #16 on downloads with "What Hurts the Most." The song was first recorded by US country singer Mark Willis for his 2003 album, but became a hit last year when Rascal Flatts covered it. Now it gets a high-energy Eurodisco retread from German dance act that conquered charts worldwide with "Everytime We Touch." Look for this in the top 10 next week.
• Arctic Monkeys land their lowest-charting single yet at #20 with "Teddy Picker," the third single lifted from their second album, Favourite Worst Nightmare. Until now, they've actually never landed outside the top 5, hitting #1 with their first two singles.
• Finally, lots of other Christmas tracks in the lower half of the top 40: Wham at #23 with "Last Christmas," Andy Williams is at #25 with "It's the Most Wonderful Time of the Year," Wizzard at #27 with "I Wish it Could Be Christmas Everyday," Shakin' Stevens at #33 with "Merry Christmas Everyone," and Band Aid at #38 with "Do They Know It's Christmas."

Grammy Nominees

The Grammy nominees were announced yesterday. There were some big surprises, most notably in the Album of the Year category, where Bruce Springsteen's Magic was passed over. This was an even bigger surprise than last year when Bob Dylan's The Modern Times didn't get a nod. Everyone was predicting a Springsteen nomination, that it would be his year. But it wasn't to be. Here's who did make the cut:


Album of the Year


Echoes, Silence, Patience & Grace - Foo Fighters
These Days - Vince Gill
River: The Joni Letters - Herbie Hancock
Graduation - Kanye West
Back to Black - Amy Winehouse


I predicted West and Winehouse, but the rest weren't on my radar screen at all. It's nice to see a rock album here, and I'm glad it's not Linkin Park. Vince Gill's album is a sprawling 4-disc set, and Hancock's is a jazz collection of Joni Mitchell covers that sounds like it might be pretty good. This is West's third nomination in this category, which is pretty remarkable. Other recent artists to score three best album nods in a row include the Dixie Chicks and Bonnie Raitt. The only artist to score more nods in the last 25 years is U2, who's been nominated four times (and won twice). With Springsteen out of the race, Winehouse moves to the front of the pack.


Record of the Year


Irreplaceable - Beyoncé
The Pretender - Foo Fighters
Umbrella - Rihanna Featuring Jay-Z
What Goes Around…Comes Around - Justin Timberlake
Rehab - Amy Winehouse


Some surprises here too, but not as shocking. I predicted Rihanna and Winehouse. Springsteen got shut out here too for "Radio Nowhere," as did Alicia Key's "No One," which I'm actually glad didn't get it. Try as I might to like that song, I just don't. Beyoncé is not a surprise; it would have been my 6th place pick. Justin Timberlake is a nice surprise. His flashier 2006 single, "Sexyback," was passed over last year, so I didn't expect to this--the best single from his latest album--among the nominees. Interesting that besides Winehouse, the only other artist to get nods both here and the albums category is Foo Fighters. Their song isn't that great. I'm rooting for Winehouse, but the award could probably go to anybody except Foo Fighters.


Song of the Year


Before He Cheats - Josh Kear & Chris Tompkins, songwriters (Carrie Underwood)
Hey There Delilah - Tom Higgenson, songwriter (Plain White T's)
Like A Star - Corinne Bailey Rae, songwriter (Corinne Bailey Rae)
Rehab - Amy Winehouse, songwriter (Amy Winehouse)
Umbrella - Shawn Carter, Kuk Harrell, Terius "Dream" Nash & Christopher Stewart,songwriters (Rihanna Featuring Jay-Z)


Ah, the elusive songwriters award. I thought for sure "Before He Cheats" would be a record nominee, but at least at ended up here. What is "Hey There Delilah" doing here though? It's not that great of a song, and is only passably enjoyable because of how sincere the performance is. I think this race is between "Rehab" and "Before He Cheats." I didn't predict this category.


Best New Artist


Feist
Ledisi
Paramore
Taylor Swift
Amy Winehouse


I predicted Feist, Swift, and Winehouse, and I've never heard of the other two. I think Lily Allen should have gotten it over Feist, so it's too bad not to see her. Amy Winehouse has this one locked up for sure.


Female Pop Vocal Performance


Candyman - Christina Aguilera
1234 - Feist
Big Girls Don't Cry - Fergie
Say It Right - Nelly Furtado
Rehab - Amy Winehouse


No surprise here to see Winehouse, Fergie, or Feist, who I predicted. Nelly Furtado isn't a surprise either, although Christina Aguilera's kitschy "Candyman" is. I had predicted Lily Allen and Norah Jones, who have been shut out here as well as other categories. Again, I think Winehouse is the leader here.


Male Pop Vocal Performance


Everything - Michael Bublé
Belief - John Mayer
Dance Tonight - Paul McCartney
Amazing - Seal
What Goes Around...Comes Around - Justin Timberlake


Timberlake, Mayer, and McCartney get nods as I predicted. I thought Mika might get it for "Grace Kelly," but he got his nod in the dance category for "Love Today." Thankfully Elliott Yamin was passed over for Seal, although that was a surprise, as was Michael Bublé. This could be a tough race between Timberlake, the obvious frontrunner because he got a record nod, and McCartney, an old Grammy favorite who didn't. I wouldn't count Mayer out either.


Pop Duo/Group Performance


(You Want To) Make A Memory - Bon Jovi
Home - Daughtry
Makes Me Wonder - Maroon 5

Hey There Delilah - Plain White T's
Window in the Skies - U2

Three seems to be my lucky number with the pop categories this year, as again, I predicted Daughtry, Maroon 5 and U2. I was hoping they wouldn't give a nod to Plain White T's, but my hope they'd nominate The Killers instead was overruled. They there's Bon Jovi, which was a surprise.

Pop Collaboration Performance

Steppin' Out - Tony Bennett & Christina Aguilera
Beautiful Liar - Beyoncé & Shakira
Gone Gone Gone (Done Moved On) - Robert Plant & Alison Krauss
The Sweet Escape - Gwen Stefani & Akon
Give It To Me - Timbaland Featuring Nelly Furtado & Justin Timberlake

Again I predicted three right, but it should've been four (I picked the wrong Alison Krauss collaboration, forgetting that her new album is a collaboration with Robert Plant, not John Waite). Tony Bennett & Christina Aguilera is a surprise--I've never even heard of this song--but given his pedigree, it just could be a frontrunner, along with Plant & Krauss.

Pop Vocal Album

Lost Highway - Bon Jovi

The Reminder - Feist

It Won't Be Soon Before Long - Maroon 5

Memory Almost Full - Paul McCartney

Back To Black - Amy Winehouse

Have you figured out how many of these I predicted right? 2? 4? No, 3 again! Crazy. Maroon 5, McCartney and Winehouse. No surprise to see Feist here, given the shunning of Norah Jones. But Bon Jovi? I was hoping Annie Lennox would get a nod. Again, this should be Winehouse's to collect, that is if she doesn't O.D. before the ceremony on February 10th. I'll revisit this again before then to see who's leading in the races.

Album Review: Celine Dion - Taking Chances (2/5)

Let's get this over quickly. Taking Chances is a disappointment. It has a few great songs and a handful of pretty good ones, but too many tracks are indistinct, unmemorable, and sound like they're performed by average session musicians rather than the great musical backing Celine's had for her previous albums.

It's too bad, because it wasn't always this way. In her 1990s heyday, Celine Dion was a pop force to be reckoned with. Take her masterpiece, Falling Into You (1996). The album was awesome, full of great moments like the dramatic Jim Steinman opus "It's All Coming Back to Me Now," the hook-laden balled "Because You Loved Me," the over-the-top remake of "River Deep, Mountain High," and that moment in "All By Myself" when she hits that note (you know the one) and the orchestra soars behind her. That was pop music at its cheesy, pull out all the stops and make you tingle best.

Sadly there are few if any truly special moments on Taking Chances, a misnomer for sure, as too many songs play it safe. Some critics have praised Celine for reining in her excesses, which I think is ridiculous. That's her strength! Give her a "My Heart Will Go On" and she goes for it, and nails it. Sure she's made as many detractors as fans in the process, but it works, where these songs just don't.

There's a pointless and unsatisfying remake of "Alone," produced by Ben Moody of all people. He also shows up as the producer and writer of "This Time," which sounds like it had the potential to be a dark, dramatic number, but rather than soaring, the backing band sounds strangely subdued, almost bored. Linda Perry contributes a stripped down, soulful "New Dawn," which showcases that Celine still has her pipes, but just repeats all the cliches Celine's spouted before: "A new day will come," "I am woman," etc. The piano and strings of "A Song for You" sounds like they were stolen from the soundtrack to some depressing WWII drama set in Eastern Europe.

The second half of the album really suffers from too much genre jumping, and whenever an album goes over 12 tracks--and this one has a whopping 16--I think it's a sign that the record execs have decided to give us quantity because they know that can't deliver quality. "A World to Believe In" is bland and when it reaches its peak, its not very satisfying. Celine sounds robotic on rock out number "Can't Fight the Feeling." "Right Next to the Right One," a remake of a 2002 song by Danish singer-songwriter Tim Christensen, sounds silly, even lazy. I can't find a reason to dislike frenetic "Just Fade Away," but I can't find a reason to like it either. Celine as a country crooner on "That Just the Woman in Me" just doesn't fit.

So what does work here? First single "Taking Chances" for one. The track, penned and originally performed by Kara DioGuardi and Dave Stewart is a satisfying pop/rock number that starts simply and builds to a satisfying finish. You can tell she's trying to fit in with Kelly Clarkson here, and she mostly succeeds. I also really like upbeat Middle Eastern-flavored "Eyes on Me," which interestingly is co-written by Australian singer-songwriter Delta Goodrem, and the piano and guitar ballad "My Love," which is melodic, simple, and has Celine singing in a lower than usual register.

Upbeat "Shadow of Love" is alright. It has that "on the road" feel like "I Drove All Night." I also don't mind the Ne-Yo-produced balled "I Got Nothing Left," which strikes the right balance of tenderness and modern production. And there's something sweet and retro about piano and string-backed "Skies of L.A." that reminds me of the kind of song Celine would have put on her 1992 self-titled album.

Taking Chances is Celine's eighth English language album, so of course there's going to be some sense of "been there, done that," but I can't help feeling that she's been there and done it so much better.

Best: Taking Chances, Eyes on Me, My Love

Personal Chart, 12/8/2007

TW LW Title - Artist
1 .... 1 .... Bleeding Love - Leona Lewis (6 wks @ #1)
2 .... 2 .... 2 Hearts - Kylie Minogue
3 .... 3 .... Apologize - Timbaland Featuring OneRepublic
4 .... 4 .... Valerie - Mark Ronson Featuring Amy Winehouse (1 wk @ #1)
5 .... 7 .... Hate that I Love You - Rihanna Featuring Ne-Yo
6 ... 10 ... Call the Shots - Girls Aloud
7 .... 5 .... Rule the World - Take That
8 .... 9 .... Clumsy - Fergie
9 .... 6 .... Saving My Face - KT Tunstall
10 .. 14 .. Same Mistake - James Blunt

Introducing Tom Baxter

Singer-songwriter Tom Baxter is already making a splash on the UK airplay chart with his latest single, "Better." Check out the video only if you're in the mood for a sappy love song.

UK Chart Notes

• Leona Lewis adds another feather to her cap, spending a 6th week at #1 on the singles chart with "Bleeding Love." The track is still #1 at radio, and despite competition from new Shayne Ward and Kylie Minogue releases, her album Spirit remains atop the albums chart for a third week. Her run is sure to end by Christmas week, at which point her successor--the next X Factor winner--will very likely score a Christmas #1. But there's still two weeks between then and now. Is there room for another #1 hit this year? More later...
• Girls Aloud vault up to #3 on physical release sales of "Call the Shots," the second single from their recent fourth album, Tangled Up. This is their 14th top 5 hit and 5th in a row, a run interrupted by three of the singles from their third album, Chemistry, although all 17 of the band's singles have been top 10 hits. Midweek this looked like it could hit #2, but it was in close competition with dance group T2's "Heartbroken," which remains in pole position.
• Not much else of note on the chart this week, which is surprisingly slow for the first weekend of December. Soulja Boy's "Crank That" continues to rise in its pre-release download sales, up ten spots to #14. "The Racing Rats," The Editors' third single from their current album debuts at #26, which is one spot higher than their last single, "An End Has a Start," achieved.
• So who, if anyone, can unseat Leona before the big Christmas chart? Not much in tomorrow's release list looks very promising, although there could be some top 10 debuts. New singles are out from Arctic Monkeys ("Teddy Picker,") Babyshambles ("You Talk"), James Blunt ("Same Mistake"), Peter Gelderblom ("Waiting 4"). Next week looks about the same, with new releases from Amy Winehouse ("Love Is a Losing Game"), Cascada ("What Hurts the Most"), David Guetta ("Baby When the Light"), Lee Ryan ("Reinforce Love"), Plain White T's ("Hate"), Newton Faulkner ("Teardrop," a remake of the Massive Attack classic), and the just in time re-release of the Pogues and Kirsty Macoll's "Fairytale of New York." I think the best bet is if Soulja Boy can climb to the top on downloads.

Q Magazine top albums of 2007

British music magazine Q has released its annual list of the best albums of 2007. It's usually a pretty good list, considering my taste in music. Looks like I'll have to check out the Arcade Fire album now, and who are The Hold Steady?

Top 10
1. Arcade Fire - Neon Bible
2. The White Stripes - Icky Thump
3. Arctic Monkeys - Favourite Worst Nightmare
4. Radiohead - In Rainbows
5. The Good, the Bad & the Queen
6. Bruce Springsteen - Magic
7. Kings of Leon - Because of the Times
8. The Shins - Wincing the Night Away
9. The Hold Steady - Boys & Girls in America
10. Rufus Wainwright - Release the Stars

Other notable placings:
13. Kaiser Chiefs - Your Truly, Angry Mob
18. LCD Soundsystem - Sound of Silver
21. Cold War Kids - Robbers & Cowards
24. PJ Harvey - White Chalk
25. Spoon - Ga Ga Ga Ga Ga
26. Beirut - The Flying Club Cup
32. Klaxons - Myths of the Near Future
35. Hard-Fi - Once Upon a Time in the West
37. Robyn - Robyn
38. Fall Out Boy - Infinity on High

Grammy nominees predictions

The Grammy nominees will be announced Thursday, December 6th. The last two years I've tried to predict the nominees in my favorite categories. In 2005 I did pretty good, getting 4 of 5 right for both album and record of the year (didn't get "Feel Good Inc" for record or Paul McCartney for album). Last year I didn't do as well, getting only 2 of the albums and 3 of the records (Dixie Chicks just weren't on my radar screen). Grammy nominations are much harder to predict than Oscars. There are more options and the eligibility period makes it harder to determine whether works were released in time to qualify. Some lessons I've learned:

• Grammy likes legends (Paul McCartney, U2, Bruce Springsteen), except when they dont (no Bob Dylan album nomination last year was a surprise to many)


• The biggest R&B/pop hit of the year is generally a record nominee (Usher's "Yeah!" Mariah's "We Belong Together," Mary's "Be Without You"), while the year's biggest top 40 pop hit is generally not (Maroon 5's "This Love," Kelly's "Since U Been Gone," Natasha Bedingfield's "Unwritten.")


• Grammy doesn't like Timbaland as much as I thought (no album nod for Nelly Furtado's Loose, no record nods for Sexyback or Promiscuous). However, if they feel he was slighted, they may try to rectify.


• The pop categories tend to go more toward adult pop leaning fare than R&B pop.

I also have the advantage of having obtained the lists of albums and songs submitted for each category, so I won't mistakenly predict something that isn't even eligible (it would have been easy this year, as there are some surprising exclusions). Read on.

Grammy prediction: Album of the Year

Norah Jones - Not Too Late


Paul McCartney - Memory Almost Full


Bruce Springsteen - Magic


Kanye West - Graduation


Amy Winehouse - Back to Black





Amy Winehouse and Bruce Springsteen are locks for nominations this year. Both albums were acclaimed bestsellers, so I expect they will be duking it out for the award. Kanye West is my third most likely. He's been nominated for both his previous albums, and, although this one probably wasn't quite as acclaimed, it was still a big hit, and the year's biggest hip-hop album. It gets harder for the fourth slot, but I'm going with longtime favorite Paul McCartney, who got good notices for this album. The downside is that he is sort of in the same demographic as Bruce Springsteen (male, older, traditional rock)--and this category, like Record of the Year, is generally a mix of the biggest albums across genres. Still, I think he'll have enough support to get in.


The fifth slot is really tricky though. Rihanna's Good Girl Gone Bad has been a hit factory, but dance pop albums rarely appear here. Maroon 5's It Won't Be Soon Before Long was also a strong performer, and would put a pop group in the mix, but when they had their big year in 2004 it didn't translate to general category nods (although that may have been an eligibility issue, since Songs About Jane took so long to catch on). If they want an alternative album in the mix they could go with previous nominee The White Stripes' Icky Thump, but I think they were really lucky to get their most acclaimed effort, Elephant, on 2003's shortlist. Likewise Linkin Park's Minutes to Midnight could have a shot, but that strikes me as a boring choice. If voters go for a traditional or contemporary R&B choice, they might turn to 2006's best new artist John Legend's Once Again or slighted-last-year Timbaland's guest-heavy Shock Value, but neither got as good reviews as their previous work (although that didn't stop Mariah Carey in 2005). M.I.A.'s Kala got stellar reviews, but wasn't a major hit. Feist could get it for The Reminder, but I think she'll get more notice for single "1234" than the album. Mark Ronson's Version could also be a surprise pick, but I think voters will see him getting enough attention as co-producer of Winehouse's disc. If you're thinking the inventive Beatles mash-up album Love has a shot, think again--it wasn't submitted.


For the lost slot I'm turning to a perrennial Grammy favorite, who swept the awards in 2003, Norah Jones. Sure her popularly has waned a bit, and she didn't get a nomination for her second album, Feels Like Home, but as John Mayer proved last year, the third time's the charm with Grammy, and Not Too Late is her most inventive work yet.

Grammy prediction: Record of the Year

Alicia Keys - No One

Rihanna Featuring Jay-Z - Umbrella

Bruce Springsteen - Radio Nowhere

Carrie Underwood - Before He Cheats

Amy Winehouse - Rehab



Carrie Underwood has to be a lock here. She was the darling at the last Grammys, and "Before He Cheats" was a massive crossover hit. There are generally several record nods that come from nominated albums, so I expect Amy Winehouse's "Rehab" to get a nod here, and I think Bruce Springsteen will probably pull one out too for "Radio Nowhere." My fourth slot goes to Rihanna/Jay-Z's "Umbrella." Yes, I know that the big singer/rapper collaborations last year--"Promiscuous" and "Hips Don't Lie"--were shut out here, but I think "Umbrella's" status as the year's biggest pop/R&B hit will trump that. Plus, such collaborations have been nominated in prior years, such as "Crazy in Love" and "Dilemma."

The fifth slot, as usual, is the toughest one. Although we already have three ladies in the mix, I'm willing to bet there will be a fourth, but the competition here is fierce. Beyoncé scored a major hit with "Irreplaceable," but it's so old by now, is anyone still interested? Fergie also had the summer's other major pop hit, "Big Girls Don't Cry, but I think this will fall victim to the pop curse of "Since U Been Gone" and "Unwritten." The lady I'm betting on is proven Grammy darling Alicia Keys, who's perfectly timed "No One" got in just under the close of the eligibility period (her album, however, did not), is still growing in interest in time to be the biggest current hit among the nominees, and may become her biggest hit ever.

Keys can be divisive though, so there is still room for some other cuts. Timbaland had two major hits this year with "Give It To Me" and "The Way I Are," but if the big (and better) singles he produced last year for Justin Timberlake ("Sexyback") and Nelly Furtado ("Promiscuous"), couldn't make the cut, then why would these? So I likewise don't expect to see this year's hits from them, Justin's "What Goes Around...Comes Around" or Nelly's "Say It Right." Surprise nominations could happen for Feist's "1234" or Lily Allen's "Smile," although I think Winehouse is going to get the "outsider" female nod, so these may instead show up in the female pop category. If his album gets a nod, Paul McCartney could also send up his single "Dance Tonight," but it wasn't a major hit. Maroon 5's "Makes Me Wonder" has a shot, but again, why weren't they nominated for "She Will Be Loved" or "This Love" 3 years ago? Gwen Stefani and Akon had a big hit with "The Sweet Escape," but that song's no "Hollaback Girl," and her buzz really dimmed down this year. Finally, I do hope the overplayed/cringe-inducing "Hey There Delilah" by Plain White T's and "Beautiful Girls" by Sean Kingston don't make the cut.

Don't look for Kanye West's "Stronger." This would have been an easy shoo-in, but was inexplicably not submitted for consideration. Instead they put up second single "The Good Life," but I doubt that's a contender. Avril Lavigne's "Girlfriend" was also not submitted, although I'm guessing that was due to the controversy about whether part of it was stolen from an older song. Robin Thicke's "Lost Without U" also wasn't on the list, except for a live version--perhaps it was too old? Also not in contetion: Timbaland/OneRepublic's "Apologize," Britney's "Gimme More," Daughtry's "Home," and Akon's "Dont Matter."

Grammy prediction: Female Pop Performance w/Vocal

Lily Allen - Smile

Feist - 1234

Fergie - Big Girls Don't Cry

Norah Jones - Thinking About You

Amy Winehouse - Rehab



As usual, a competitve category. Since Amy Winehouse is likely to get a record nod, she should rightly show up here too. Fergie, who I expect will be overlooked for record, should be here too. If Norah Jones gets an album nod, I'd see this as pretty definite for her, since she's been here before. I'm looking to new artists with quirky first singles to snag the last two slots: Feist with "1234" and Lily Allen with "Smile." I think they will edge out Nelly Furtado's "Say It Right," which feels old by now, Brits Corrine Bailey Rae ("Like a Star") and KT Tunstall ("Hold On") who were hotter last year, and Pink's "Who Knew," which really was released a very long time ago. If sappy Colbie Caillat's "Bubbly" or Celine Dion's "Taking Chances" remake show up here though, expect scorn.

Grammy prediction: Male Pop Performance w/Vocal

John Mayer - Belief

Paul McCartney - Dance Tonight

Mika - Grace Kelly

Justin Timberlake - What Goes Around...Comes Around

Elliott Yamin - Wait for You



John Mayer and Paul McCartney got it last year, and since they are Grammy faves, will get it again this year. Since I don't expect Justin Timberlake to get a record nod, he may be rewarded here. Elliott Yamin is a boring choice, but so was Daniel Powter last year. For my fifth slot, I'm going out on a limb with Mika's "Grace Kelly," which was well-liked but not a major US hit (it was abroad however, so I suspect industry folks know it well). Other possible choices include Rufus Wainwright's "Going to a Town," but this category is generally not that edgy, or Sean Kingston's "Beautiful Girls," but contemporary R&B pop rarely shows up here. More traditional R&B like John Legend is another story though, so his "PDA (We Just Don't Care)" could score a nod. I doubt Seal's "Amazing" is in contention, but this category does lean adult pop, so it's possible. Same for James Blunt, who got a nod last year for mega-hit "You're Beautiful," but I doubt it will happen for minor-hit "1973."

Grammy prediction: Duo/Group Pop Performance w/Vocal

Daughtry - Home

The Killers - Read My Mind

Los Lonely Boys - Whatever Gets You Through the Night

Maroon 5 - Makes Me Wonder

U2 - Window in the Skies



I didn't do well in predicting this category last year, which included a mix of R&B (Black Eyed Peas), Pop (Pussycat Dolls), Rock (The Fray, Keane), and Indie (Death Cab for Cutie). I've mostly picked rock, which I believe was my mistake last year, but what pop group sounds besides Maroon 5 or Daughtry, is worthy? Gym Class Heroes? I hope not. And with Fergie going solo, there's nothing from Black Eyed Peas. The Killers could be this year's "indie" pick, unless they go for Peter Bjorn & John's "Young Folks" or Fall Out Boy (either "This Ain't a Scene" or "Thnks fr th Mmrs"). Los Lonely Boys have been nominated in this category twice before, establishing themselves as a favorite. I'm hopeful we won't see Plain White T's "Hey There Delilah," but it may not be ignorable. Still, U2 is a Grammy legend, so why not include them instead?

Grammy prediction: Collaboration Pop Performance w/Vocal

Beyonce and Shakira - Beautiful Liar

Alison Krauss & John Waite - Missing You

Annie Lennox & Friends - Sing
Gwen Stefani & Akon - The Sweet Escape

Timbaland Featuring Justin Timberake & Nelly Furtado - Give It to Me



This category tends to be a mix of adult pop and top 40 picks, but can also be a head scratcher when collaborations that cross genres do not appear. Two songs in particular I would have expected to see on the submission list were missing: Rihanna & Jay-Z's "Umbrella," perhaps because they submitted it in R&B instead, and Reba McEntire & Kelly Clarkson's "Because of You," which must have been considered too country. With those out of the way, I expect the three big top 40 pop collabs of the year to appear: Beyonce and Shakira, Gwen Stefani & Akon, and Timbaland with Justin Timberlake and Nelly Furtado. If they go with something newer, they might pick Natasha Bedingfield & Sean Kingston's "Love Like This," but I doubt it. The more adult leaning ones are harder to pick this year, with no Sheryl Crow duet worth mention. Perhaps Alison Krauss & John Waite, whose album is getting good reviews, and veteran Annie Lennox & Friends (23 of them), whose "Sing" is a pretty decent song. There are some other possibilities with Grammy pedigree, such as Wyclef Jean & Paul Simon's "Fast Car," Tony Bennett & Christina Aguilera's "Steppin' Out," or Paul Anka & Jon Bon Jovi's "My Way." Finally, last year's newcomer Corinne Bailey Rae teamed up with Amp Fiddler for "If I Don't," but I don't think it was a hit in the US, so I'm doubtful about it gettng a nod. Finally, wouldn't it be great if Lindsay and Ali Lohan's "Lohan's Holiday" got a nod? Only if the song has the subtitle: "In the Slammer."

Grammy prediction: Pop Album

Norah Jones - Not Too Late

Annie Lennox - Songs of Mass Destruction

Maroon 5 - It Won't Be Soon Before Long

Paul McCartney - Memory Almost Full

Amy Winehouse - Back to Black



This is a hard category to predict, but I'll give it my best. Since I put Norah Jones, Paul McCartney and Amy Winehouse in the general category, they have to appear here too. The other two slots I give to Annie Lennox, a respected veteran musician, and Maroon 5, who have a popular album that's scored some big hits this year. I was this close to including Timbaland though, for Shock Value, and I think Rihanna's Good Girl Gone Bad could have a shot too. Feist's The Reminder is a potential spoiler, and although it would probably fare better in a rock category, Fall Out Boy's Infinity on High was a popular album this year.

Grammy prediction: Best New Artist

Lily Allen

Daughtry

Feist

Taylor Swift

Amy Winehouse



Not a very interesting list, in my opinion. If this is what it ends up like, should be an easy win for Amy Winehouse.

Longshots: Mika, Plain White Ts, Mark Ronson

Album Review: Kylie Minogue - X (4/5)

It's no secret I'm a big Kylie Minogue fan--have been ever since she conquered charts worldwide in late 2001 with "Can't Get You Out of My Head" from her eighth album, Fever, which is probably my favorite album released this decade. Following her meteoric rise with a string of big hits ("Love at First Sight," "Slow," "I Believe in You," to name a few), Kylie was forced to put her career on hold when she was diagnosed with breast cancer 2 years ago. Having successfully battled the disease, she now returns triumphantly with her tenth studio album, the Roman-named "X."

Despite the illness, as well as her publicized break-up with Olivier Martinez, this is no "woe is me" affair. X is a crackling collection of dance and electro tracks, dripping with the modern production sensibilities of a who's who of pop music's best writers and producers, including Richard Stannard, Cathy Dennis, Guy Chambers, Freemasons, Calvin Harris, and Bloodshy & Avant. The message here is that Kylie is happy to be alive, to be back, to be dancing again, and she's inviting us along for the party.

The album opens with a trio of upbeat electro-drenched tracks. First there's the stomping current hit "2 Hearts," which shows obvious Goldfrapp influence, followed by "Like a Drug" and "In My Arms," which are both similarly melodic dance pop. They're a great start to the set.

"The One" is quickly becoming one of my favorite tracks. The upbeat number is very '80s-sounding, with lots of synth keyboards. This has to be a future single. Also good is mid-tempo "No More Rain," one of the two tracks that do hint at her recent illness, but it's not very heavy handed. The guitar and synth back tracked is a hopeful song about moving on. "Cosmic," the album's only slow track, is the other one. It's theme is about doing the things she's "put aside for years." It's fine, but not a highlight.

"Sensitized," the brash Cathy Dennis/Guy Chambers production, is another winner. Then there's funky Daft Punk-esque "Wow," which is an obvious choice for a future single. Charging "Stars" and the beat-heavy Calvin Harris-produced "Heart Beat Rock" are good too, but not stand outs like the others.

There are some missteps however. Bloodshy & Avant, the Swedish production duo responsible for many of Britney Spears' recent electro-ish singles (they did "Toxic" for example) contribute their skills to two tracks, "Speakerphone" and "Nu-Di-Ty." The former sounds like it was stolen off Britney's Blackout, and the latter just doesn't work very well. Kylie can do better than imitate Ms. Spears. "All I See" is an obvious attempt to make an American R&B/pop styled single, akin to something StarGate would have produced for Ne-Yo or Rihanna (it has that harp and beats combo you hear a lot). The song's fine, but it's just not Kylie.

These are not major problems though. Overall this is a very fun set, a welcome return from one of pop music's most enduring and enjoyable artists. It's no Fever for sure, and probably not as good as Light Years, but I do think it improves on Kylie's last album, Body Language, which got too bogged down in its bland second half, despite containing the awesome "Slow." I definitely expect this will get heavy rotation at my house over the next year (sorry Chris).

Best: 2 Hearts, The One, Wow, In My Arms, No More Rain, Like a Drug, Sensitized

US Chart Notes

• Alicia Keys spends a second week at #1 with "No One." The track continues to grow impressively at top 40 radio too. It's currently up four spots to #4 on the Mediabase top 40, posting the biggest gain of any track.
• "Apologize" by Timbaland/OneRepublic moves back up to #2. This is its third week at #2, and the track has now spent 7 weeks in the top 3 without hitting #1. Compare that to Timbaland's #1 hit from earlier this year, "Give It To Me," which spent only four weeks in the top 3 or "The Way I Are," which only peaked at #3.
• After 6 weeks at #5, Internet sensation Colbie Caillat's "Bubbly" begins its descent. Still, for a single that didn't hit #1 here or at top 40, it's performed pretty well. Until this week at top 40 radio, the track was getting over 10,000 spins, a top feat for a #1 hit, but very rare for a #2. Timbaland/OneRepublic, who had been perched at #1 during that time, was (and still is) posting over 11,000 weekly spins at top 40 radio. I don't have access to all the data, but I wouldn't be surprised if "Apologize" posted the year's biggest weekly spin total.
• Rihanna/Ne-Yo rebound at #9 with "Hate that I Love You." The track had previously spent 3 weeks at #9 before dipping below the top 10 for the last 2 weeks. Top 40 airplay for her next single, "Don't Stop the Music," which has already been a #1 dance hit and a hit in Canada.
• Jordin Sparks moves into striking distance of the top 10 with "Tattoo," up four spots to #12 this week. If she reaches the top 10 next week, she'll become the sixth American Idol performer to earn a top 10 hit besides just their initial "victory" release (which often tend to chart very high, but spike quickly and get no airplay). Kelly Clarkson was first of course in 2003 with "Miss Independent," which she's followed with five more top 10s. Others include Ruben Studdard (#9 with "Sorry 2003"), Clay Aiken (#4 with "Solitaire/The Way"), Carrie Underwood (#8 "Before He Cheats" and #6 "I'll Stand By You"), and Daughtry (#4 "It's Not Over" and #5 "Home," and never a "victory" single).
• Country sensation Taylor Swift sees her biggest Hot 100 hit, "Our Song," move up five spots to #23 this week. It's currently #7 and rising on the country chart. Her biggest country hit so far, "Teardrops on My Guitar," was a #2 country hit earlier this year and has now crossed over at top 40, currently #25 on Mediabase. The single is no longer eligible for the Hot 100 though, as it spent 25 weeks on the chart, peaking at #33 before falling off the chart.
• Speaking of American Idol and country artists, Carrie Underwood's "Before He Cheats" finally falls off the Hot 100 this week, after spending an amazing 64 weeks on the chart, making it the third longest charting single of all time. This week her current hit, "So Small," spends a second week at #1 on the country chart and dips five spots to #28 on the Hot 100.
• Sean Kingston enters the top 40 at #31 with his third top 40 (fourth if you count his appearance on Natasha Bedingfield's "Love Like This," up six spots to #21 this week), "Take You There," following #1 hit "Beautiful Girls" and #14 single "Me Love."
• Finally, at #36, Mary J. Blige scores her 20th top 40 single with "Just Fine," the first single from her forthcoming eighth studio album, Growing Pains. She had her first top 40 hit in 1992, "You Remind Me," which hit #29, which was followed by her first top 10 hit, "Real Love" (#7). Her biggest hits have been "Family Affair" (a #1 hit in 2001), "Not Gon Cry" (#2 in 1996), and last year's "Be Without You."