Essential Albums of the '80s: Cyndi Lauper - She's So Unusual (1983)

It's common that when one major female pop artist appears on the scene, you actually get two that are similar enough to draw instant comparisons. Debbie Gibson and Tiffany. Britney Spears and Christina Aguilera. Avril Lavigne and Kelly Clarkson. Lady Gaga and Ke$ha. Etc. Sometimes it's the one you don't expect that becomes the bigger star.

That was certainly the case in 1984, which saw the emergence of Cyndi Lauper and Madonna. Both worked outrageous looks over cutting edge pop--Madonna treading more in dance pop waters while Lauper had a broader sound, encompassing dance pop, synth pop, even rock. And initially, Lauper was the biggest star. Madonna struggled to find a top 10 hit, which finally came with "Borderline" and then her biggest hit at that point, #4 single "Lucky Star." Although Lauper took awhile to catch on too, when she did, she was even bigger, scoring four top 5 singles from She's So Unusual, including #1 hit "Time After Time" and #2 "Girls Just Wanna Have Fun"--both of which are easily '80s classics.

Of course, we all know that Madonna became the much, much bigger star, but in 1984, that outcome wasn't so obvious. In fact, I remember commentators at the time discussing how clearly Lauper would go on to bigger fame, since she the more creative of the two, and that Madonna lacked sufficient talent to have much staying power.

If She's So Unusual was all you had to go on, this wasn't such a bad assumption. The album was a massive pop success, jumping from the buoyant pop of "Girl Just Wanna Have Fun" to the goofy/dirty pop of "She Bop," to the synth-rock vibe of "Money Changes Everything." Lauper didn't have the best voice--it can be quite grating--but she had a lot of style, convincingly fitting into all of these styles. With her bright clothes and even brighter red hair, you'd think she couldn't nail a convincing ballad, but "Time After Time" was the album's biggest hit, and it remains a remarkable '80s pop ballad. Less impressive, but still enjoyable, is the album's other hit ballad, "All Through the Night." The production is very of the moment, but the songs themselves have proven to have staying power, especially "Time After Time," which is always being remade.

Lauper's follow-up, True Colors, gave her another #1 hit in the title track and a top 5 single, "Change of Heart," but the sales were a significant drop off, and then by the time she put out her third album in 1989 (which did yield the impressive single "I Drove All Night"), pop music had moved on.

Best: Time After Time, Girls Just Wanna Have Fun, She Bop, All Through the Night

Personal Chart, July 2, 2011

Billboard Hot 100, July 9, 2011

1. Give Me Everything - Pitbull feat. Ne-Yo, Afrojack & Nayer

I didn't think we'd see this. I was sure when "Give Me Everything" failed to top the chart last week that it's chance at #1 was over. But I'm proven wrong, as the single climbs a notch to #1, ending Adele's 7-week run at #1 with "Rolling in the Deep."

"Give Me Everything" is Pitbull's first #1 hit, surpassing the #2 peak of his previous biggest hit, 2009's "I Know You Want Me (Calle Ocho)." Counting his guest appearances, the song is the Cuban-American rapper's 7th top 10 hit. It's the first top 10 and #1 hit for Afrojack (the song's producer) and Nayer, and Ne-Yo's second #1.

4. Last Friday Night (TGIF) - Katy Perry

If you thought this would be #1 this week, don't feel too let down. The song's upward sales momentum cooled a bit this week--it still #1 on Digital Songs, but lost its bullet. It's airplay is really picking up though, as the song jumps from #21 to #11 on Radio Songs as this week's Airplay Gainer. This song is definitely still a #1 contender.

5. Super Bass - Nicki Minaj

Nicki Minaj scores her first top 5 hit this week as "Super Bass" rises three notches to #5. It's rare that an album's fifth single becomes its biggest hit, but not unprecedented. In fact, it could bode rather well for Minaj, if you consider that none other than Madonna saw the fifth single from her first album--Madonna's "Lucky Star"--become the singer's biggest hit at the time when it also became her first top 5 hit.

8. Moves Like Jagger - Maroon 5 feat. Christina Aguilera

I'm not watching The Voice, but apparently it's become a pretty big hit. Certainly re-energizing the career of Christina Aguilera, who lost year bombed quite spectacularly with the release of her fourth album, Bionic, which yielded not a single top 10 hit. It's not hurting Maroon 5's Adam Levine either, who sees his band score its fourth top 10 hit, a feat none of the singles from last year's album has achieved. This is Aguilera's ninth top 10 hit.

10. How to Love - Lil Wayne

Lil Wayne's most pop-oriented single yet climbs into the top 10, up three this week to #10.

29. I Wanna Go - Britney Spears

Videos seem to be really working magic again lately. Britney released her video for "I Wanna Go" this last week, and suddenly her new single is an instant hit, climbing 60 notches this week to enter the top 40 at #29 as this week's Digital Gainer. This is Spears's 20th top 40 hit (that doesn't count her appearance on the remix of Rihanna's "S&M," which I don't think should count).

Boyband Summer Hits

JLS and The Wanted have, in the last year, emerged as the pre-eminent British boybands (I'm not counting Take That, since they are not anywhere close to being boys anymore). Both groups have new singles this summer, both of which really want to be #1 hits next month.

Of the two, I think I prefer The Wanted's "Glad You Came." It's quite clubby, riding a similar sound as Jennifer Lopez's "On the Floor" and Edward Maya and Vika Jigulina's "Stereo Love." Steve Mac produces, who has produced hits for both The Wanted ("All Time Low," "Gold Forever") and JLS ("Beat Again," "The Club Is Alive").

"She Makes Me Wanna" is clubby too, although more oriented toward the current dominant sound that mixes dance, pop and R&B into one frothy concoction. So it sounds a lot like their last single, "Eyes Wide Shut," which I wasn't wild about.

"Glad You Came" is out July 10. "She Makes Me Wanna" follows a couple weeks later July 24. Both songs started getting airplay in early June, which puts quite a long time between that and when the singles come out. Definitely not following the on-air-on-sale movement with these.

UK Singles Chart, July 2, 2011

1. Don't Wanna Go Home - Jason Derulo

Jason Derulo scores his second #1 hit with the first single from his forthcoming second album. "Don't Wanna Go Home" is the singer's fourth single to reach the top 3, a set that includes his first #1 hit--last year's "In My Head."

We're halfway through the year now. This week last year, Katy Perry's "California Gurls" was #1--the year's 15th #1 hit. YTD, "Don't Wanna Go Home" is only the year's 12th #1 hit, meaning the #1s are coming a bit slower so far this year, a condition brought on by having a #1 hit that spent 6 weeks at #1 (Adele's "Someone Like You") and one that spent 4 weeks (LMFAO's "Party Rock Anthem").

7. Badman Riddum (Jump) - Vato Gonzales feat. Foreign Beggars

This is the kind of never-heard-of-'em dance act that used to routinely top the UK singles chart. In fact, this really sounds like something from the mid '90s. Of course, it's a Ministry of Sound release.

8. The Edge of Glory - Lady Gaga

Lady Gaga enjoy a nice revival this week, with "The Edge of Glory" climbing 8 spots to return to the top 10. Was it just the video that brought it renewed interest? Perhaps, although it's interesting to note that her album returns to #1 too, knocking Take That from its 1-week return with Progressed.

11. Last Friday Night (TGIF) - Katy Perry

Katy Perry has the biggest mover in the top 40, up 13 notches this week. She's also the beneficiary of increased buzz thanks to an impressive music video release. Certainly we can expect to see this in the top 10 next week.

21. Notorious - The Saturdays

Lady Gaga's turnaround is surprisingly, but not too bizarre. That The Saturday's "Notorious" has made a turnaround is much more of a surprise. After debuting at #8, the single quickly fell to #21 and then #33. Presumably, it would have been gone last week, except that it wasn't, instead climbing 7 notches to #26 and this week another 5 to #21. Apparently, this is due to its physical release, which didn't coincide with its digital release. Still, it looks pretty odd.

23. Set Fire to the Rain - Adele

Only a slight bump for Adele this week, who's up 2 notches to #23, despite her new single being #4 on the airplay chart last week. I hope this has a strong showing after its single release next week. It's another great song from her.

27. Pumped Up Kicks - Foster the People

American indie pop group Foster the People scores their first top 40 hit as their single "Pumped Up Kicks" debuts at #27. This band arrived with little fanfare (at least I didn't see any), but has built quite a bit of late.

31. Judas - Lady Gaga

In the US, this fell like a rock after attention shifted to "The Edge of Glory." Interesting that in Britain it's managed to hold on a bit longer.

40. Fast Car - Tracy Chapman

Worth noting only because it's probably the only time one of my entries in the Essential Albums of the '80s is going to also have a mention as generating a current top 40 single.

Essential Albums of the '80s: Tracy Chapman - Tracy Chapman (1988)

In 1988, were people really talking about a revolution? Reagan was enjoying the last year of his popular presidency, the cold war was still on, the Berlin Wall was still up and AIDS was a scary thing few people understood (and many many fewer people had than today). I suppose revolution was just around the corner, and while Miss Chapman was already talking about it, I guess the rest of us weren't but should've been (hey, my excuse is that I was only 11). On her compelling debut, she sings about that and a lot of other things. It's cornerstone is still "Fast Car," Chapman's biggest early-career hit that's an African-American woman's answer to Bruce Springsteen, riding similar themes of working class angst, romance and escape. It's a moving song that endures today (it hit #4 in Britain just a few weeks ago, enjoying a surprising revival). Almost is good is "Baby Can I Hold You," which Boyzone would turn into a hit 9 years later.

On "Across the Lines," the album's lush acoustic arrangement might mask the fact that the song is about racial tension if you're not listening carefully. There's no pretty arrangement to mask the bitter sadness of "Behind the Wall," a powerful a cappella moment about a woman who can hear the screaming of a neighbor woman being beaten by her husband. Other highlights include the warm, African rhythms of "Mountains O' Things" and the burning guitar rock of "For My Lover."

Best: Fast Car, Talkin' Bout a Revolution, Behind the Wall, Baby Can I Hold You, For My Lover

New Album Releases - July 2011

July is usually not a good month for new albums. This year, it's downright depressing. I mean really. There aren't any albums coming out that really interest me and only a few that I think are even worth mentioning.

Highlights


None....unless the rumors that the Kanye West and Jay-Z collaboration, Watch the Throne, are proven true (it's speculated that the album will be released on the 4th of July).

Other releases

Jay Sean - Freeze Time (July 5). British R&B singer puts out his fourth album, featuring recent hit with Nicki Minaj, "2012 (It Ain't the End)."

Dionne Bromfield - Good for the Soul (July 5). British R&B singer releases her second album, featuring recent singles "Yeah Right" and "Foolin'."

3 Doors Down - Time of My Life (July 19). Snoozer of a rock band releases its fifth album.

August looks better, with the debut album from Wretch 32 and new albums from Hard-Fi, Will Young, Red Hot Chili Peppers, Taio Cruz and possibly The Ting Tings. Plus Lil Wayne's Tha Carter IV, which got pushed from June.

Personal Chart, June 25, 2011

Billboard Hot 100, July 2, 2011

1. Rolling in the Deep - Adele

Adele's "Rolling in the Deep" stays at #1 for a 7th week, officially making it the longest-running #1 hit of 2011 and the second-longest running #1 hit so far this decade behind Kesha's 10-week run for "Tik Tok." This is surely Adele's last week at #1, as three #1 hopefuls are breathing hotly (very hotly) down her back. Of course, she's had an amazing run with this song which, in addition to topping the Hot 100, has been #1 on Digital Songs, Radio Songs, Pop Songs, Adult Pop Songs, Adult Contemporary, Triple A and, as the year's biggest multi-format smash, has also shown up on the charts for alternative songs, rock songs, dance club/play songs--even hip-hop/R&B songs and Latin songs. Wow!

2. Give Me Everything - Pitbull feat. Ne-Yo, Afrojack & Nayer
3. Party Rock Anthem - LMFAO feat. Lauren Bennett & GoonRock

These have been the strongest contenders to unseat Adele, and one of them may get their shot next week, although the song at #4 this week may steal their thunder. Pitbull, in particular, looks to be slipping, with his sales down 5 percent this week. LMFAO earns Airplay Gainer this week.

4. Last Friday Night (TGIF) - Katy Perry

Katy Perry rockets up 27 notches to #4 with "Last Friday Night (TGIF)," the fifth single from her album Teenage Dream, which follows in the wake of the albums previous four #1 hits to becomes its fifth straight top 5 single. With the song's video out this week, it's showing amazing momentum, and there is little doubt in my mind it will be at #1 hit, if not next week, then the week after. It's currently the fastest-growing track at top 40 radio, where it has quickly climbed up to #12.

Teenage Dream is the first album since Fergie's The Dutchess (2006) to score five top 5 hits. Fergie did it with "London Bridge" (#1), "Fergalicious" (#2), "Glamorous" (#1), "Big Girls Don't Cry" (#1), and "Clumsy" (#5). If "Last Friday Night" hits #1, it will become only the second album ever to score five #1 hits. Only Michael Jackson's Bad has ever achieved that feat.

6. The Edge of Glory - Lady Gaga

Not much to report on the song this week, which holds at #6 with a bullet (although with its video out, expect some growth next week). Just wanted to note the passing of the song's saxophone soloist, Clarence Clemons, a member of Bruce Springsteen's E Street Band who died Saturday at age 69.

16. Lighters - Bad Meets Evil featuring Bruno Mars

I saw this on the UK chart this week and just shrugged it off as some sort of dance act with a Bruno Mars vocal. Well that was pretty dumb, since 1) it's a decent song and 2) it's by Eminem, not some anonymous dance act. Oops! Bad Meets Evil is a collaboration between Eminem and Detroit rapper Royce da 5'9". "Lighters" is the highest entry in the Hot 100 this week, in at #16. This is Bruno Mars' 6th top 40 hit.

Lady Gaga: The Edge of Glory

The video for "The Edge of Glory" came out late last week. It's probably the least interesting video she's made. It's certainly simple by comparison to most of her others, which maybe serves to actually make it seem pretty unique for her. Definitely fits in with the '80s influence--videos were generally so much simpler then and we still loved them.

Essential Albums of the '80s: The Police - Synchronicity (1983)

"Every Breath You Take" is The Police's most well-known hit and widely misunderstood as a love song when it's really about obsession, jealousy and surveillance (i.e. stalking). It's also not very representative of its parent album, which is much more experimental and new wave-oriented than that pop tune would suggest. "Synchronicity I" opens the album with an insistent keyboard refrain reminiscent of what might start an evening newscast, followed by the more tribal sounding "Walking in Your Footsteps," both of which have a repetitious character that reminds me of the Talking Heads album I covered a few months ago. By the time you get to manic, off-kilter "Mother" and "Miss Gradenko," you know you're in fairly experimental territory.

But then on the second half of the album, it shifts towards more conventional pop territory. "Synchronicity II" has a strong guitar melody, making it the most assertive of the album's hit singles. "King of Pain" and "Wrapped Around Your Finger" are softer, with the former scored prominently at first with piano and then synths, with the latter starting quietly, almost ominously as it builds toward its bolder chorus. "Every Breath You Take" requires little explanation--it is a timeless, classic pop record, even if it is erroneously appropriated for wedding reception music (Dido's "Don't Leave Home" would later suffer the same fate). The moody, jazzy tracks "Tea in the Sahara" and "Murder By Numbers" shift the album away from its pop core for the closing.

An interesting and exciting album, that I'm sure for fans was a real disappointment to have never been followed up, since it was the band's final album.

Best: Every Breath You Take, Synchronicity II, Wrapped Around Your Finger, Synchronicity I

Kaiser Chiefs - The Future Is Medieval

Ever since Radiohead offered In Rainbows online for whatever price one was willing to pay, the race has been on to see who could come up with the next clever way to market a new album.

I think Kaiser Chiefs have found it in the creative strategy for their new album, The Future Is Medieval. On their official site, there is a tool that allows you to preview 20 potential tracks for the album, from which can select 10 songs in any order to form your own personalized version of The Future Is Medieval. From there, you get to design the album's cover art and then, using Paypal, you can purchase your customized album for about $12 (£7.50). Finally, your special version of the album--complete with custom artwork--is available for other people to buy (for those who presumably don't want to be bothered with the work of choosing and ordering the songs).

If you click on the banner below you can see (and buy) my custom version of the album. A full physical release is due to follow in a couple of weeks, although not all 20 tracks will appear on it. The cover above is the custom artwork I designed.

Album Review: Death Cab for Cutie - Codes and Keys (4/5)

A friend of mine recently asked me if I liked The Postal Service (the band, not the government agency), and I said no, and then she asked me if I liked Death Cab for Cutie and I said "of course," to which she replied "you know they're the same guy?" I didn't, although it makes me appreciate the musical talent of the band's singer Ben Gibbard even more that he can make electronic indie pop with one act and indie rock with another that, at least to me, sound pretty different.

I'm not a long-term devotee of the band, although I did enjoy their fifth album, Plans (2005). Codes and Keys has a lighter, less folksy touch than that record, but still possesses a gentle, almost tentative sound that's welcoming in an age of so much musical bombast. Even in its most propulsive moments, the album never goes too. "Codes and Keys" has a layered rock sound with prominent piano and strings, pushing them toward a sound like Arcade Fire's, but not quite as grandiose. "Some Boys" stays in a lush rock vein, although with a more laid back tempo and more emphasis on the guitar. Same with "Underneath the Sycamore," which swells to include guitar, keyboards, drums, strings and horns by the end. Speaking of epic swells, nothing beats "St. Peter's Cathedral," which provides the album's moments of greatest grandeur.

Several songs have long instrumental passages, so long in fact that you almost expect they won't actually be songs. "Doors Unlocked and Open" doesn't introduce its vocals until 1:30 into it. "Unobstructed Views" takes even longer, 3:05! Not that I'm complaining, for these instrumental segments that slowing build the songs melody, allowing for a certain kind of deconstructed approach. It creates a lot of repetition, although I don't mind that. Gibbard can sound a bit like a drama queen at times, like he really should be on a stage and not in the recording studio. That's the sense I get with "Portable Television," which sounds a bit "musical theater" to me.

"Home Is a Fire" has a repetitious, laid-back feel not unlike the electronic music I love by Air or Radiohead in a not-too-weird moment. The album's first single, "You Are a Tourist" has a similar vibe. It's a nice sound: guitar and keyboard rock that gently pulls you in rather than hits you over the head. It's the kind of song you expect could get selected for an iTunes ad. Same for the wistful, acoustic-guitar backed closer "Stay Young, Go Dancing," which is almost too happy for its own good. But if you were a straight guy married to Zooey Deschanel, you'd probably be pretty happy too.

Best: Codes and Keys, You Are a Tourist, Some Boys, Home Is a Fire

Personal Chart, June 18, 2011

Billboard Hot 100, June 25, 2011

1. Rolling in the Deep - Adele (1)

Adele spends a sixth week at #1 on the Hot 100, equaling Lady Gaga's 6-week run for "Born This Way," and thus tying Gaga for longest-running #1 hit so far this year. Based on what I reported last week, this makes "Rolling in the Deep" the longest-running US #1 for a British female artist. "Rolling in the Deep" continues to be #1 on Radio Songs, Digital Songs, Pop Songs and Adult Pop Songs. Is there any doubt that we're looking at the defining hit of 2011? Unless something pretty amazing comes along in the 2nd half of the year, I think this is it.

Her album, 21, unseats Lady Gaga's Born This Way after 2 weeks at #1, giving 21 now 10 weeks total at the top. That's a pretty amazing run on the albums chart, considering that it's turnover at #1 is generally a weekly occurrence.

2. Give Me Everything - Pitbull feat. Ne-Yo, Afrojack & Nayer (2)
3. Party Rock Anthem - LMFAO feat. Lauren Bennett & GoonRock (6)

Pitbull and LMFAO are starting to look competitive as possible songs to succeed Adele at #1. "Give Me Everything" is #2 at Radio Songs and Digital Songs, although he's still getting about 15 percent fewer audience impressions at radio and, although his sales are only 6 percent behind hers, they are now slipping (as are hers and faster though).

"Party Rock Anthem," a song that originally annoyed me but has grown on me, climbs three notches to #3 and is this week's Airplay Gainer.

6. The Edge of Glory - Lady Gaga (7)

Lady Gaga climbs another notch to #6. The song has turned into a significant hit at Top 40 radio, where it is currently the second-fastest gainer behind Katy Perry's new single "Last Friday Night (TGIF)." Gaga's video is set to debut tonight on Fox's So You Think You Can Dance reality show.

9. Dirt Road Anthem - Jason Aldean (feat. Ludacris) (23)

A country song in the top 10? That doesn't happen these days unless it's Taylor Swift, but Jason Aldean, who's best known for his John Deere ode "Big Green Tractor," has shown he's got an eye for pop sensibility too (his second-biggest hit was last year's Kelly Clarkson duet, "Don't You Wanna Stay"). This time he teams up with rapper Ludacris for a remix of this single, the sales of which accounts for about half of its total. Rappers and country artists don't sound like a typical combination, but remember that Nelly and Tim McGraw hit pay dirt with their 2004 collaboration, "Over and Over," which hit #3 on the Hot 100 and was a massive, massive hit at top 40 radio (10 weeks at #1). This is Aldean's first top 10 hit and this week's Digital Gainer.

10. Super Bass - Nicki Minaj (11)

A big round of applause is due Nicki Minaj this week, who finally scores her first top 10 hit as lead artist. Starting with last year's "Your Love," the singer has had four singles reach the top 40 (with "Your Love" and "Moment 4 Life" reaching the top 20), but none have breached the top 10, although Minaj has appeared in the top 10 on Trey Songz "Bottoms Up" (#6) and Britney Spears' "Till the World Ends" remix (#3).

14. Every Teardrop Is a Waterfall - Coldplay (29)

Last week I erroneously identified this as Coldplay's sixth top 40 hit. It is in fact their seventh (I forgot about "Lost+," which hit #40). This week the track climbs 15 notches to become their third top 20 hit. I expect it will drop next week, since it's not really showing well at radio. This climb is attributed to it getting a full week of sales, whereas last week was only a partial.

21. Honey Bee - Blake Shelton (19)
28. Country Girl - Luke Bryan (41)
29. Knee Deep - Zac Brown Band feat. Jimmy Buffett (38)

Lots of country in the top 40 this week. Must be selling well.

31. Last Friday Night (TGIF) - Katy Perry (63)

Katy Perry scores her 10th top 40 this week as her fifth Teenage Dream single ascends 32 places to #31. I expect the track will rocket up the chart--it could even become another #1. It's the fastest growing track at top 40 radio and is currently #1 at iTunes. With "E.T." still in the top 10 and "Firework" at #40, Perry has three tracks in the top 40 this week.

Katy Perry "Last Friday Night (TGIF)"

So what's Debbie Gibson doing these days? Apparently starring in Katy Perry's latest video, along with Corey Feldman, Glee's Darren Criss and Kevin McHale, Rebecca Black, Kenny G and Hanson. I thought this song was pretty ridiculous on the album, but as a single, it's actually pretty fun and this video is great. Who's that hot guy Katy beds?

Album Review: Take That - Progressed (4.5/5)

Take That's Progress was a remarkable pop album, surprisingly forward-facing with its smart Stuart Price production. It was the Christmas season's biggest seller in the UK--spending 6 weeks at #1 to become the year's best-selling album. As wonderful as it is though, it's shelf-life has proven to be remarkably short, with the album's singles after "The Flood" failing to gain much traction.

So here comes an EP, Progressed, to rejuvenate the project just in time for Take That's summer tour. Sold as a double album, Progressed contains an EP of eight new songs plus Progress as a second disc. Here on in, I'm referring to Progressed only as the new material.

These are obviously leftovers from the recording of Progress, but as that album was so great, these cuts are in no way inferior, although they do at times sound like the Progress songs that made the cut. The opening synth chords of "The Day the Work Is Done," recalls the opening of "SOS," although it proceeds on a smoother melody, making it more like "Wait." "Love Love" has a stomping beat similar to "Kidz."

There's a bit more '80s flavor present here. "Aliens" in particular, which borrows its beat from Michael Jackson's "Thriller." It's certainly got a quick pulse to it. As does "Man," which, like some of Progress, recalls Pet Shop Boys.

The biggest departure from the Progress sound comes on first track, a gentle guitar-backed ballad "When We Were Young," which sounds like a very Robbie-esque song. It's an epic song that reminisces about the group's youthful years of massive popularity in the '90s. It's the only track that Williams provides lead vocal on.

Like the album, it's hard to pick standouts, since all the tracks are good, although I must say there's no hands-down standout like "The Flood." "Don't Say Goodbye" has a rather epic sweep to it, with sweeping cinematic strings blending with buzzing synths and a dance beat. It's moodiness is balanced by the breezier "Beautiful" and the gentle grandeur of closing track "Wonderful World."

As an EP, Progressed is not quite a wonderful as a full new album would be, but it's pretty amazing nonetheless and almost as satisfying as Progress was in its breadth, willingness to experiment (a bit) and top-notch production.

Best: When We Were Young, Love Love, The Day the Work Is Done, Man, Don't Say Goodbye

Shania Twain Returns

Country/pop singer Shania Twain released a new single yesterday, "Today Is Your Day," her first single in 6 years. It's the first release from her forthcoming fifth studio album. The ballad hits all the right notes to garner AC radio, with its big piano and strings production, but with just a touch of banjo to let country stations know it's okay if they play it too.

Twain hasn't put out an album since 2002's Up!, which was her second album to score with both country and pop audiences after her landmark 1997 album, Come on Over. The singer has scored seven #1 hits on the US country chart, starting with "Any Man of Mine" from her 1995 album, The Woman in Me. She is best known for her Come on Over singles that were big crossover hits: "You're Still the One," "That Don't Impress Me Much" and "Man! I Feel Like a Woman."

Divorce seems to agree with Twain, who looks quite content on the single's cover. I suppose being showered with money (royalty checks) every once in awhile can't hurt.

UK Singles Chart, June 18, 2011

1. Changed the Way You Kiss Me - Example (NEW)

British dance/hip-hop act Example lands his first #1 hit with the first single from his forthcoming third album. More of a club record than a rap track--its rapped verses with sung choruses recalls the early '90s dance tracks where this was quite popular (Snap! and C&C Music Factory, for example). Example's career on the chart has been steadily building. He scored his first top 40 hit in 2009 with "Watch the Sun Come Up" (#19). The following year, he hit #6 with "Won't Go Quietly" and then scored his best-known hit to date, "Kickstarts" (#3). Earlier this year he reached #2 as guest on Wretch 32's big hit single, "Unorthodox."

3. Right There - Nicole Scherzinger feat. 50 Cent (14)

Ms. Scherzinger climbs 11 notches to #3, scoring her third straight solo top 10 hit. The new single matches the success of her album's first single, "Poison," even if it falls slightly short of the #1 placing of her last single, "Don't Hold Your Breath," which is still in the top 40 at #36 this week.

6. Every Teardrop Is a Waterfall - Coldplay (NEW)

Coldplay's new single "Every Teardrop Is a Waterfall" storms onto the chart at #6, becoming the group's 11th top 10 hit. While to some this may look like a disappointment to not be in the top 5, but actually Coldplay has never performed like gangbusters on the singles chart. They've had only the one #1 hit ("Viva La Vida") and in fact this #6 placing is better than they did with their last album's first single, "Violet Hill," which reached only #8. Coldplay's strength is on the albums chart, where their new disc will likely take on Adele for 2011's biggest-seller.

13. Fast Car - Tracy Chapman (28)

When this 1988 single got its recent resurgence, it went as high as #4. Then 2 weeks ago it was back down to #40. Now back up to #13. It just won't die. It must be this year's "Make Me Feel My Love" (which mercifully is not in the top 40 this week).

17. Don't Stop the Party - Black Eyed Peas (30)

The Peas are up 13 spots this week with their new single, the follow-up to "Just Can't Get Enough." This single has not yet taken off in the US.

21. Monster - Paramore (NEW)

Paramore scores their fourth top 40 hit. They hit #31 last year with "The Only Exception," a song that was a comparatively bigger hit in the US, where it seemed to stick around forever.

25. Easy Please Me - Katy B (41)

Katy B scores her fifth top 40 hit, although falls short of the top 10 placings she's achieved with her previous three singles. Perhaps this will rise a bit, but I'm not expecting anything dramatic, as frankly this wasn't one of the album's standout tracks for me.

27. Beat of My Drum - Nicola Roberts (NEW)

Nicola becomes the fourth member of Girls Aloud to reach the top 40 solo. Of course Cheryl Cole remains the most successful--by a wide margin--having scored two #1 hits plus several other top 10s. Kimberly Walsh reached the top 10 early this year as a featured vocalist on Aggro Santos' "Like U Like," and Nadine Coyle, who hit #26 last year with he first single.

32. I Giorni - Ludovico Einaudi (NEW)

An instrumental piano composition in the top 40? How extraordinary. Einaudi is an Italian composer and pianist. Not sure why it's appearing on the chart, but nice to hear something different.

Essential Albums of the '80s: Bobby Brown - Don't Be Cruel (1988)

New Jack Swing was a style of pop music that came to prominence in the late '80s thanks to producer Teddy Riley, as well as Babyface, who with L.A. Reid produced this album. The sound combined elements of pop, R&B and hip-hop--not too dissimilar to what's been popular in recent years. While Keith Sweat's 1987 hit "I Want Her" was the first major hit to use the sound, Bobby Brown's second album, Don't Be Cruel, became the sound's flagship when it became the best-selling album of 1989, generating five top 10 hits. The album's singles are all front-loaded and generally the album's best moments, with the upbeat tracks like #1 single "My Prerogative" and bouncy "Every Little Step" aging better than the treacly ballads "Roni" and "Rock Wit'Cha." As was the common practice back then, most of the album's later singles were slightly remixed when released, which means "Every Little Step" and "Roni," in particular, don't sound as fresh as you might remember. However, they are better than the album's second half, which can be disregarded.

Brown would go on to marry Whitney Houston, put out another semi-successful album, 1992's Bobby, which featured a couple of big hits ("Humpin' Around" and "Good Enough"), and then slowly decline amid tabloid stories of his tumultuous relationship with Houston and an ill-conceived reality TV show.

Best: My Prerogative, Every Little Step, Don't Be Cruel, Roni

Personal Chart, June 11, 2011

Billboard Hot 100, June 18, 2011

1. Rolling in the Deep - Adele

Adele spends a fifth week at #1 with "Rolling in the Deep." That's the longest stay atop the Hot 100 for a British artist in 14 years. Back in 1997, Elton John topped the list for 14 weeks with "Candle in the Wind 1997/Something About the Way You Look Tonight," which is the longest a song by a British artist has been #1 (and is tied with 5 other songs for the second-longest run ever). Among British female artists, Adele is tied with Lulu's "To Sir with Love," which also spent 5 weeks at #1 back in 1967 (for a great rundown of British ladies with American #1s, check out The Billboard Files).

British artists in general may be enjoying a comeback on the Hot 100. Back in the '80s, it was very common for Brits to top the Hot 100. That decade saw 67 #1 hits from British artists, including 13 in the year 1985 (half the year's #1s). Since then, there's been a big drop off however, with 10 #1s during the '90s and only four during the '00s. And in fact there were none at all for an over 8-year stretch between the beginning of 1998 and early 2006. But since 2006, there have been six, most of which were also #1s in the UK ("Rolling in the Deep" is one of the two that weren't, along with Jay Sean's "Down").

2. Give Me Everything - Pitbull feat. Ne-Yo, Afrojack & Nayer
4. The Lazy Song - Bruno Mars
6. Party Rock Anthem - LMFAO feat. Lauren Bennett & Goonrock

Pitbull & Co. hold at #2. The song is #2 on Digital Songs and #3 at radio (as well as this week's Airplay Gainer), so while it's still a potential #1 challenger, it's just not quite there yet. Expect another week at #1 for Adele. Bruno Mars and LMFAO are also climbing in the top 10. Take note that, while a British song that didn't hit #1 in Britain tops the US chart, the next three songs currently climbing the chart are all former (or current) UK #1s by Americans. Interesting.

7. The Edge of Glory - Lady Gaga

The Lady climbs another notch to #7, regaining her ground on her initial debut at #3. She's actually climbing on Digital Songs this week and making great strides at radio. She'll probably get back into the top 5 for sure, but #1 will be a big stretch.

12. How to Love - Lil Wayne

I think I said something about Lil Wayne's new album, Tha Carter IV, lacking a launch hit single. He rectifies that this week with "How to Love," which marches up 57 notches this week thanks to strong sales (it's this week's Sales Gainer). Not a bad song either actually. Softer, more pop-oriented than we're used to hearing from him.

29. Every Teardrop Is a Waterfall - Coldplay

This week's highest debut on the Hot 100 comes from British band Coldplay, with "Every Teardrop Is a Waterfall," presumably the first single from their soon-expected fifth album. This is the group's sixth top 40 hit, following "Clocks" (#29), "Speed of Sound" (#8), "Violet Hill" (#40), "Viva La Vida" (#1) and "Christmas Lights" (#25).

40. She Ain't You - Chris Brown

Chris Brown scores his third top 40 hit from his recent album F.A.M.E. with "She Ain't You," follow-up to recent top 10 hit "Look at Me Now." "She Ain't You" includes a sample-within-a-sample, as it samples SWV's 1993 #2 hit "Right Here/Human Nature," which itself sampled Michael Jackson's 1983 #7 hit "Human Nature."

UK Singles Chart, June 11, 2011

1. Give Me Everything - Pitbull feat. Ne-Yo, Afrojack & Nayer

Pitbull spends a third week at #1 with "Give Me Everything," only the third single so far this year to lodge that much time in the top spot. Both of the prior two--Adele's "Someone Like You" and LMFAO's "Party Rock Anthem"--both went on to spend a fourth week at #1.

2. I Need a Dollar - Aloe Blacc
3. Mr. Saxobeat - Alexandra Stan

Most of the songs that have been popular on the British singles chart this year have also been hits in the US. These two singles are notable exceptions. As far as I know, neither have been promoted much in the US yet. I'd say they could be contenders for #1 next week, although Coldplay's new single may prevent that (we'll see--Coldplay doesn't exactly have a strong record of #1s).

6. What a Feeling - Alex Gaudino feat. Kelly Rowland

Kelly Rowland continues to show she can nab hits so long as she's paired up with another hot act--either from hip-hop or dance pop. David Guetta, in particular, has given her a #1 hit with "When Love Takes Over" and a top 10 hit last year, "Commander." This time she's paired up with Italian DJ Alex Gaudino, giving Rowland her 8th top 10 hit while scoring his third.

8. California King Bed - Rihanna

Rihanna scores her 18th top 10 hit as "California King Bed" climbs 12 notches to #8. It's the fourth top 10 hit from her fifth album, Loud, which is the most top 10 hits she's launched off an album without the benefit of a re-release (her 2007 album, Good Girl Gone Bad, had three top 10 hits and then two more with new songs off its 2008 special edition).

10. I'm Into You - Jennifer Lopez feat. Lil Wayne

Jennifer Lopez scores her 16th top 10 hit, up three notches this week and just three rungs above her previous release, #1 single "On the Floor," which drops a notch to #13. The track gives Lil Wayne a rare top 10 hit. He's never had one on his own, and as far I can tell, has only appeared in the top 10 twice before--on Destiny's Child's "Soldier" (#4 in 2005) and on Jay Sean's "Down" (#3 in 2009).

11. Nobody's Perfect - Jessie J

A bit of a rebound for this one, up three spots, but not enough to send it back into the top 10. Compared with "Do It Like a Dude" and "Price Tag," which were such big hits, this single isn't nearly on par. Time will tell whether that's a one-off or a correction.

21. Notorious - The Saturdays

Drops like a stone--down 13 this week. Further proof that their time may be done unless they can make up for this poor single with an excellent follow-up.

26. One Big Family - Templecloud

I discovered this great single this week. It debuted at #24 last week, and drops just a bit this week. Really gorgeous, epic pop song. I'd love to see this really catch on. A bit Adele-like, but has its own charms for sure.

34. Make You Feel My Love - Adele

Adele's third single from 21, "Set Fire to the Rain," was added to Radio 1's playlist within the last couple weeks. It's a really fantastic song. Yet it's not the single Adele enters the top 40 with this week, but rather another turn for this oldie, which refuses to die.

40. Love Love - Take That

Usually when a single falls 42 notches over the course of 2 weeks, you can rest assured that it's over. Yet, "Love Love" inexplicably rebounds 17 notches to reappear in the top 40 this week. Not that I mind, as I'm sure you're all aware I'm a Take That fan. What's behind it? The movie coming out? Some appearance?

Essential Albums of the '80s: Madonna - Like a Virgin (1984)

All of Madonna's '80s output is well regarded, but Like a Virgin gets the least amount of love among the four albums. Madonna has been riding a retro popularity wave for being most like the '80s sound that's currently en vogue, Like a Prayer is generally regarded as one of her best albums of any era and True Blue is considered better by comparison. But Like a Virgin should not be disregarded, for I find it offers up a lot of charm.

It certainly has a special place in my heart and historically, it's probably Madonna's most important album, since it's the one that made her a superstar. Madonna was a hit, but not a megahit, producing a couple of top 10 hits. That's on par with a launch of the likes of Pink in 2000 or Rihanna in 2005, but not a star-making turn on par with what Whitney Houston, Mariah Carey, Britney Spears, Christina Aguilera, Beyonce or Lady Gaga achieved with their debuts. That success came with Like a Virgin, which shifted ever so slightly away from the pure dance pop territory of Madonna toward a more mainstream sound.

It's also the first album where Madonna showed she had some sass, dressing up as an over-sexualized bride on the album's cover, a iconic image captured by Steven Meisel (who would later shoot her 1992 controversial coffee table book, Sex). The title track may have "virgin" in its title, but it's got sex on its mind with Madonna delivering her most kittenish vocal over the memorable hook. It was her first US #1, spending 6 weeks in the top spot. Almost as memorable was the album's second single, "Material Girl," a satirical take on the '80s obsession with equating money and love that, for better or worse, gave the singer a long-lasting nickname.

It's two lesser singles are decent too. Although I used to find the name-dropping fashion-focused "Dress You Up" to be more appealing, these days I'm more into "Angel," which sounds most stuck-in-time of any of this album's singles. It couldn't have come from any other time other than 1984 and I love it for that. Madonna co-wrote the song with Stephen Bray, who would go on to collaborate with her on True Blue, Who's That Girl Soundtrack and Like a Prayer. Among the album cuts, the two closing numbers, "Stay" and "Pretender" are better than the slower songs. I used to really be into "Over and Over," but after 25 years, I'm a little tired of it.

Like a Virgin is Madonna's best-selling album in the US. It was certified diamond for 10 million copies shipped, a feat equaled only by her greatest hits set, The Immaculate Collection. Sure, the Nile Rodgers production is really dated, but for it's time, it was great pop music. A true '80s classic.

Best: Like a Virgin, Material Girl, Angel, Dress You Up, Stay

Personal Chart, June 4, 2011

Album Reviews

Fleet Foxes - Helplessness Blues (4/5). Fleet Foxes' 2008 self-titled debut was a lush, layered take on folk meets classic rock that resulted in a rather beautiful sound, particularly on "White Winter Hymnal." This second album finds them in fine form, exploring similar territory with their mix of unusual acoustic instruments and varied styles of yesteryear. "Montezuma" begins the album with frontier-like sounds of guitar and harmonized male vocals. "Bedouin Dress" follows with its quirky violin taking the lead in the melody parade that features all sorts of stringed instruments. Gentle plucky instrumentation contrasts with dramatic strings on "Sim Sala Bim," which later morphs into a guitar jam session worthy of Mumford & Sons. In fact, those who might avoid this thinking it will be dull should check out the lively, sunny title track or dramatic multi-movement composition "The Shrine/An Argument," whose concluding experimental jazz-style horn solo sounds like Radiohead at its Kid A oddest. Hopefully they'll also be enticed by the cinematic beauty of instrumental "The Cascades," as rustic a tune as the title would suggest. Upbeat piano jam "Battery Kinzie" is just as welcome as flower-power love song "Lorelai." Best: Helplessness Blues, Sim Sala Bim, Montezuma, Bedouin Dress.

Moby - Destroyed (2.5/5). Being the world's leading purveyor of sleepy electronica comes with the risk that you might put your audience to sleep, which is what Moby does on his rather bland 10th album, Destroyed. Apparently recorded while on tour during bouts of insomnia, the set recycles the sounds of dreamy synths, old-school dance beats and soul samples Moby has used before. Nothing sounds new and most of it has sounded better before. After the lovely grandeur of 2009's Wait for Me, Destroyed feels uninspired. Best: Be the One, Victoria Lucas.

Album Review: Lady Gaga - Born This Way (4.5/5)

Raised expectations can be a bitch, and sophomore albums are notoriously difficult, especially after a first album is so well received. Lady Gaga's 2008 debut, The Fame, produced four massive hits and created the most recent pop superstar, a game-changer of an artist who has redefined what it means to be a pop performer while taking a page or two (or more) from acts like Madonna and Elton John--artists who previously served in that role.

With the release of Born This Way, Lady Gaga's second album, the pop singer shows no fear in the face of those typical stumbling blocks. In fact, prior to its release, she talked the album up so much herself that it seemed impossible it would be as good as she thought it was. And frankly, it's not the best pop album ever, or even the best pop album released so far this year. But compared to her prior work, it definitely exceeds expectations. Against any meaningful measure, Born This Way is a triumph, continuing to push the boundaries of pop music (as well as a few buttons).

"Marry the Night" starts the album quietly with brooding synths and vocals and then quickly transforms into one of the album's biggest powerhouse dance pop tracks. It's a great song--one I expect will be a future single. The albums' highlights tend to be these high-energy numbers, particularly the songs we've already heard (the title track, "Judas" and "The Edge of Glory"). "Born This Way" is particularly great, better for its incessantly addictive rhythm than its social message (we're all born the way we are, so let's just all accept it and love one other--well-intentioned, but hardly groundbreaking).

As you would expect, the production here is top-notch electropop, churning out every conceivable type of electronic beat, bleat or synthetic keyboard creation you can imagine. "Judas" bristles with fuzzy synths and booming bass. It's such a great power pop song; I still can't fathom why it's become her first single to flop. That she's still drinking from the '80s synth-pop well is not surprising. She continues to do so effectively, even making a compelling argument for bringing back the saxophone on songs like "Hair" (which I'm liking more and more lately) and the current feel-good hit single "The Edge of Glory," which closes the album on a high note. "Bad Kids" and "Fashion of His Love" derive their appeal from the pulsating sound of mid-'80s dance pop--the kind that Madonna and Whitney Houston excelled at circa 1984-1988.

Gaga is a strange lady, so there are quite a few weird numbers in the mix. "Government Hooker" is an odd one for sure, sounding a bit like Britney Spears' "Gimme More." I've listened to it several times and read the lyrics and still can't tell you what it's about. It references JFK, so is she trying to pretend she's Marilyn Monroe? Well, Marilyn never sounded like this. I'm not sold on it yet, and neither am I really digging the Latin turn on "Americano," although I do appreciate the effort to mix in some Flamenco styling. I do, however, quite like "Scheiße," her foray into '90s European techno ("sheiße" is German for "shit"). "I don't speak German but I can if you like," says Gaga during the energetic dancefloor-ready tune before launching into a few lines of German a good source tells me is mostly nonsense, but fun nonetheless.

There are a few slower-by-comparison songs on the album to help break up what would otherwise be a pretty exhausting listen, although I wouldn't call any of them ballads. "Bloody Mary" is ominous synth-pop, but one suspects in a tongue-in-cheek way similar to what the Pet Shop Boys were doing in the '90s. "Black Jesus + Amen Fashion" also sounds kind of PSB-ish with its grandiose posturing and '80s keyboard melodies. "Electric Chapel" is in this vein too, maybe a little more toward Depeche Mode in its nod to gothic synth pop. Mutt Lange shows up to produce "You and I," which, with a different arrangement, could have been sung by his ex-wife Shania Twain. It's the only song that feels out of place here.

Lyrics aren't Gaga's strong suit, although she frequently turns out some memorable phrases. On "Judas," she uses Christian imagery to portray her love of the bad boy ("Jesus is my virtue, but Judas is the demon I cling to"). Hardly the religious statement some believed the song would be, it's just a simple metaphor. That her songs' substance frequently fails to achieve a deeper level of meaning isn't necessarily a bad thing. Do we really want dance pop music as social commentary? Seems like it can strive to be merely fun and really achieve exactly what it should. So when religious icons show up in other songs ("Bloody Mary," "Black Jesus + Amen Fashion" and "Electric Chapel"), they're there more for window-dressing than to make some big statement.

The album can be a bit grueling to get through. At 14 tracks (17 if you get the longer version), it's not a quick listen. That was one of the things that was so nice about Fame Monster--all eight of its tracks were winners. At this length, you're more likely to encounter a few duds. That said, Born This Way is an overall stronger listen than her first album, The Fame, which lost steam quickly beyond its mega-hit singles. Born This Way offers up gems and surprises all over the place, broadening the singer's sound while solidifying her dance pop base. It's a solid effort, one destined become one of the year's defining hit albums.

Best: Born This Way, Judas, Marry the Night, Scheiße, The Edge of Glory, Fashion of His Love, Black Jesus + Amen Fashion

Essential Albums of the '80s: Enya - Watermark (1988)

Last week I profiled the '80s biggest heavy metal album. This week I take the most significant about-face possible and look at the decade's most popular new age album.

Enya's Watermark may not have set the pop charts on fire, but pretty much everyone seems to have one of her albums lying around someplace. Many people consider it to be merely inoffensive, which isn't fair really, since that downplays how quite lovely it is. Versatile too. I'm sure millions of people have enjoyed as the soundtrack to dinner, evening reading, massage and sex.

To say it's a "quiet" album is to skip over the growing intensity of "Carsum Perficio." To say it all sounds the same is to miss how much that song contrasts with the gentle synth-based track "On Your Shore" that follows. The albums most pop-leaning track, "Orinoco Flow," was a major international hit for the star, and while it's great, it's one of many highlights here. I'm particularly taken by the sensual instrumental title track.

Although Enya is often referred to as a new age artist, the Irish singer's sound is really a clever hybrid of new age, pop, electronic, and world music. What really sets her apart though is her signature multi-tracked vocals, as if we're listening to not one Gaelic chanteuse but an army of them. Thus her voice becomes an instrument on par with any other sound she wants to throw in the mix. Even the booming drums on "Storms in Africa" are no match for her.

Watermark put Enya on the map and she stuck around for quite some time, releasing similar albums of lushly orchestrated vocal-electronic music. Most significantly, her 2001 single, "Only Time," became a major hit after its emotional message resonated with the public following 9/11.

Best: Orinoco Flow (Sail Away), Watermark, Storms in Africa, Carsum Perficio

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.

Personal Chart, May 28, 2011

Billboard Hot 100, June 4, 2011

1. Rolling in the Deep - Adele

It's a third week at #1 for Adele and "Rolling in the Deep," which earns Airplay Gainer for a fourth week in a row. She also claims the #1 spot on the Digital Songs chart for a third week, while reaching #2 with a bullet on the airplay chart. Her album, 21, spends a 5th consecutive week at #1 for 9 weeks total now as America's favorite album. The last album to spend that many consecutive weeks at #1 was last summer's Recovery by Eminem, which lodged 5 weeks-in-row at #1 and7 weeks total. Next record-holder (album-holder?) for 21 to take on is Taylor Swift's 2008 release Fearless, which spent 11 weeks at #1 including 7 consecutive weeks.

3. Give Me Everything - Pitbull feat. Ne-Yo, Afrojack & Nayer

Pitbull climbs a notch to #3 with"Give Me Everything." That's just one notch below the #2 peak of his "I Know You Want Me (Calle Ocho)," which is Pitbull's highest reach on the Hot 100. Although he may appear to be closing on Adele, he's still got quite a ways to go, as "Give Me Everything" is selling about 80,000 copies less than "Rolling in the Deep" (about a third less in volume), according to Billboard, and trails at radio where the single is #6. This may be a #1 hit, but it will be a few weeks before it's a serious contender.

8. Party Rock Anthem - LMFAO feat. Lauren Bennett & GoonRock

"Party Rock Anthem," already a #1 hit in Britain, spends its first week in the US top 10, up 12 spots this week to #8. Already there's talk that this could be one of the big "hits of summer." We'll see--summer's biggest hit probably hasn't come out yet. The song is this week's Digital Gainer.

9. The Show Goes On - Lupe Fiasco

Rapper Lupe Fiasco scores his second and biggest top 10 hit, as "The Show Goes On" climbs 3 notches to #9. That beats the #10 peak of his first top 10 hit, the 2007 single "Superstar" featuring Matthew Santos.

12. Hair - Lady Gaga
(19. The Edge of Glory - Lady Gaga)

Lady Gaga's "Hair" debuts on the Hot 100 at #12. Although it misses a top 10 debut like her last three singles, this is still pretty decent when considering that it's just a preview track and not an official single. The shuffle of "The Edge of Glory" for "Judas" appears to be complete. At top 40 radio (Mediabase), "Judas" is nowhere to be seen, while "The Edge of Glory" has already reached the top 20. "Glory" takes a big dive on the Hot 100--down 16 spots from last week's #3 debut--but will likely regain some of that ground as its airplay continues to grow and sales return. "Hair" is Gaga's 11th top 40 hit.

Lady Gaga: Born This Way

Lady Gaga's second full-length album arrived in stores today (for as little as $1 at Amazon.com, which is a pretty amazing deal). I listened probably 3 times through today. Generally I'm pretty pleased, although it's not perfect. It's a pretty relentless album but it has a lot of variety, so I'm not suffering listener fatigue as yet. Here some initial impressions:

Marry the Night: Great choice for an opening track. Starts quiet and dramatic before bursting forth with a charging beat drenched in '80s electro dance-pop. An instant favorite and certainly a future single. Produced by Garibay, who is the most prominent producer on Born This Way, showing up on 11 of the 17 tracks.

Born This Way: It has its detractors, but I still love it.

Government Hooker: This is an odd one. Not sure how I feel about it yet. The JFK reference doesn't seem very natural. It sounds a bit like Britney Spears' "Gimme More."

Judas: This is the first RedOne-produced tracks on the album. Another one that I really love.

Americano: It's got a Latin thing going on, which is different for her. Still a bracing piece of dance pop. Quite over the top.

Hair: The saxophone makes its entrance on this second RedOne production. Nice melody and I like the little touch of piano, but the lyrics are pretty silly even for her.

Scheiße: "I don't speak German, but I can if you like" says Gaga at the top of this harder club-oriented song. Got a real '90s dance music sound to it, which is fun. Among the tracks so far that aren't singles, this is probably my second favorite after the opening track.

Bloody Mary: There's a lot of religious imagery on this album, but that's it--it's just imagery and nothing really deep (I don't think, will have to check out the lyrics to know for sure). Slower and theatrical. Reminds me of Pet Shop Boys in a way.

Black Jesus + Amen Fashion: This is one of the extra tracks on the longer edition ( after buying the $1 Amazon version, I cherry-picked the three additional tracks from iTunes, so we're looking at about $5 total for this). Surprised this isn't just on the album proper. It's pretty cool. A bit disco-ish. This is produced by DJ White Shadow, who shows up as co-producer on several other tracks.

Bad Kids: This is another self esteem pop song in a vein similar to "Born This Way." Her message of universal love for all the outcasts doesn't really seem that genuine, but I guess it's a good sentiment.

Fashion of His Love: Another bonus track. This is very '80s, like Frankie Goes to Hollywood style '80s. Fun song. Again, this is better than some of the album proper tracks, so I definitely recommend getting the 17-track version of this.

Highway Unicorn (Road to Love): Kind of messy production here, making the song go all over the place. Then the very melodic chorus breaks through the mess like a breath of fresh air. Not sold on this one yet, but it does have a pretty good beat.

Heavy Metal Lover: It's got a synth-based beat like "Born This Way," but otherwise sounds pretty different. Despite the title, this is dance pop through and through.

Electric Chapel: Here's the electric guitar along with some strings. Nice musical intro that segues into some pretty strong electronic keyboards. This song has a lot going for it actually, despite being buried back toward the end.

The Queen: Another bonus cut. Odd chimes at the beginning--like the sound the trolleys make in San Francisco. Then the tempo speeds up and we get upbeat dance pop.

You and I: Mutt Lange produced this song and it totally sounds like it, riding that country/rock/pop sound he does so well. I wonder if, in another world, this appeared on a Shania Twain album. Tempo wise, this is probably the slowest the album ever gets.

The Edge of Glory: The current single. I like this song, but not as much as "Born This Way" or "Judas." Still, I find myself singing it odd times, so it's definitely sunk in.

So, there you have it. It's pretty long, but I wouldn't characterize much of it as filler. Certainly far less so than The Fame. A proper review should follow this weekend.

UK Singles Chart, May 28, 2011

1. Give Me Everything - Pitbull feat. Ne-Yo, Afrojack and Nayer

Pitbull scores his first UK #1 hit as lead artist as "Give Me Everything" climbs three spots to #1. Pitbull was #1 a month and a half ago as a guest rapper on Jennifer Lopez's "On the Floor," which is still in the top 10 (#10 this week). This is Ne-Yo's fourth appearance at #1 after his own singles "So Sick," "Closer" and "Beautiful Monster."

4. I Need a Dollar - Aloe Blacc

Nice climb for this song, up 5 more spots this week.

6. The Edge of Glory - Lady Gaga
8. Judas - Lady Gaga
13. Hair - Lady Gaga
16. Born This Way - Lady Gaga

It's a Lady Gaga world and we're just living in it. At least that's what it feels like looking at the chart this week, where the American singer lodges four singles in the top 20 this week on the eve of the release of her new album, Born This Way. "Judas" has basically flopped in the US, and while it looked like it was headed there in the UK, makes a nice turnaround this week, climbing back into the top 10 for a new peak at #8. Meanwhile it's replacement single, "The Edge of Glory" holds at #6, preview track "Hair" debuts at #13 and old single "Born This Way" rebounds nicely, up 8 spots to #16. Still, there's no #1 hit in this pack, which has to be disappointing.

27. Right There - Nicole Scherzinger feat. 50 Cent

Ms. Scherzinger returns with the third single from her debut album, Killer Love. Last time out, she landed her first #1 hit, "Don't Hold Your Breath." I'm skeptical this will match that success. In fact, the first time I heard it, I didn't particularly care for it, although it's grown on me since then.

29. We Don't Have to Take Our Clothes Off - Jermaine Stewart

Okay sure. Why not.

36. California King Bed - Rihanna

Rihanna's fourth Loud single is her 25th appearance in the top 40. Her last three singles have all been major hits. "Only Girl" and "What's My Name" hit #1 and while "S&M" reached #3, it's the fifth best-selling single so far this year.

Essential Albums of the '80s: AC/DC - Back in Black (1980)

Hair bands dominated the hard rock scene in the '80s ranging from the more serious (Guns N Roses, Motley Crue, Bon Jovi) to the less so (Poison), but in the early '80s AC/DC ruled the metal scene with this release, their sixth album released globally.

Ominous chimes open the album during "Hells Bells," which later segues into "Shoot to Thrill," a more light-hearted and upbeat track. Despite being "heavy" metal, what I'm struck by most about this album is that the band doesn't shy away from quiet moments, even within songs that can rev up the volume, making for the kind of musical "peaks and valleys" that is so rare in popular music today. Kind of refreshing actually. I've read that, unlike most heavy metal bands, they weren't as big of posers, although they still partied hard, a fact celebrated on Back to Black. Track 8, titled "Have a Drink on Me" seems quite tasteless when you consider that this album followed the band's previous lead singer's death by alcohol poisoning.

They can get pretty taudry too. "Let Me Put My Love Into You" is about exactly what you'd expect and sails along on a sea of confident guitar licks. One night stands get one of their best odes ever in "You Shook Me All Night Long," perhaps the most classic track the band ever recorded.

Worldwide, Back in Black is the second best-selling album of all time behind Michael Jackson's Thriller. In the US--where the album is 22 times platinum--it's fifth, but that still puts it just behind Thriller as the second biggest album of the decade. The album was produced by Mutt Lange, who in addition to producing the best-selling album of all time in the US by a band also produced the best-selling album of all time by a woman, his (now former) wife Shania Twain's third album, Come on Over.

Best: You Shook Me All Night Long, Shoot to Thrill, Let Me Put My Love Into You, Back in Black

Personal Chart, May 21, 2011

Take That - Progressed

I still listen to Progress a lot, but it's singles have cooled significantly on the charts. So...time for a follow-up EP. Here then is Progressed, eight new tracks including the X-Men movie tie-in "Love Love." Like Progress, all the tracks are produced by Stuart Price. Check it out June 13.

Singles Serving

The Edge of Glory - Lady Gaga. So "Judas" tanks, which is ridiculous, because it's a great song. Whatever. This is good too. It's not as in-your-face as "Born This Way" or "Judas," but it's a smart pop song with a bubbly keyboard melody. The song's most interesting feature is its saxophone middle-eight, evidently the best effort yet to bring back the '80s most overused instrument for pop music bridges. Love it or hate it, it's got style. Count me in the former.

Love Love - Take That. It's no "The Flood," but "Love Love" is a worthy upbeat entry in the Take That canon. Thundering synth bass beats give this a real pulse of a beat. And who's doing the lead? It's not readily apparent to my ears (apparently its Gary and Mark, just like on "Kidz"). It's not on Progress--look for it on the soundtrack to X-Men: First Class and the upcoming Take That EP, Progressed.

Finish Line - Yasmin. When I wrote my UK Singles Chart summary this week, I noted this was more conventional than her last single. While that's true, I didn't mean to sound dismissive about it, for it's a really great track, with an interesting rhythm section that sets its apart from other similar synthesizer-based R&B-ish pop. It's pretty dreamy actually. She may actually be one to watch.

Give Me Everything - Pitbull feat. Ne-Yo, Afrojack & Nayer. Ne-Yo features prominently on Pitbull's new single, which just might be the most fun I've had yet with a Pitbull single. It's a clubby track with a good beat, but avoids sounding too harsh, softened by keyboards and Ne-Yo.

California King Bed - Rihanna. It sounds an awful lot like Fergie's "Big Girls Don't Cry," which means it will probably be a big hit, timed as Rihanna's fourth single (just like "Big Girls" was from Fergie's The Dutchess).

Calgary - Bon Iver. This is the first single from the indie folk bands upcoming second album, Bon Iver. This is much more rock-oriented than we've heard from them before with synthesizers and a sharper beat underlying the typically sleepy vocals. Nice song. Looking forward to the album.

Busy - Olly Murs. Olly picks up an acoustic guitar (or maybe someone near Olly), giving up as a breezy California-style pop ditty in the vein of Jason Mraz or Jack Johnson. Not bad really. Better than "Thinking of Me," which I wasn't really crazy about.

Still Got Tonight - Matthew Morrison. Speaking of male pop singers on a California kick, here's the new single from Matthew Morrison. It's quite a lot better than "Summer Rain" actually, with a more assertive melody. Reminds me of Beautiful World-era Take That (before they hooked up with Stuart Price).

I Can - Blue. I really don't get Eurovision. What's the point of it? If it was the best of the best, it would be interesting. If it was new, fresh faces, it would be interested. But a reunited boyband that was never one of the more interesting ones to begin with? The song is merely okay, it's nothing special.