Album Review: Christina Aguilera - Back to Basics (3/5)

Blonde teen pop singers Christina Aguilera and Britney Spears both released their phenomenally successful debut albums in 1999, setting up a situation for easy comparison ever since. In my mind, the biggest distinction has been Britney’s quantity to Christina’s quality. Britney had released two more albums by the time Christina released her 2002 follow-up, and Britney has released a total of six discs now at the point where Christina is just getting around to her third. However, despite al of Britney’s releases, she’s managed only three #1 hits on either the Billboard Hot 100 or R&R Top 40, whereas Christina has had five, as well as a more consistent top 10 record. Britney virtually lives in the tabloid world, allowing them to report every mundane detail of her barefoot, convenience store-going life, while Christina rarely appears in the tabs and certainly never barefoot. While Britney has trashed her image, Christina has refined hers—and she’s never looked better than she does these days.

With that in mind, it’s a shame Christina’s taken a page from Britney in delivering a mammoth album of 22 songs spread over two discs. Back to Basics is not just one concept album, but two: Disc 1 is a soulful, jazzy collection of heavily retro-inspired R&B, a tribute to Christina’s musical influences produced mostly by DJ Premier, while Disc 2 is a mix of circus freakshow and ‘40s-style songs produced by Linda Perry. It’s certainly an ambitious undertaking and there are some great moments, but unfortunately at it’s length there’s a lot that could have been cut. Let’s take it disc by disc.

The first disc’s intro sets up the concept: “get inside the minds of every legend I ever wanted to stand beside.” This followed by the fairly simple, soulful piano and choir-backed “Makes We Wanna Pray,” a good but not great start.

The album picks up with the next two tracks. “Back to the Day” reiterates the challenge set forth in the intro, with Christina singing that she’s going back to where it began, name-checking artists like Lena Horne, Aretha Franklin, Miles Davis, and Louis Armstrong. It’s a fun song, with record scratching and scratchy ‘70s-sounding sampling. “Ain’t No Other Man,” the first single, is the real gem of the album. It’s a fantastic, fast, horn-laden romp of a song and Christina really sings the hell out of it. Really great.

Unfortunately, that’s the end of the really great moments on Disc 1. Other good songs include the slower ‘70s-sounding “Understand;” piano ballad “Oh Mother,” which features a great strings bridge; “On Our Way,” which has a similar piano and scratchy record sound; and mid-tempo acoustic guitar number “Without You,” which is not another Badfinger remake, but does remind me of early ‘90s Mariah Carey stuff.

The rest, while not bad, is decidedly so-so. “Slow Down Baby” is too repetitive, “Still Dirrty,” an obvious ode to last album’s single “Dirtty,” is fun but not very musically interesting, and “Here to Stay” declares she’s not going away, although at this point I’ve had more horn blasts and retro record scratchy noise than I think I can take, so I really am ready for something else.

There’s also some unwelcome egomania going on here. “F.U.S.S.” stands for “F.U. Scott Storch,” a slam against her Stripped producer who bad-mouthed her during an interview after he was passed over for production work on Back to Basics. “Thank You (Dedication)” is recordings from fans telling Christina about how much they appreciate her and how she’s changed their lives. Please.

If disc 1 suffers from too much of the same, then disc 2 has the opposite problem. It’s a bizarre mix of styles that lacks cohesion. It’s almost like disc 2 was an afterthought—a favor to friend Linda Perry, who produced all of the second disc’s tracks.

It opens with “Enter the Circus,” an intro of sorts with creepy circus music, a ringleader, and a choir of voices. It wouldn’t sound out of place on a Tim Burton soundtrack. It’s bizarre and frankly a little scary. This is followed by “Welcome,” the second intro, which continues with the circus theme, adding strings and piano. It’s one of disc 2’s better moments, but that’s not saying much.

What does work here are three tracks of varying stylistic origin, namely “Hurt,” the album’s second single. “Hurt” is an emotional pop ballad lined with lush piano and strings and a knockout vocal performance by Aguilera, who both reins herself in and lets it out on this number, an obvious successor to “Beautiful.” It’s out of place on this disc, but only because it lacks the strange artifice of the rest of the songs. Also good is “Candyman,” an energetic early ‘50s-sounding number, with horns, hand claps, and a spot-on vocal delivery. It doesn’t really fit here either, but I like it. Understated “Save Me From Myself,” is also good, featuring an unprocessed raw vocal, acoustic guitar, and some strings. It’s such a contrast to the surrounding bombast.

The other four tracks are either okay or just bad. “Nasty Naughty Boy” establishes a fun, sexy ‘40s cabaret style, but quickly wears out its welcome. “Mercy on Me” has too much production: organs, weird choir vocals, strings, etc. Dull “I Got Trouble,” another ‘40s-ish track announces its old by the underlying vinyl static (Wasn’t the purpose of digital music formats to eliminate this?). The album’s final track, “The Right Man” goes too far over the top to be enjoyable.

Back to Basics would have been a fantastic album, if it had been only half as long. Disc 1 in particular shows innovation, creativity, and class, but has too many similar songs. Disc 2 is just a mess, but does have a few salvageable moments. Aguilera deserves a lot of credit for taking some major risks on this project and for really stretching herself and the bounds of pop music. But someone should have reined her in.

Get it: Ain’t No Other Man, Hurt, Back to the Day, Candyman, Makes Me Wanna Pray, Oh Mother, Without You, Understand, Save Me From Myself
Skip it: F.U.S.S., Thank You (Dedication), and everything else on Disc 2.

Album Review: Amy Winehouse - Back to Black (5/5)

In 2006, it took almost the entire year before I found an album worthy of a 5-star review; this year it came in the first quarter. Amy Winehouse’s sophomore album, Back to Black, is a stunning collection of perfectly crafted pop/R&B that’s both enjoyably retro and engagingly modern. Take the best of Lily Allen’s foul-mouthed British sensibility, but leave it in a dirty ditch with even more lurid lyrics, and the best of Christina Aguilera’s Back to Basics retro-soul but make is smokier and darker, and you’ll get close to the vibe of this brilliant disc. Musically, it sounds like the follow-up to Miseducation that Lauryn Hill never made, but lyrically unlike anything I can think of. Does anyone else truly revel in being bad like she does?

Case in point is opening track and first single “Rehab,” a true story about her refusal to seek treatment for alcoholism, despite urgings by her management. The seemingly serious subject is belied by an upbeat mix of retro R&B sounds—girl group background harmony, hand claps, chimes, strings and tinkling piano—sounds that permeate many of the songs on the album, particularly those produced by Mark Ronson, which, no surprise, produced several tracks for both Lily Allen and Christina Aguilera’s recent albums, as well as Robbie Williams (Ronson’s own single, “Stop Me,” out now is also great).

Rhythmic “You Know I’m No Good” follows, clearly keeping up the bad girl thing. The song features sharp beats, raspy retro horns, and distant fuzzy guitars, like those from the Pulp Fiction soundtrack. “Me and Mr. Jones” opens like many a sweet ‘60s Motown girl group song, until Winehouse intones “What kind of fuckery is this? You made me miss the Slick Rick gig,” putting her own spin on the situation. “Just Friends” continues the R&B groove although smoother. It’s the fourth great song in a row on the album, which features no duds among the eleven tracks.

But as good as those opening four tracks are, the song that really shines on this album is its title track, “Back to Black,” a gorgeous, dark tale of the pain and shame of being the other woman (“You go back to her, and I go back to black”). The song saunters along with hard piano chords, vibes, scratchy distant guitars, and swells with strings during the choruses. Winehouse sounds fantastic on it too. The song gets really quiet after the second chorus before building back up again—perhaps the loveliest part in this amazing song. It gives me chills with each listen—it’s that good.

“Love is a Losing Game” is a lovely old school ballad that finds Winehouse toning down the lyrics in favor of honest melancholy. “Tears Dry on Their Own,” picks up the tempo then, another Motown-esque number backed by a brassy ‘60s-sounding band. “Wake Up Alone,” another Ronson track, is lovely doo-wop flavored balladry.

Effective instrumentation is a hallmark of many of the album’s songs; “Wake Up Alone” opens with sharp, plucky bass, “He Can Only Hold Her” is punctuated with horns. Final track “Addicted,” inexplicably omitted from the U.S. release, is an ode to marijuana, which she says does more for her than, well, that particular part of the male anatomy. It closes the album in signature ‘60s swinging style.

At times dark and dirty, at other times light and funky, Back to Black is a brilliant merger between old school ‘60s R&B and contemporary production sensibilities, tied together perfectly by Winehouse’s deep, husky voice and boundless personality.

Best Tracks: Back to Black, You Know I’m No Good, Me are Mr. Jones, Rehab, Love is a Losing Game, Tears Dry on Their Own, Addicted.

Grammy Awards Rundown

The 49th Annual Grammy Awards are tomorrow night. Who will win? Who should win? Let's take a look...

Record of the Year

Be Without You - Mary J. Blige
You're Beautiful - James Blunt
Not Ready to Make Nice - Dixie Chicks
Crazy - Gnarls Barkley
Put Your Records On - Corinne Bailey Rae

I don't think Corinne Bailey Rae or James Blunt have a shot at it, and while Dixie Chicks are frontrunners in the album category, I don't see the Grammys singling them out for Record. This race comes down to a veteran artist at her peak, Mary J. Blige's "Be Without You," and an innovative newcomer, Gnarls Barkley's "Crazy." You could argue Mary deserves the award for the snub of not getting an Album of the Year nomination, but on substance alone this award should and will go to Gnarls Barkley's "Crazy."'

Should win/will win: Crazy - Gnarls Barkley

Album of the Year

Taking the Long Way - Dixie Chicks
St. Elsewhere - Gnarls Barkley
Continuum - John Mayer
Stadium Arcadium - Red Hot Chili Peppers
FutureSex/Love Sounds - Justin Timberlake

It still looks odd to not see Bob Dylan's Modern Times and Mary J. Blige's Breakthrough among the set, although their inclusion probably would have meant the exclusion of John Mayer's soulful, understated Continuum, which ended up being my personal favorite of the three I own (along with Timberlake and Dixie Chicks). While Gnarls Barkley's "Crazy" is a frontrunner for Record, the album as a whole is undeserving, too many weird moments among the good ones. For RHCP, it's "an honor just being nominated." This race comes down to Justin Timberlake, the popular favorite and second-time nominee whose singles have been ubiquitous for the last 6 months, and The Dixie Chicks' pop/country statement of standing their ground. Both are good albums too, and between these two I'm going with The Dixie Chicks for their more consistently good album and the opportunity for the recording industry to stick it to all those who stuck to the Chicks for expressing what they believe.

Should win: Continuum - John Mayer

Will win: Taking the Long Way - Dixie Chicks

Song of the Year

Be Without You - Johnta Austin, Mary J. Blige, Bryan-Michael Cox & Jason Perry, songwriters (Mary J. Blige)
Jesus Take the Wheel - Brett James, Hillary Lindsey & Gordie Sampson, songwriters (Carrie Underwood)
Not Ready to Make Nice - Martie Maguire, Natalie Maines, Emily Robison & Dan Wilson, songwriters (Dixie Chicks)
Put Your Records On - Put Your Records OnJohn Beck, Steve Chrisanthou & Corinne Bailey Rae, songwriters (Corinne Bailey Rae)
You're Beautiful - James Blunt, Amanda Ghost & Sacha Skarbek, songwriters (James Blunt)

The songwriters award. Usually goes to adult contemporary-type fare, so count "Be Without You" and "Jesus Take the Wheel Out." "Put Your Records On" is lovely, but too slight. "You're Beautiful" would appear to be a favorite, as it is lovely too, but not very interesting lyrically. "Not Ready to Make Nice" still gives me goosebumps during its middle 8, and it tells a compelling story.

Should/will win: Not Ready to Make Nice - Martie Maguire, Natalie Maines, Emily Robison & Dan Wilson

Best New Artist

James Blunt
Chris Brown
Imogen Heap
Corinne Bailey Rae
Carrie Underwood

Already this decade this award has gone to some pretty impressive talent, including Christina Aguilera, Maroon 5, Alicia Keys, and Norah Jones, so it's not the "curse" it once may have been (of the '90s winners only Mariah Carey and Sheryl Crow are arguably still going strong). James Blunt seems like a strong contender, and my personal favorite, but Carrie Underwood is going to be irresistible as the American Idol that made it.

Should win: James Blunt

Will win: Carrie Underwood

Best Female Pop Vocal Performance

Ain't No Other Man - Christina Aguilera
Unwritten - Natasha Bedingfield
You Can Close Your Eyes - Sheryl Crow
Stupid Girls - Pink
Black Horse and the Cherry Tree - KT Tunstall

Last year this went very deservingly to Kelly Clarkson, who had been snubbed in the Record and Album of the Year categories (she won both of her nominations though, the other being for Pop Album). Christina Aguilera and Sheryl Crow have won this before, but for better work, "Beautiful" and "All I Wanna Do." Pink's song is great, but would seem an odd choice for Grammy. This race comes down to my personal favorite Natasha Bedingfield's star-making performance for "Unwritten" and KT Tunstall's breakthrough "Black Horse and the Cherry Tree." For some reason I'm feeling this will go to Tunstall, as the more Grammy-like choice.

Should win: Unwritten - Natasha Bedingfield

Will win: Black Horse and the Cherry Tree - KT Tunstall

Best Male Pop Vocal Performance

You're Beautiful - James Blunt
Save Room - John Legend
Waiting on the World to Change - John Mayer
Jenny Wren - Paul McCartney
Bad Day - Daniel Powter

John Mayer's already won this twice, first for "Your Body is a Wonderland" and later for "Daughters," so he's a likely favorite. I've never even heard "Jenny Wren," so voters probably haven't either. Count "Bad Day" out. This is probably James Blunt's best chance to win, but I expect he will be edged out by the soulful single from last year's best new artist, John Legend.

Should win: You're Beautiful - James Blunt

Will win: Save Room - John Legend

Best Pop Performance by a Duo or Group with Vocal

My Humps - Black Eyed Peas
I Will Follow You Into the Dark - Death Cab for Cutie
Over My Head (Cable Car) - The Fray
Is It Any Wonder? - Keane
Stickwitu - The Pussycat Dolls

This is an odd assortment, isn't it? Recent winners include Maroon 5, Los Lonely Boys, and No Doubt (twice). I really can't see Black Eyed Peas or The Pussycat Dolls wining a Grammy, so count them out. As well as Death Cab for Cutie and Keane for not being known enough. The Fray's popular "Over My Head" should easily win.

Should win: Is It Any Wonder? - Keane

Will win: Over My Head (Cable Car) - The Fray

Best Pop Vocal Collaboration

For Once In My Life - Tony Bennett & Stevie Wonder
One - Mary J. Blige & U2
Always On Your Side - Sheryl Crow & Sting
Promiscuous - Nelly Furtado & Timbaland
Hips Don't Lie - Shakira & Wyclef Jean

Surprisingly competitive this year, more so than usual, and includes some very popular songs. "Promiscuous" is the popular choice, but since Nelly Furtado was so looked-over in other categories, I don't expect her to win. Same for Shakira's "Hips Don't Lie." "Always on Your Side" is a lovely ballad by two Grammy favorites, and should be a frontrunner, but the irresistible combination of Mary J. Blige and U2, also Grammy favorites, is unstoppable.

Should win: Always on Your Side - Sheryl Crow & Sting

Will win: One - Mary J. Blige & U2

Best Pop Vocal Album

Back to Basics - Christina Aguilera
Back to Bedlam - James Blunt
The River In Reverse - Elvis Costello & Allen Toussaint
Continuum - John Mayer
FutureSex/LoveSounds - Justin Timberlake

Twice recently this has gone to the Album of the Year winner, but more often goes to another worthy album not nominated in the lead category. That would mean James Blunt's Back to Bedlam (too old for me to be excited about at this point) or Christina Aguilera's Back to Basics (innovative and adventurous, but uneven). I'm going with neither though and say that Justin Timberlake deserves to win with last year's hottest pop album that firmed up his status as a pop music leader.

Should/will win: FutureSex/LoveSounds - Justin Timberlake

Best Dance Recording

Suffer Well - Depeche Mode
Ooh La La - Goldfrapp
Get Together - Madonna
I'm With Stupid - Pet Shop Boys
Sexyback - Justin Timberlake

This usually goes to a popular choice or at least a popular artist. I'd love to think that Madonna could win this, but "Get Together" was barely a blip on the U.S. music scene last year. Despite it being the least "dance" of the pack, Justin Timberlake's "Sexyback," overlooked for Record of the Year, will probably win.

Should win: Get Together - Madonna

Will win: Sexyback - Justin Timberlake

Best Electronic/Dance Album

Supernature - Goldfrapp

Confessions on a Dancefloor - Madonna

A Lively Mind - Oakenfold

Fundamental - Pet Shop Boys

The Garden - Zero 7

Madonna has so few Grammys, it would be nice to see her win, but in all honesty, Goldfrapp's Supernature is a better album and deserves to win. Pet Shop Boys had their best album in years, but did anyone pay attention?

Should/will win: Supernature - Goldfrapp

Album Review: Pet Shop Boys - Fundamental (4/5)

The Pet Shop Boys and I have an interesting history. I wasn’t a fan of them in the ‘80s-- really the only time they were popular in the US with hits like “West End Girls” and “What Have I Done to Deserve This?” My introduction to the band came in 1995 during college freshman year when a friend loaned me their brilliant 1993 gay/dance album, Very. Instantly it was one of my favorites and I declared them my favorite musical act for a few years (sorry Madonna). I sought out their back catalogue, conveniently collected in Discography, their first singles collection. Then Bilingual came out in 1996, and although the Latin-flavored disc was not as good as Very, It was still pretty good, and I was happy to be a fan of something current from them.

Things went downhill from there. 1999’s campy Nightlife had some great moments, but was uneven. Then 2002’s Release was a real letdown, which I barely listened to. It was the nail in the coffin for my fandome with the boys. Gone they were from my “ten best” lists, and of course, I completely ignored their ridiculous Battleship Potemkin “soundtrack.”

I’m happy to report the group is back on track with Fundamental, a moody synth-driven collection that takes the Pet Shop Boys back to their ‘80s roots. “Psychological,” a dark brooding track plods along, at first seemingly fine but not thrilling, until you get about halfway through the song. Then the song takes a break before erupting with strong synth chords at the end. The deep bass beat is reminiscent of Depeche Mode, another ‘80s synth group enjoying a resurrection and revisitation of their roots with their recent album.

From there, things get campy with “The Sodom and Gomorrah Show,” which opens with a heartbeat, carnival noise, “sun, sex, sin, divine intervention, death, and destruction.” It’s an enjoyable romp of a song, and sounds like it could have been a Very single B-side. “I Made My Excuses and Left” is a melodramatic tale of finding one’s man with another man, and thus feeling like a “supplicant” i.e. someone replaced. Is it meant to be funny? serious? both? Who knows—that’s one of the best aspects of the Pet Shop Boys—their tongue-in-cheek demeanor that manages to also evoke actual emotion while wrapping the story in lovely layers of electronica, a genre often criticized for being emotionally detached. The song’s string bridge is probably the most beautiful moment in any PSB song to date.

Fundamental also visits a few political themes, no stranger to any good PSB disc. “I’m With Stupid,” the album’s first single, is written as a monologue by Tony Blair talking about George W. Bush as if the former has been seduced (literally? Figuratively?) by the latter’s power. Clever and far subtler than Pink’s “Dear Mr. President.” Musically, it’s a great lead-in for the album’s retro back-to-PSB-basics approach.

Other great moments include “Minimal,” the album’s best pure dance track, and as writing this slated to be the second single (good choice!). “Luna Park” is a calm, mysterious number. “Casanova in Hell,” is underscored with ‘80s video game-like sounds, and is lyrically quite creative—it tells the story of Casanova, the famous lover, who in truth can’t “get it up” and is therefore a laughingstock. His solution? Have “the last laugh” Become a famous writer casting himself as the great lover he really isn’t, so that history can remember him for what he wants to be and not what he is. “Indefinite Leave to Remain” appears to be devoid of irony; it’s just a straight-up enjoyable love ballad punctuated with long vocabulary words. Closing track “Integral” instantly comes to life and never calms down. It’s also a political message, spoken in the voice of an unforgiving political machine that, having secured a “mandate” and catalogued all of its citizens with ID codes, marches along eliminating so-called threats to make the world sterile, immaculate, rational, and perfect.

Low points? Yes, there are a few, namely Diane Warren’s tepid ballad “Numb,” which is perhaps trying to make a political statement, but lacks the lyrical depth to express any meaning other than the desire for bliss ignorance. “Indefinite Leave to Remain” appears to be devoid of irony; it’s just a straight-up love ballad punctuated with long vocabulary words. I grow a bit tired of having to look lyrics up in the dictionary. Overall, however, Fundamental is their best album since Very. It sometimes sounds too much like that brilliant collection of 13 years ago that made me first embrace the group, but I’ll let that go, because it works so well. This is classic PSB the way they should be.

Best Albums of 2006

Here's my annual round up of this year's albums. It's most of the albums I got this year, except Arctic Monkeys and Tiga, which I found too disappointing to review. I still might look into getting Justin Timberlake's or the Dixie Chicks' albums, so this list is subject to change. I was worried I wouldn't find a true standout album--many of my reviews were 4.5 out of 5--but I finally found a 5-star album this month in Muse. Click on the links to read my original reviews:

1. Muse - Black Holes and Revelations

British rock band Muse delivered the year's best, most consistent album. A gothic journey of war, aliens, Mars, and love built on influences ranging from classical music and Mexican folk to Depeche Mode, Queen, and Radiohead. Nothing was more flawlessly executed this year.

(Best: "Map of the Problematique," "Starlight," "Take a Bow," "Invincible," "Supermassive Black Hole," "Assassin," "Knights of Cydonia")

2. Scissor Sisters - Ta-Dah

Scissor Sisters returned with another dose of solid, campy pop, although with a darker lyrical undercurrent. This time with Elton John in tow, the band touched on themes of loneliness, anger, and even Hurricane Katrina's devastation of New Orleans.

(Best: "I Don't Feel Like Dancin'," "She's My Man," "Land of a Thousand Words," "Kiss You Off," "The Other Side")

3. Isobel Campbell and Mark Lanegan - Ballad of the Broken Seas

Belle and Sebastian singer Isobel Campbell and former Queens of the Stone Age singer Mark Lanegan blended her angelic voice with his raspy one, together crafting a haunting and surprisingly beautiful collection of country and '60s-influenced dark pop.

(Best: "The False Husband," "Black Mountain," "Deus Ibi Est," "Honey Child What Can I Do," "Revolver")

4. Keane - Under the Iron Sea

Like the Scissor Sisters, 2004 breakout band Keane returned this year to deliver it's "difficult" second album. Exploring similar, but darker and more experimental territory, the album delivered my favorite song of the year, the stunning "A Bad Dream," slated as the album's fourth single early next year.

(Best: "A Bad Dream," "Is It Any Wonder?," "Nothing in My Way," "Atlantic," "Leaving So Soon")

5. Jamelia - Walk With Me

British singer Jamelia delivered this year's best pure pop album, an ode to melodic '90s pop and R&B, with apparent influences from En Vogue to Depeche Mode, that stands refreshingly in sharp contrast to the beat-driven pop/R&B that's so fashionable these days.

(Best: "Beware of the Dog," "Something About You," "Do Me Right," "Window Shopping," "Ain't a Love")

6. Editors - The Back Room

Mercury Prize-nominated Editors album The Back Room is good, technically-proficient rock music in the best traditional sense: dark, insistent melodies, dueling guitars, and a lead singer that can actually sing.

(Best: "Munich," "All Sparks," "Bullets," "Lights," "Camera")

7. Snow Patrol - Eyes Open

Breaking from the quiet tedium of their last album, Final Straw, Snow Patrol this year delivered a great set chronicling a relationship journey from love through dysfunction to ultimate resolution that really rocks.

(Best: "You're All I Have," "Hands Open," "Chasing Cars," "Set the Fire to the Third Bar")

8. The Feeling - Twelve Stops and Home

"Retro" to most artists this year meant the '80s, but British pop/rock band The Feeling went even further back to the '60s and '70s exploring those eras feel-good pop delivered by acts like Supertramp, 10cc, and Electric Light Orchestra.

(Best: "Never Be Lonely," "Love It When You Call," "Fill My Little World," "Sewn")

9. The Killers - Sam's Town

The Killers moved in a new direction for their second album, taking on the challenge of aping U2 and Bruce Springsteen for a broader rock canvas than they delivered with their '80s-influenced debut Hot Fuss, although thankfully some of that New Wave influence lives on here too.

(Best: "When You Were Young," "Bling (Confessions of a King),"Read My Mind," "Bones")

10. Charlotte Gainsbourg - 5.55

The better of the two Air side projects this year finds them crafting lovely electronic melodies for French actress Charlotte Gainsbourg, daughter of one of the band's favorite musical influences.

(Best: "The Songs That We Sing," "5.55," "Everything I Cannot See," "Tel Que Tu Es")

11. Pet Shop Boys - Fundamental

After some disappointing efforts, Pet Shop Boys were firmly back on track this year, with a moody synth-driven collection taking them back to their ‘80s roots.

(Best: "I'm With Stupid," "I Made My Excuses and Left," "The Sodom and Gomorrah Show," "Psychological")

12. Robbie Williams - Rudebox

Robbie's best album since Sing When You're Winning is a campy collection of electro, dance-pop, and remakes so loaded with cheekiness it almost lacks any seriousness at all, which makes it Williams’ most honest album yet.

(Best: "Lovelight," "She's Madonna," "We're the Pet Shop Boys," "Viva Life on Mars")

13. Gwen Stefani - The Sweet Escape

Critics were too kind to Stefani's messy first album, but may be too harsh to this one, a fun collection of Gwen's now signature '80s-style pop and hip-hop lite, that's more consistently good than Love.Angel.Music.Baby.

(Best: "4 in the Morning," "Fluorescent," "Early Winter")

14. Lily Allen - Alright, Still

Like a more accessible Mike Skinner or a more mainstream Nellie McKay, Lily Allen uses her sweet voice and dirty mouth to tell stories about her life as a young Londonite chased by dirty men, dining al fresco, and partying, all while taking note of the stories that unfold around her as well.

(Best: "LDN," "Smile," "Littlest Things")

15. Embrace - This New Day

As improbably as it sounds, Embrace delivered a bigger, grander, more epic sound than an any previous album, channeling U2 now more than Coldplay to deliver anthemic, stadium-ready rock.

(Best: "Nature's Law," "I Can't Come Down," "Target")

16. Nelly Furtado - Loose

Timbaland gave a much-needed jump start to Nelly Furtado's career this year, giving her huge international smash hits with "Promiscuous" and "Maneater." While some of the R&B/pop doesn't work, much of it does, and when it's on, it's on.

(Best: "Promiscuous," "Afraid," "Maneater," "All Good Things")

17. Christina Aguilera - Back to Basics

Christina Aguilera went really high-concept this time with her double album that's at first an ode to soul and later a mish-mash of Linda Perry-produced oddities. It's ambitious, has some great moments, but could use some cutting.

(Best: "Ain't No Other Man," "Hurt," "Back in the Day")

18. Shiny Toy Guns - We Are Pilots

I haven't written a full review for this, but trust me, it's good. Male and female voices weave over electronica and dark retro-'80s dance/pop.

(Best: "You Are the One," "Le Disko," "Don't Cry Out," "Rainy Monday")

19. Darkel - Darkel

The other Air project, Jean-Benoît Dunckel's solo project under the pseudonym "Darkel," isn't as satisfying as the Gainsbourg set, but it's still pretty good, and even gets more experimental, sometimes moving beyond the "Air" sound of many of its tracks.

(Best: "At the End of the Sky," "Be My Friend," "Bunny Girl")

20. Orson - Bright Idea

Hollywood-based Orson made a big splash in Britain this year, hitting #1 with debut single "No Tomorrow." Their debut album delivers what you’d expect—a 10-song collection of the kind of retro/funk/pop/rock reminiscent of Maroon 5 or the Killers, although not quite up to par with those bands, at least not yet.

(Best: "No Tomorrow," "Bright Idea," "Happiness")

21. Pink - I'm Not Dead

After losing her momentum with third album Trouble, Pink regains some ground with her fourth album, hitting the right blend of pop, rock, and R&B that made her second album such a hit, while managing to make quite a few statements about politics and deadbeat guys.

(Best: "Stupid Girls," "Who Knew," "Dear Mr. President")

22. Razorlight - Razorlight

Razorlight's album was a disappointment for me, but still had some great moments. Their problem is the lead singer--he just can't sing that well--but sometimes he manages to sound okay, so when the rest of the band really soars, such as on "In the Morning," they work great.

(Best: "In the Morning," "America," "Who Needs Love?")

UK Chart Analysis, 3/18/2006

New chart rules went into effect this week, allowing singles to chart the week before a physical release, therefore having first-week sales completely attributed to downloads. Additionally, new rules also limit older songs abilities to continue to chart based on downloads when the physical single is deleted from shops, so no more pesky "You're Beautiful" spottings. Despite the excitement this might cause, Chico remains #1 and Corinne Bailey Rae finally surpasses Madonna on the airplay chart. Click below to read more

UK Singles:

1. It's Chico Time - Chico

It's another week at #1 for Chico's "It's Chico Time." Since last week, I've learned that in addition to being a former goat herder, he's also a former stripper. Perhaps if the pop singer career doesn't work out he could combine the two?

2. No Tomorrow - Orson

Orson moves up 3 spots to #2 with "No Tomorrow." I don't know what to attribute this to. Perhaps a slow week? Orson are being heralded as the next Maroon 5. I think that's underestimating them.

4. Red Dress - Sugababes

Third single from Sugababes' Taller in More Ways keeps up the consistent quality we've seen with releases from this album as well as the consistently high chart placings. "Red Dress" becomes the highest-charting third single from a Sugababes album, the last "In The Middle," managed #8, and prior to that, "Stronger" came in at #7.

6. Touch the Sky - Kanye West (Featuring Lupe Fiasco)

Fourth single from Kanye West's Grammy-winning Late Registration returns Kanye to the top 10 after the disappointing #22 peak of "Heard 'Em Say." "Touch the Sky" actually bests the #8 peak of the album's first single, "Diamonds From Sierra Leone," to become the album's second-biggest hit, second of course to "Gold Digger." It's West's 5th top 10 hit (7th counting featured appearances).

11. Billie Jean - Michael Jackson

The Michael Jackson re-releases seem to be growing in popularity as "Billie Jean," the fourth such re-release, almost manages to crack the top 10. "Billie Jean" hit #1 in 1983, becoming his second UK #1. In total he's had 7 UK #1 hits, of which 5 are part of this year's re-release lineup ("One Day in My Life" and "I Just Can't Stop Loving You" having been strangely omitted).

12. Incredible - Shapeshifters

Third single from the Shapeshifters (perhaps from a forthcoming album?) fails to ignite on the chart, despite being a completely decent house track. Their first single from 2 years ago, "Lola's Theme" was the summer dance smash of 2004, and even their last, "Back to Basics" made the top 10 last year.

13. Because I Want To - Placebo

14th Top 40 hit from Placebo fails to make a memorable dent in the chart. Their best were #4 hits in 1996 ("Nancy Boy") and 1998 ("Pure Morning").

16. Pump It - Black Eyed Peas

Ugh! Just go away already! Black Eyed Peas' fourth Monkey Business single is just as annoying as their last. This time they take the great opening music from Pulp Fiction, Dick Dale's "Misirlou" and overlay it with their annoying rants and Fergie's panting. How unfortunate that the single scores a chart first -- the first major release to benefit from the new chart rules and get a fairly high debut the week before the physical single sales kick in. Expect this to rise into the top 10 next week.

18. Unbelievable - Craig David

The singles from Craig David's third album seemed to be on impressive chart roll (#4 "All The Way," #5 "Don't Love You No More") until he hit a brick wall here. Not surprising really. It's a nice song, but somewhat saccharine. At #18, "Unbelievable" actually manages to be his lowest charting top 40 single (his lowest ever was the #43 peak of the 6th single from his second album, "You Don't Miss Your Water").

Albums:

David Gilmour's On an Island knocks Corinne Bailey Rae's aponymous debut from the #1 spot. Andrea Bocelli debuts at #4 with Amore. It's interesting to see that Simon Webbe has somehow managed to make it into the top 10, at #7 (up 2) with Sanctuary.

Airplay:

Corinne Bailey Rae's "Put Your Records On" is number one, knocking Madonna's "Sorry" from the top after it spent 5 weeks there. Three singles make decent moves into the top 5: James Blunt's "Wisemen" is up 4 to #3, The Feeling's "Sewn" moves back up 2 to #4, and Pink's "Stupid Girls" leaps into the top 10 up 9 to #5. Sugababes "Red Dress" falls 5 to #9 despite being released this week. Surprisingly for them, since both "Push the Button" and "Ugly" were airplay #1s. Perhaps it will rebound next week. Orson moves back into the top 10, up 3 to #8 with "No Tomorrow."

Just outside the top 10, Beverley Knight makes a big move up 12 to #12 with "Piece of My Heart," a remake of the classic "Take Another Little Piece of My Heart," and Embrace move up 4 to #14 with their beautiful "Nature's Law."

Best Albums of 2010

It's that special time of the year when all the music critics, publications and bloggers (like me) unleash their lists of the best of 2010. As usual, I'll be doing albums, movies and TV and, if I get around to it, books. I reviewed about 60 albums this year, a new record, and enough to make a top 40 list of the best (links below will take you to my original reviews). Despite that, there were albums I wanted to review but never got around to do it, like the latest from the New Pornographers and Spoon, electronic albums like Caribou, Gold Panda and How to Dress Well and the solo debut from Glee's Mark Salling. So many albums, so little time it seems. Without further adieu, I present you...

The 40 Best Albums of 2010

1. The National - High Violet No album stirred me as much with its beauty and breadth as this fifth album from the Brooklyn-based indie band, The National. A new discovery for me, it led me into their catalog, which is riddled with other worthy albums. I'm always on the hunt for the perfect rock album, and this comes quite close, melding the best of what I've liked in albums from band like The Editors and Interpol Best: Sorrow.

2. Take That - Progress Take That took an impressive step forward on their sixth album, the first to reunite Robbie Williams with the other four in 15 years. Much credit goes to producer Stuart Price, who had a hand in no less than five of my favorite albums this year, including three in the top 10. This bold, upbeat, brooding set was his best output yet. Best: The Flood.

3. Scissor Sisters - Night Work Also a Stuart Price production, Night Work sent one of the most eccentric pop groups back to the dance floor, with a no-ballads disco and '80s romp that pulled no punches when it came to being dirty, sexy, and cool. After a slight step down with their second album, Ta-Dah, in 2006, this was as good if not better than their landmark 2004 debut. Best: Any Which Way.

4. Arcade Fire - The Suburbs The Canadian collective produced their best work yet, a lengthy, sprawling concept album that provided a sort of perfect musical excess to mirror its suburban theme. I was a reluctant convert to Arcade Fire's charm, but by the time The Suburbs came out, there was no question of my loyalty. Best: Ready to Start.

5. Kanye West - My Beautiful Dark Twisted Fantasy After the dark electronica of 808s and Heartbreak, Kanye West's fifth album returned to more familiar hip-hop territory, but did so with confidence, style and guest stars as varied from Nicki Minaj to Bon Iver. The results were his most ambitious and accomplished album yet. Best: Lost in the World.

6. Broken Bells DJ/producer Danger Mouse has previously teamed up successfully with Cee Lo Green (Gnarls Barkley) and Damon Albarn (producing for Gorillaz and The Good, the Bad and the Queen), but his best collaboration yet was this team-up with The Shins' lead singer James Mercer. Together, they made this surprising and atmospheric record that balances their respective strengths while also being something new. Best: The Ghost Inside.

7. Janelle Monáe - The ArchAndroid Janelle Monáe was the year's most surprising newcomer, giving us the most bizarre concept album I've ever heard of--a sprawling science fiction opus of Afro-futurism about a woman from the future who gets sent back in time as an android to liberate a civilization (something like that, anyway). The music itself is just as ambitious, combining nearly every genre of sound from the last 40 years from pop to hip-hop to prog rock. Best: Tightrope.

8. Linkin Park - A Thousand Suns This is the most surprising album in my top 10. I've never been a Linkin Park fan, although I've enjoyed many of their songs. But I found their fourth album to be a rather enjoyable rock epic of sonic grandeur and political underpinnings. Best: When They Come for Me.


9. Robyn - Body Talk After revitalizing her career in 2007 with the single "With Every Heartbeat," Swedish pop singer Robyn took a few years before returning with this remarkable set of dance pop, revealing as many hooks as it does vulnerabilities. In a smart marketing twist, Robyn unfurled the album over the course of the year, releasing first an EP in the spring and a second EP in the summer before the album came out in the fall. Best: Indestructible. See also Body Talk Part 1 and Body Talk Part 2.

10. Kylie Minogue - Aphrodite Australian pop singer Kylie Minogue's fifth album for Parlophone was a step up from her slightly disappointing last couple of releases. It's still no Fever or Light Years, but its glittery electro/dance pop sound delivers quite a few great moments. Best: All the Lovers.


11. Rumer - Seasons of My Soul. Mining the late '60s pop sound has become somewhat of a sport in British pop music, but Paksitani-British newcomer Rumer gets credit for doing it with such effortless style, drawing quick comparisons to Karen Carpenter and Dusty Springfield with her evocative, hushed vocals. Best: Slow.

12. John Grant - Queen of Denmark John Grant's first solo outing holds back little when it comes to baring his soul through his music, touching on his troubled childhood, addiction, suicide and unrequited love. Yet he also finds time to sing about outer space and Sigourney Weaver, making it one of few albums that can deliver both laughter and tears. Best: Marz.

13. Vampire Weekend - Contra The quintessential hipster band edged a bit closer to the mainstream with their successful second album, continuing to mine their worldly rock sound for upbeat tunes. Best: Run.



14. The Gaslight Anthem - American Slang Although a punk band at heart, The Gaslight Anthem took a full-blown Bruce Springsteen approach to this album, giving us a confident blast of everyman Americana. Best: The Queen of Lower Chelsea.


15. Nicki Minaj - Pink Friday One of the year's most anticipated debuts was that of hip-hop artist Nicki Minaj, whose first album is a winning combination of hip-hop, R&B and pop, drawing on '80s samples, sleek production and Minaj's creative spirit, often in the form of engaging alter egos. Best: Roman's Revenge.


16. Corinne Bailey Rae - The Sea Corinne Bailey Rae's 2006 debut gave us the big hit "Put Your Records On," but was largely dismissed as MOR easy listening. This second album, although similar, is more robust musically, owing in part to the singer's recent heartbreak over the death of her husband. Best: I'd Do It All Again.

17. Plan B - The Defamation of Strickland Banks British hip-hop artist Plan B turned soul singer on this retro-sounding concept album that tells the tale of a manly wrongly convicted of a crime. Best: She Said.



18. Bruno Mars - Doo Wops & Hooligans Bruno Mars was one of the year's biggest breakouts. As a producer and performer he's got plenty of talent on both sides of the recording studio's glass. I have a feeling this solid pop debut will continue generating hit singles well into 2011. Best: Just the Way You Are.


19. Taylor Swift - Speak Now Twenty-year-old Taylor Swift has had an amazing run the last two years, becoming the biggest thing in country music with her second album, Fearless, which early this year won the Album of the Year Grammy Award. Her hit streak continues with her third album, exploring more mature themes and leaving audiences guessing as she tackles the emotions behind the tabloid stories of her love life. Best: Back to December.

20. Black Keys - Brothers With The White Stripes on an apparent hiatus, the spot for alternative blues-rock band of choice was winningly filled by Black Keys this year with their sixth album, Brothers, which takes a more conventional yet not less engaging approach to the genre. Best: Tighten Up.


21. Sade - Soldier of Love It seems that Sade has decided to take 9-year breaks between albums, which is rather long, but probably worth it, if they continue to produce soulful, sensuous music of such caliber. Best: Babyfather.



22. Carole King & James Taylor - Live at the Troubadour I listened to this album because I expected it would be nominated by the Grammy folks for Album of the Year, but instead, the album received no nominations in any category. It's their loss though, for I found this nostalgic throwback of King and Taylor singing many of their best-loved songs live to be a nostalgic time warp of an album, even better if you were a fan of them in their heyday. Best: You've Got a Friend.

23. Duffy - Endlessly So far, this album is failing to take root, which is a shame. Yes, it's no Rockferry, but that doesn't mean it isn't quite good, with quite a few strong pop tracks like blustery "Well, Well, Well," which features a brassy backing from The Roots and the "Papa Don't Preach" ode, "Keeping MyBaby." Best: Keeping My Baby.

24. Kings of Leon - Come Around Sundown Their 2008 album, Only By the Night, vaulted the American alternative rock group from being a little-known band with a modest British following to one of the world's best-selling musical acts. Big shoes to fill then for this follow-up album, which mostly adheres to the sound established by that previous landmark album. Best: Pyro.

25. Two Door Cinema Club - Tourist History By 2010, the music industry had become saturated by bands plunging themselves whole-heartedly into the mid-'80s new wave sound, many with antique synthesizers in tow. Despite the glut, I had hopes that Two Door Cinema Club would manage to break out big with this debut, a tight set of melodic pop songs. Best: I Can Talk.

26. Goldfrapp - Head First Speaking of the '80s, Goldfrapp have always drawn on that decade's electronic sounds for their music, but on Head First, they made their first true '80s record. Its uptempo sound made up for the slight misstep of their folksy fourth album. Best: Believer.


27. Rihanna - Loud Rihanna's last album, Rated R, was a surprisingly artistic album, full of darkness and rage, as well as pop hooks. Loud is more familiar--mostly just uptempo dance pop, although it does see the singer return to her Caribbean roots moreso than her last few records. Best: Only Girl (in the World).


28. Deerhunter - Halcyon Digest On Halcyon Digest, the Altanta-based indie rockers known as Deerhunter make dreamy, layered music that's like sifting through distant memories. An engaging listen that connected well music critics, putting them on many of the year's "best of" lists. Best: Desire Lines.


29. Hurts - Happiness. Hurts, which placed fourth on the BBC Sounds of 2010 poll, is another welcome synth pop duo, although not as clearly '80s-sounding as many of their peers. Their debut, excelled at delivering dreamy, moody pop with richly layered melodies of strings, drums, percussion, and of course, synthesizers. Best: Sunday.

30. Foals - Total Life Forever This Oxford-based group's debut was mostly pretty mellow rock, although at times quirky and playful. It's centerpiece was the brilliant "Spanish Sahara," a moody, 7-minute epic that built to a frenetic musical climax. Best: Spanish Sahara.


31. Laura Marling - I Speak Because I Can British folk music isn't normally my thing, but I rather liked this second album from Laura Marling, which alternates effectively between mellower, reflective songs and more muscular, uptempo ones. She garnered quite a few accolades along the way. Best: Devil's Spoke.

32. Chromeo - Business Casual Chromeo is another group that exists solely because of the '80s bandwagon. Business Casual doesn't sound like it's sampling '80s sounds, it just is '80s sounds. A pretty decent imitation at that. Best: Don't Turn the Lights On.



33. The Roots - How I Got Over Whether they are backing up Jimmy Fallon, playing to the National Mall in front of John Stewart, collaborating with John Legend or just making music by themselves, hip-hop act The Roots demonstrated this year that when it comes to grounded, soulful, political hip-hop, they are the kings. Best: Walk Alone.

34. The Wanted Boybands are hot again in Britain as Take That (although really a "man" band now) is as hot as ever, while a new generation, led by JLS, continues to send up top 10 hits. This band emerged in the summer with #1 single "All Time Low." Their album followed, and like that single, was surprisingly good. Best: Let's Get Ugly

35. Keane - Night Train There was a time I was really in love with this band, but sadly their star has faded the last few years. I'm hopeful they will make another great album though, as this EP showed they are still willing to experiment with new sounds while continuing to craft great pop music. Best: Stop for a Minute.

36. Robert Plant - Band of Joy. Led Zeppelin's frontman follows up his amazing 2007 collaboration with Alison Krauss with this collaboration with a group fo musicians named after Plant's pre-Zep band, Band of Joy. The results are surprisingly folksy, but quite rocking. Best: House of Cards


37. Sleigh Bells - Treats This spring debut generated quite a bit of buzz for the New York-based duo. Listening to the album's rapid-fire beats and heavily distorted guitars was like being assaulted sonically, although masochistically so, since the music it fronted was pretty great. Best: Tell 'Em.


38. I Am Kloot - Sky at Night The British folk scene was dominated this year by Laura Marling (above) and her friends Mumford & Sons, but other bands were there too, like than Mancunian group whose sound straddles folk and rock with this warm, acoustic set. Best: Proof.


39. Brandon Flowers - Flamingo Brandon Flowers' solo outing isn't quite as good as his work with his band The Killers, but when it works, it is glorious pop music, and I admire his efforts to produce a Vegas-themed concept album. Best: Only the Young.


40. Glee Cast - Glee: The Music. Rather than list just one album, I consider Glee to be a body of work that continues to send up creative twists on Broadway and popular songs. Best: Teenage Dream (feat. Darren Criss). See also Vol. 3-Showstoppers, Journey to Regionals, The Power of Madonna, A Very Glee Christmas (not reviewed, Vol. 4).

Also Reviewed, but Not Recommended

Alphabeat - The Beat Is...
Danger Mouse & Sparkle Horse - Dark Night of the Soul
Delphic - Acolyte
Eminem - Recovery
Gorillaz - Plastic Beach
Ellie Goulding - Lights
Cee Lo Green - The Lady Killer
Michael Jackson - Michael (will be done within the next week)
Lady Antebellum - Need You Now
LCD Soundsystem - This Is Happening
Joe McElderry - Wide Awake
Midlake - The Courage of Others
MGMT - Congratulations
Ne-Yo - Libra Scale
Scouting for Girls - Everybody Wants to Be on TV
Villagers - Becoming a Jackal
Yeasayer - Odd Blood

Worst of the Year

1. Christina Aguilera - Bionic. I listened to this album on MySpace and decided it wasn't worth my effort to review and write up, let alone purchase. It represents what I like least about some pop albums. At 18 tracks, it's wayyy too long and proves my point that more isn't better, as I'm hard pressed to find any songs here that are really great. With too many producers, Aguilera just gets lost in the mix. After the decent Stripped and the intriguingly experimental Back to Basics, this was a serious disappointment.

2. Katy Perry - Teenage Dream. I was shocked, shocked, shocked to learn this was nominated for the Grammy Award for Album of the Year. It's probably the least deserving album to nab the honor that I can think of. Yes, "California Gurls" and "Teenage Dream" are awesome pop songs, but two great songs do not an album make. Much of the rest is banal, trite and dull.

3. Interpol. This bleak fourth album from Interpol lacks the interesting melodies from their first album that wooed me last year.

UK Chart Analysis, 11/18/2006

What an exciting chart week. As I’ve discussed, this week had a flood of major releases, including three huge singles competing for the top three. This week brings 13 debuts and three risers that debuted on download sales last week. Five of the debuts are downloads-only sellers, so next week should be really exciting too. With all this tight competition, the record of the week is…

1. The Rose - Westlife

Westlife it is then. Despite not appearing on either the BBC Radio 1 or Radio 2 playlists, Westlife continues to defy all logic to score yet another #1 single. The 21st single of their career—all of which have gone top 5—becomes their 14th #1 single, lengthening their chart career to nearly 8 years now. The track, a remake of the song made famous by Bette Midler, is from The Love Album, the eighth Westlife longplayer (they’ve released one every November since their debut in 1999, including a greatest hits collection in 2002). This is their sixth remake #1, following “I Have a Dream,” “Against All Odds,” “Uptown Girl,” “Mandy,” and “You Raise Me Up.”

2. The Saints Are Coming – U2 & Green Day

Pole position then goes to U2 & Green Day with “The Saints Are Coming,” a remake of the 1978 punk rock song by Scottish band the Skids. The single is a charity release to benefit the music industry of New Orleans, still struggling since Hurricane Katrina. At #2, this tops the #3 performance of “American Idiot” just over 2 years ago to become Green Day’s highest-charting single. This is U2’s fifth #2 single, matching the performance of their last release, “One,” a remake of their own 1992 hit and another collaboration, that time with Mary J. Blige. It will appear on U2's forthcoming greatest hits collection, U218.

3. Rock Steady – All Saints

As if by introduction, “The Saints Are Coming” is followed at #3 by the All Saints and their big comeback “Rock Steady.” Not heard since late 2000, the previously dismantled All Saints reformed this year, and appear to be going as strong as ever. The band appeared on the scene in 1997, hitting the top 10 with “I Know Where It’s At.” They followed that with “Never Ever,” which first debuted at #3, but stuck around in the top 10 for a long time, hitting #1 eight weeks later. The single was a huge seller, and won the Brit Award for best British single of 1997. The success of “Never Ever” propelled the girl group to stardom as the cool antidote to the Spice Girls, whose star was beginning to fade. All Saints scored four more #1 singles, including 2000’s second-biggest seller, “Pure Shores,” from the Leonardo DiCaprio film The Beach. New album Studio One is out tomorrow.

8. Easy – Sugababes

Losing out on the top 5 competition are the Sugababes with “Easy,” their fantastic new single from Overloaded: The Singles Collection, out tomorrow. This is a surprisingly low placing for them, owing to the unusual competition from Westlife, U2 & Green Day, and the All Saints. Surprisingly, this track hasn’t gotten much airplay, a sharp contrast to last year’s “Push the Button” and “Ugly” which both were airplay #1s. This is their 12th top 10 hit, all of which appear on the new collection.

9. Jump – Madonna

Here’s a pleasant surprise. Despite the very stiff competition and the well-known “diminishing returns” effect (the fact that subsequent singles from an album usually chart progressively lower), Madonna’s fourth Confessions on a Dancefloor single manages to become the 4th straight top 10 hit from that album, just a couple of rungs below the #7 peak of the last single, “Get Together.” More radio friendly than its predecessor (and scoring better airplay, having peaked at #3 last week on the airplay chat), “Jump” is fun dance/pop. Even if the video is bit lame, this is a great single, her 58th top 10 (not counting re-release placings).

12. Smack That – Akon (featuring Eminem)

A surprisingly high downloads debut for Akon, perhaps owing to his co-star’s popularity. Akon scored three top 10 hits from his first album, including #1 single “Lonely.” This is the first single from his forthcoming second album.

14. My Love – Justin Timberlake (featuring T.I.)

The second-highest downloads only debut is from Justin Timberlake, who hit #1 with his last single, “Sexyback,” could it be #1 next week?

15. This is Not Real Love – George Michael & Mutya

George Michael’s greatest hits collection, TwentyFive, is out tomorrow, promoted by this release, a smoky ballad duet with former Sugababes member Mutya Buena. Her old sisters beat her by seven places, but Mutya and George’s voices do go well together on this sexy, simple song. At #15, this is 2 places lower than his summer single, “An Easier Affair,” also included on the new collection. This is George Michael’s 34th solo top 40 hit and Mutya’s first.

17. Shoot the Runner – Kasabian

Kasbian’s 6th top 40 hit becomes their 6th straight to go top 20. More accessible than previous release, the top 10 “Empire” from the summer, “Shoot the Runner” is a fun sing-along track. Can’t you just hear this playing during sporting events?

18. Self Control – Infernal

Why wasn’t this a bigger hit? This is a fantastic song, a remake of one of Laura Branigan’s biggest ’80s hits. They hit #2 earlier this year with their first single, “From Paris to Berlin,” which, at last as of July, was the second-biggest selling single of the year.

22. Wild Blue Yonder – Paul Weller

Paul Weller, founder of The Jam, has an enduring popularity in the UK, that doesn’t stretch far beyond those waters. This is his first top 40 single for 2006; his last top 10, “From the Floorboards Up,” hit #6 in the summer of 2005.

28. Lovelight – Robbie Williams

Debuting on downloads is Robbie Williams’ second Rudebox single, “Lovelight.” Covering more familiar pop territory than previous single “Rudebox,” “Lovelight” is a fun retro/disco remake. Should go top 10 next week. “Lovelight’s” #28 debut bests “Rudebox’s” #30 downloads debut from 2 months ago.

29. I Just Wanna Know – Taio Cruz

I’ve never heard of this guy, but it sounds like typically bland U.S. R&B, although it does have a nice strings bridge. That’s about the only thing going for it.

33. Hurt – Christina Aguilera

Also debuting on downloads is the second Back to Basics single from Christina Aguilera. This time she’s gone to the album’s eclectic second disc for a Linda Perry-penned Ballad, “Hurt,” which explores similar territory to her 2003 #1, “Beautiful.” Last time out she hit #2 with snappy “Ain’t No Other Man.”

37. Set the Fire to the Third Bar – Snow Patrol (featuring Martha Wainwright)

Snow Patrol debuts at #37 on downloads alone. Last single “Chasing Cars” took 8 weeks to reach its eventual peak position at #6, and it’s still hanging around the top 40, rising one place this week to #26 in its 17th week. Will “Set the Fire to the Third Bar” perform similarly? Likely not, given the glut of big new releases over the next month that will push older singles out of the top 40 faster than during the summer.

39. I Found Out – The Pigeon Detectives

I don’t what this is, but I don’t like it. Yuck.

So that’s it for this week. Next week Justin Timberlake and Akon will try to unseat Westlife for #1. Hard to tell if they’ll do it. Westlife’s last single, “You Raise Me Up” became a surprisingly big hit, spending 2 weeks at #1, but nine of their #1s spent only a week at the top, a few with big falls the week after.