Best Albums of 2009

I'm not planning as many posts this week, as I have a few other things to catch up on. So I figure this is as good a time as any to get this out. Click the links to read my original reviews.

The 30 Best Albums of 2009

1. La Roux - La Roux. 2009 will be remembered as the year pop music thoroughly explored the '80s, a trend that showed up in all genres of popular music from dance pop to stadium rock. Leading the pack was La Roux's winning debut, an effervescent dance pop record that never disappoints, showcasing great hooks and just enough roughness around the edges to retain its personality. Best: In for The Kill.

2. Alexandra Burke - Overcome. The X Factor's fifth-season winner proved she's more than just a reality TV show contestant on her winning pop debut, imbued with more personality and hooks than any album released by her contemporaries (sorry Will Young). Best: Bad Boys.

3. Little Boots - Hands. I loved Little Boots debut, full of upbeat, retro-electro pop, not too dissimilar from what we've been getting from Kylie Minogue in recent years, although more eccentric. Best: Stuck on Repeat.

4. The xx - xx. A late-year discovery that turned out to be the year's best indie rock album. I love its stripped-down, downbeat sound that demonstrates superior production values. Best: Infinity.

5. U2 - No Line on the Horizon. U2's latest album didn't push the band in any new directions, but delivered their consistently broad electronic-tinged guitar rock they've become the kings of making. Not as big a success as How to Dismantle an Atomic Bomb, but no less enjoyable (better actually, in my opinion). Best: Magnificent.

6. Robbie Williams - Reality Killed the Video Star. After a 3-year absence following the divisively experimental Rudebox, Britain reigning prince of pop music barreled back with a winning collection of tuneful, dramatic pop music at its best. Best: Bodies.

7. Pet Shop Boys - Yes. Full of expertly crafted dance pop and the usual cheeky melancholy, Yes was the best album Pet Shop Boys have delivered in years, sounding not too much unlike their best album, 1993's Very. Best: Beautiful People.

8. Green Day - 21st Century Breakdown. Green Day's concept album--similar to their last, American Idiot--was another effective statement delivering ambitious and epic rock, even if it didn't deliver the hits like last time. Best: 21st Century Breakdown.

9. Whitney Houston - I Look to You. One of the most notoriously troubled pop stars made a triumphant comeback with her sixth pop album. Whitney battles her demons on this winning set that shows her tackling the usual mix of power balladry and uptempo pop. Best: Million Dollar Bill.

10. Muse - The Resistance. The kings of dark, sci-fi weirdness offered up yet another example of their mastery, this time stretching themselves into classical and even rhythmic territory. Best: Exogenesis.

11. Moby - Wait for Me. Moby delivered his best album in years with this set that explored his more moody, downbeat side. Quite lovely. Best: Mistake.


12. Phoenix - Wolfgang Amadeus Phoenix. Another strong indie pop/rock album was this French band's fourth release, a lively combination of warm synth melodies over insistent percussion. Best: Lisztomania.

13. Lily Allen - It's Not Me, It's You. Lily Allen's second album was more modern and mainstream than her first, resulting in less edge but better hooks, and tracks like "Fuck You" showed she could still be a little (or a lot) naughty. Best: The Fear.

14. Grizzly Bear - Veckatimest. New York-based indie rock band Grizzly Bear effectively combined a lo-fi sound with richly detailed rock on their third album. Best: Two Weeks.

15. Lady GaGa - The Fame Monster. Lady GaGa's mini-album gave us the best of the artist's attitude and hooks without the filler that drug down the second half of her debut, the fame. Best: Bad Romance.


16. Leona Lewis - Echo. The new "Mariah Carey" returned with her second album, of consistent quality to her first, plus a little dance pop. Best: Happy.


17. Rihanna - Rated R. The Barbadian pop singer, who regaled us with frothy dance pop on her last album, showed her darker side on this artistically impressive fourth album. Best: Fire Bomb.

18. Agnes - Dance Love Pop. Agnes stormed on the British singles chart during the summer with her energetic debut, "Release Me," drawing comparisons to Leona Lewis (albeit with a drum machine). Her debut is top-notch Swedish dance pop, showcasing the singer's versatility with a range of pop styles from campy retro-disco to lovelorn balladly. Best: Release Me.

19. Doves - Kingdom of Rust. Doves' fourth album was my introduction to them, a great set of epic-sounding rock, particularly the electronic-based opener, "Jetstream," and the western-sounding title track. Best: Kingdom of Rust.

20. Kelly Clarkson - All I Ever Wanted. After the commercial misstep of her third album, Clarkson's fourth steered her back to the mainstream, with big-name collaborators like Max Martin, Kara DioGuardi and Ryan Tedder on board. Thus, although less interesting than My December, All I Ever Wanted has delivered the hits. Best: My Life Would Suck Without You.

21. Natalie Imbruglia - Come to Life. Nobody seems to be listening to Natalie Imbruglia anymore, and it's such a shame, for she continues to put out consistently good pop music. Like this moody post-divorce set featuring collaborations with Coldplay. Best: Want

22. Air - Love 2. The French electronic duo bounced back with this album after the disappointing Pocket Symphony. Love 2 is more similar to their previous effort, Talkie Walkie, offering a satisfying mix of upbeat and laid back tracks. Best: Heaven's Light.

23. Depeche Mode - Sounds of the Universe. Depeche Mode reached back to their early synth-based roots to create this moody, textured album, dark as anything they've done before. Best: Come Back.

24. Diana Krall - Quiet Nights. The Canadian singer delivered another lovely set of her quiet jazz staples, with an emphasis this time on Bossa Nova melodies. Best: So Nice.


25. Maxwell - BLACKsummers'night. Maxwell's first album in 9 years delivered soulful, sexy, classic R&B at its best. Best: Pretty Wings (Uncut).


26. White Lies - To Lose My Life. White Lies released their '80s-mining new wave indie rock debut at a time when that fad was starting to fade, but it still has some decent melodies. The British band wasn't quite the major breakout the buzz wanted them to be. Best: To Lose My Life.

27. Adam Lambert - For Your Entertainment. This year's American Idol runner-up releases a confident debut showcasing expected over-the-top rock stylings as well as unexpectedly tender moments that resonate as well. Best: A Loaded Smile.

28. Cheryl Cole - 3 Words. Girls Aloud member and X Factor judge goes it alone on her solo debut with a markedly different pop sound than that of her group. The best cuts come courtesy of Black Eyed Peas' Will.I.Am. Best: 3 Words.

29. Wilco - Wilco. While less ambitious as their best-known album, Yankee Foxtrot Hotel, and not as gloriously melodic as their last album, Sky Blue Sky, Wilco was still a decent entry in this band's oeuvre. Best: You Never Know.

30. Passion Pit - Manners. Another example of '80s-mining new wave indie rock, this time from Boston. It's a worthwhile, although not stellar album. Best: The Reeling.


The Worst

Eminem - Relapse. Misogynistic, violent and no longer clever. I'm over it.

Other Albums Reviewed

Arctic Monkeys - Humbug. Best: Cornerstone.
Black Eyed Peas - The E.N.D. Best: I Gotta Feeling.
Mariah Carey - Memoirs of an Imperfect Angel. Best: H.A.T.E. U
The Dead Weather - Horehound. Best: Hang You from the Heavens.
Empire of the Sun - Walking on a Dream. Best: Walking on a Dream.
The Flaming Lips - Embryonic. Best: Convinced of the Hex.
Florence and the Machine - Lungs. Best: Rabbit Heart (Raise It Up).
Franz Ferdinand - Tonight. Best: No You Girls.
Glee - The Music, Vol. 1. Best: Don't Stop Believin'.
David Guetta - One Love. Best: When Love Takes Over.
Calvin Harris - Ready for the Weekend. Best: I'm Not Alone.
Kasabian - West Ryder Pauper Lunatic Asylum. Best: Where Did All the Love Go?
Kings of Leon - Only By the Night. Best: Sex on Fire (I didn't include this above, since it was released in 2008; had I reviewed this in 2008, it would have likely been in my top 10 for the year.)
Lady GaGa - The Fame. Best: Poker Face.
Daniel Merriweather - Love and War: Best: Red.
Taylor Swift - Fearless. Best: You Belong with Me (Another album from 2008 that I didn't review until this year, also a recommended album).
The Yeah Yeah Yeahs - It's Blitz. Best: Zero.

Album Reviews: Black Eyed Peas and Kasabian

Catching up on albums I skipped earlier in the year that, based on end-of-year attention (best of lists, Grammy nominations) I decided to finally pay attention to:

Black Eyed Peas - The E.N.D. (3/5)

I listened to this album on MySpace when it first came and wasn't that impressed, save for the handful of songs that sounds like they would make great singles ("Boom Boom Pow" and "I Gotta Feeling," for which nothing else needs to be written at this point). With the album being a surprise nominee for the Album of the Year Grammy, I decided to finally give it a proper listen and review.

After "Where Is the Love" became a major worldwide smash, Black Eyed Peas were perhaps wrongly categorized as a band with something to say. While their next album's biggest hit, "My Humps," went some distance to shatter that myth, The E.N.D. nails the coffin shut. No social consciousness here--just hedonistic calls to the dance floor, the party and the bedroom.

"Rock that Body" samples Rob Base's "It Takes Two," putting the late '80s house classic through a Daft Punk-style electro-pop workout. Like "I Gotta Feeling," it's produced by David Guetta, who gives the Peas a nice dance pop lift on these songs. "Meet Me Halfway" prominently features the group's female vocalist Fergie--famous in her own right after her massively successful solo bow 3 years ago--over a smooth '80s-based pop production. As if to make its source material even more obvious, the chorus contains the word "Borderline," a nod to Madonna, of course. Is great as that sounds, this song actually falls short for me. Gwen Stefani's already mined this territory more effectively.

Highly repetitive "Imma Be" sends up stuttering beats and Fergie raps. It's not my thing, although I do like the funk transition for the song's last third. "Alive" sounds like an '80s love song sent first through the auto-tune wringer and then souped up with polished synth effects. "Missing You" has a laid-back, mid-tempo vibe reminiscent of Fergie's solo hit "Glamorous," but with a busier production. "Ring-a-ling" is another exercise in vocal processing and synthesizer layering, but without a coherent melody.

"Party All the Time" is not a revival of the '80s Eddie Murphy song (done anyway a few years ago by Sharam), but the stomping dance track manages to be the only worthwhile song on the album's second half. "Out of My Head" goes for a funkier sound, but fails to take off. Both songs find Fergie talking about being tipsy and drinking too much, which isn't very clever. "Electric City" offers up waves of bass beats of profound electronic depth, but little else of interest. "Showdown" is just kind of boring. "Now Generation" refreshingly departs from much of the album's synth pop by putting forward acoustic guitar and harmonica, but really fails on the lyrical front, taking their vapidness to a new level. "One Tribe's" Rhythm Nation message lacks sincerity against all the DJing, drinking and dancing that dominate the album. If you make through to the end, since after "Party All the Time," there's little enjoyment in the album's second half, you'll get to "Rockin to the Beat," which has a "Billie Jean"-like '80s beat and vocals so processed as to render them unintelligible.

So really my opinion of this album hasn't changed. It's quite uneven, with a few standout tracks but quite a bit of hip-hop/dance pop that would provide a good backdrop to a fun house party but not a very engaging listen in its own right.

Best: I Gotta Feeling, Boom Boom Pow, Rock that Body

Kasabian - West Ryder Pauper Lunatic Asylum (3/5)

Q Magazine named this the best album of 2009, but I don't see what all the fuss is about. It's fine, but I don't see what distinguishes this from a lot of other British rock bands, namely Oasis, who I think does it better.

The album opens with an interesting assortment of songs--the straightforward but pleasing rock "Underdog," the '60s-influenced in poppier "Where Did All the Love Go?," and the vibrant pulse of "Fast Fuse." I like "Thick As Thieves," which sounds like Oasis with a Western bent, and "Fire," which gives the album's weak second half a good does of last-minute energy. And "Vlad the Impaler" is an interesting blend of sounds from different eras--'70s scratchy effects, '80s hip-hop, and '90s electronica.

After that it gets less interesting. "Take Aim" is highly repetitive, but has a good groove to it. "West Ryder Silver Bullet" also has a Western vibe, but is slower, yet it also tosses in some Flaming Lips-like oddness in the form of a female spoken intro (that makes little sense) and some sci-fi synth effects. "Ladies and Gentlemen" is a not particularly affecting ballad with an unappealing vocal. "Secret Alphabets" shuffles along with some early '80s-styled sci-fi synths and then it slows down its last quarter for a looped strings arrangement that would have been more interesting had it delivered an actual melody. "Happiness" is the predictably lushing closer.

These aren't bad songs, but they just don't seem very interesting to me. Other acts have already explored the Ennio Morricone sound, the sci-fi synths, the '60s psychedelia. Kasabian doesn't seem to be bringing anything new to the table nor doing anything particularly impressive with the ingredients that are already there.

Best: Where Did All the Love Go, Thick as Thieves, Vlad the Impaler, Fire

Album Review: The xx - xx (4.5/5)

One of the biggest trends in indie rock lately has been the combination of sound layers and lo-fi recording. You can hear it from artists like The Arcade Fire, Fleet Foxes and Animal Collective--layers of scratchy recordings of multiple guitars, drums, bass, violins, pianos, birds chirping, children singing etc. You can just envision old Phil Spector presiding in the studio sessions that have revived his wall of sound while maniacally calling for "more layers!!!" While the results are often lovely they are sometimes overwhelming, even tiring. It's enough to make you long for another album from the White Stripes (first odd numbered year since they started that we didn't get something new from them).

Amid all that clatter, xx, the debut from The xx, is a breath of fresh simplicity. No layering here--only careful deliberation. When a guitar gets plucked, it means something, and the gorgeous one- and two-part guitar melodies really shine through too from the opening "Intro," which sways to a lovely downbeat rhythm to the standout track "Infinity," whose low guitar strums recall the relaxed romanticism of Chris Isaak's "Wicked Game." That kind of vibe is carried out through much of the album, sparking lots of reviewers to conjure images of secondhand-clothing-clad twenty-somethings fumbling toward ecstasy with this playing in the background on their iPod docks. That's fine, but I think the album deserves more than that, as I find it a pleasing listen, even if you're not romantically entwined.

"Crystalised" shines with its infections two-part guitar rhythms and alternating vocals between wispy Romy Madley Croft and raspy Oliver Sims. It's a style that reminds me of the Cheryl Cole and Will.I.Am collaborations on Cheryl's new album (a comparison that might make The xx cringe, but oh well). "Shelter" seems clearly influenced by Goldfrapp's "Deer Stop," employing a similar synth-based aesthetic to open both songs, although building its melody with low tones from plucked guitar rather than piano.

Don't think it's all just droopy atmospherics. "VCR" has a certain buoyancy to it--certainly no one's raving to any of these songs--but there is a certain energy to this work. Bouncy "Islands" has the most upbeat rhythm arrangement. "Heart Skipped a Beat's" hand-clap rhythm hearkens to The Ting Tings' "That's Not My Name," albeit a mellowed, late night version with more stringed instruments. "Basic Space," another standout track, employs a stop-start approach with lyrics half sung, half spoken by Croft and Sims over its uptempo beat. Still, it is the quieter moments that shine, and even these songs have them.

Xx is quite an engaging and enjoyable album. I've listened to it probably 10 times over the last week, and I'm still discovering new pleasures. Best indie of the year.

Best: Infinity, Crystalised, Basic Space, Shelter, Intro, Islands, Heart Skipped a Beat

Best of 2000s: Coldplay - Viva la Vida or Death and All His Friends (4.5/5)

Closer and closer it seems Coldplay came to replacing U2 as the world's biggest band. This time they went as far as working with the Irish band's longtime producer, Brian Eno, resulting in some of Coldplay's most experimental music thus far. Yet Viva La Vida or Death and All His Friends is a heart-on-its-sleeve Coldplay album through and through, delivering big earnest melodies like "Lost!" and "Viva la Vida" amid more unusual fare like the multi-part "42," the rather dark "Violet Hill" and the undeniably gorgeous "Strawberry Swing." Four albums into their career and Coldplay has yet to make a bad album and just continues to get more interesting.

Best: Strawberry Swing, Viva la Vida, Violet Hill, 42, Lost!

Personal Chart, December 5, 2009

Billboard Hot 100, December 12, 2009

This is a singles chart write-up, but how can I not give a brief mention to the albums chart where Susan Boyle tops the Billboard 200 albums chart with her new album, I Dreamed a Dream. It's 701,000 copies sold is the biggest first week sales for a female artist's debut. Adam Lambert debuts at #3, Rihanna at #4, and Lady GaGa at #5 with The Fame Monster EP. Lady GaGa's The Fame is also #6, up from #34 (presumably those who bought the combined EP and album set).

1. Empire State of Mind - Jay-Z Feat. Alicia Keys
2. Bad Romance - Lady GaGa
3. Tik Tok - Ke$ha

A competitive top three this week that sees Jay-Z and Alicia Keys hold #1 for a 3rd week, also earning this week's Digital Gainer. It's the airplay that's making the difference. "Bad Romance" spends a second week at #1 on the sales chart, but is still outside the top 10 on the airplay chart, as is Kesha. "Empire State of Mind" is #2 on sales, followed at #3 by "Tik Tok."

7. Meet Me Halfway - Black Eyed Peas

Black Eyed Peas rebound up 5 spots, back to #7, its peak position from 5 weeks ago. It's showing gains in both airplay and sales, although its cooled at top 40 radio. This is the highest-charting single this week from a Grammy Album of the Year nominee.

15. I Gotta Feeling - Black Eyed Peas
18. You Belong with Me - Taylor Swift

Perhaps anticipating its Record of the Year Grammy nomination, Black Eyed Peas' "I Gotta Feeling" rebounds up 3 spots this week. Interestingly, it trades places with another ROTY nominee, Taylor Swift's "You Belong with Me," which is down 3.

19. Hard - Rihanna feat. Jeezy
20. I Can Transform Ya - Chris Brown feat. Lil Wayne and Swizz Beatz

Is this legal? Isn't there a restraining order that should prevent this? I guess it was inevitable that Rihanna and Chris Brown would eventually find themselves together on the charts. Rihanna makes an impressive 61-spot leap with "Hard," which was charting last week on strong early airplay and this weeks gets a good boost from sales. "Hard" quickly follows recent #9 hit "Russian Roulette" which is down 3 to #22 this week. "Hard" is a hit at top 40 and R&B radio, while "I Can Transform Ya" is only a hit at R&B (top 40 is apparently not ready to have him back, while R&B is, which is interesting).

30. Telephone - Lady GaGa feat. Beyonce

Two bigtime Grammy nominees team up on this, the second single from Lady GaGa's The Fame Monster. It's GaGa's 6th top 40 hit and Beyonce's 20th.

Generally, I don't venture beyond the top 40, but I can't help but notice a lot of activity down in the 60s....

61. For Your Entertainment - Adam Lambert

Adam Lambert re-enters and gets a new peak position for his single, which has yet to really take off.

62. I Dreamed a Dream - Susan Boyle

Susan Boyle scores her first Hot 100 single. Surprised this outdid "Wild Horses," which I think is superior (it's down at #98).

65. Video Phone - Beyonce feat. Lady GaGa

That OTHER telecommunications-themed song with Beyonce and GaGa makes its debut at #65. GaGa actually gets a third Hot 100 debut this week, down at #94 with "Speechless."

66. True Colors - Glee Cast
67. Imagine - Glee Cast

Glee sweet Glee. After next week it goes off the air for some time. Time to pout.

68. Crawl - Chris Brown

Chris Brown debuts at #68. You'd better crawl Mr. Brown.

70. Happy - Leona Lewis

Happy plummets 39 places. That #31 placing last week was a fluke.

Grammy Nominations

The Grammy Award nominations were announced yesterday. My predictions ranged from 4 right (Record of the Year, Dance Recording, Electronic Album) to only 2 right (Male Pop Vocal, Pop Duo/Group Vocal, Alternative Album, R&B Album) and although I only got 3 right on Album of the Year, the lineup did follow the rules I established. Here are my 10 observations about this year's Grammy Award nominees:

1. Beyonce Knows How to Play the Grammy Game. Beyonce ended up the queen of the evening with 10 nominations including the triple crown of Album, Record and Song of the year. The Album of the Year (AOTY) nomination for I Am...Sasha Fierce is her first in this category, while "Halo's" nomination in Record of the Year (ROTY) is her third after "Crazy in Love" and "Irreplaceable." Neither of those songs were nominated for Song of the Year (SOTY). I'm glad she got AOTY, as I think she really deserved it for this album.

She played the Grammy game well to get all those nominations, taking advantage of the fact that just because an album is limited to being nominated in only one genre doesn't mean the singles from it can't be put up in different categories (a way to get around the rule that any artist can't be nominated more than once in a category except for collaborations). Michael Jackson played this game best when, in 1984, he won Pop Male Vocal for "Thriller," R&B Male Vocal for "Billie Jean," and Rock Male Vocal for "Beat It." Thus Beyonce sees her songs from I Am...Sasha Fierce nominated in Female Pop ("Halo"), Female R&B ("Single ladies"), and Rap/Sung Collaboration ("Ego" with Kanye West), plus additional nomination for her songs from the Cadillac Records soundtrack in Traditional R&B ("At Last"), and Song from a Movie/TV Show ("Once in a Lifetime").

Such calculation is carried further to the ROTY and SOTY categories where Beyonce is nominated in both, but for different songs, "Halo" for ROTY and "Single Ladies" for SOTY. What makes this unique is that generally the SOTY nominees tend to be the slower, more adult songs, so it's surprising that she put the poppier upbeat song in that category (but hey, it worked). Other recent examples of artists getting nominated in both categories with different songs were U2 in 2001 ("Walk On" in ROTY and "Stuck in a Moment You Can't Get Out of" in SOTY) and TLC in 1999 ("No Scrubs" in ROTY and "Unpretty" in SOTY).

2. Pop Music Dominated ROTY. This year's Record of the Year slate is dominated by hits. Not since 1999 have all five nominees been such major pop hits. The average Hot 100 peak position of these five songs is 2.6, which includes two #1s, "I Gotta Feeling" and "Poker Face." Last year there were also two #1s ("Bleeding Love" and "Viva La Vida") but because the field also included two songs that were not big hits ("Please Read the Letter" and "Chasing Pavements") the Hot 100 peak position average of last year's nominees was at least 25.6 (it's actually incalculable, since "Please Read the Letter" didn't chart at all).

3. The Night's Biggest Surprise: Dave Matthews Band. Dave Matthew Band's Big Whiskey and the GrooGrux King was the surprise nominee for AOTY. Most pundits (including me) thought U2 or Green Day would have the rock album slated in AOTY, but no one I read thought both would lose out to DMB. An interesting twist, deserving I think given how both of those albums, while good, underperformed.

4. The Night's Biggest Snub: Whitney Houston. Remember back in August when everyone was saying that Whitney Houston was going to clean up at the Grammys this year? Not going to happen, considering that she's received ZERO nominations. Ouch. While I wasn't surprised not to see her in the general and pop categories, I thought she'd at least eek out an R&B nomination someplace. Grammy does love a big comeback, but truthfully, this comeback hasn't been so big, as I Look to You is not selling well and has generated no hits.

5. The Night's Second Biggest Snub: Kanye West. Yes he managed to snag six nominations, which is quite a few, but if look closely, you'll see its really circumstantial and that he was majorly snubbed. All six of his nominations are for collaborations with other artists (Kid Cudi, Young Jeezy, Beyonce, Keri Hilson, and Jay-Z and Rihanna). His album, 808s and Heartbreak, became his first album not to be nominated for AOTY, and in fact, it was also shut out of Pop Album. Even more damning is his exclusion from Male Pop Vocal--a category that is completely devoid of pop hits this year. It should have been a slam dunk, until he went and ruined his chances because he just can't control himself. Impulse control is something we adults have learned--time to grow up and join us Kanye. PR matters.

6. The Night's Third Biggest Snub: Maxwell. Maxwell still made out pretty well, but I was expecting "Pretty Wings," one of the year's biggest R&B hits, to snag a ROTY nomination, and I Thought the acclaimed parent album BLACKsummers'night was a lock for ROTY. Maxwell did get SOTY, plus several nominations in pop and R&B categories.

7. New Artist - Who ARE These People? The New Artist category has the least amount of star power this year than any in recent memory. Only Keri Hilson's had a top 10 hit among the bunch. It's such as contrast from the star power of the other three general categories. I'm glad MGMT made the list, as well as The Ting Tings. Much has been said about how Lady GaGa deserved a nod, but she was not eligible since "Just Dance" was nominated last year.

8. Black Eyed Peas - Not Just a Singles Act. I thought The E.N.D. would miss out on AOTY because it's viewed more as a vehicle for launching great singles than as a great album. I was wrong, and I shouldn't have discounted that a pop album would sneak onto the list instead of an R&B album (Maxwell, snubbed from AOTY for BLACKsummers'night). The Peas tied Maxwell, and Kanye West for the third most nominations with 6.

9. Lady GaGa Leads Electronic Music into AOTY. The Fame is the first album from the Electronic genre to be nominated in AOTY. Of course it's really a pop album, as is Beyonce's and Taylor Swift (maybe they were trying to give Kanye West a fair chance of being nominated in pop). GaGa, like Beyonce and Taylor Swift, scored the general category trifecta of AOTY, ROTY and SOTY.

10. Taylor Swift. Not much to say, just that she got 8 nominations--the second most after Beyonce. She also played the genre game, snagging a country nomination for "White Horse" and pop nominations for "You Belong with Me" and "Breathe."

So what are your observations? And what do you hope will win? I don't think there's a clear frontrunner in AOTY. Probably not BEP or GaGa. Dave Matthews Band might actually be best positioned, based on their veteran status (Grammy LOVES to award the veteran).

Album Review: Adam Lambert - For Your Entertainment (4/5)

Unlike many other of today's young popstars, 27-year-old Adam Lambert isn't easily put into a box. He doesn't fit the adult pop singer-songwriter mold of Jason Mraz, the lightweight pop R&B of Ne-Yo or the edgier soul pop sound of Justin Timberlake. I didn't watch this year's American Idol, but I certainly saw enough press about the over-the-top styles of the boy who wore eyeliners and professed a crush on his co-star Kris Allen. How would outrageous gay teen glam rock translate into a pop album, one that 19 Records would surely calculate to sell as well as any other American Idol star's debut?

Fairly well actually, as For Your Entertainment demonstrates. It's an interesting mix of songs and sounds--not all of it winning, but much of it pretty good, and a few songs that really hit the mark. "Music Again" kicks the album off on a high note, showing much energy and Queen-cribbing theatrics, reminding me quite a bit of Mika. After that we're given a couple of electro-pop numbers--"For Your Entertainment" and "Strut"--that both feature a similar synth-bass-driven rhythm that sounds not unlike a washing machine (funny how I just made a similar observation about an Animal Collective song). These songs are pretty good but not spectacular, although both are better than the MOR-ish adult rock track "Whataya Want From Me," which, along with the harder rock-leaning track "Sure Fire Winners" are the album's weakest songs.

The middle of the album offers most of its best songs, a departure from most front-loaded pop albums. "Soaked" is the first song to really live up to the Adam Lambert image, a Muse-like power piano rock ballad over which Lambert carefully draws out every note during the verses and really lets his vocal power loose on the over-the-top choruses. This is the kind of pop drama I was expecting from Lambert and it delivers. Yet remarkably, he isn't at his best only on this kind of song, as "A Loaded Smile" shows he's quite capable of delivering an understated, tender pop ballad performance too. This lovely song, dripping with a dreamy synth production, reminds me of the soulful falsetto of Jai from his 1997 album Heaven. Creative talent Linda Perry wrote and produced this song; great to see her here.

"If I Had You" returns to electro-pop territory but injected with an irresistible Max Martin dance beat that makes it easily the best upbeat song of the set. This better be a single. "For Your Entertainment" was chosen as the first release and it hasn't become a hit. It would be a shame if many of these other, better songs don't meet the airwaves. "Pick U Up" is another enjoyable ride, with a bold hook of a chorus.

After that the album settles into a stretch of fairly ho-hum songs. "Fever," although co-written by Lady GaGa, lacks the spark of her hit songs (it does, however, include a same-gender pronoun, something Will Young stayed away from until his fourth album, despite being "out" for all of them). "Sleepwalker" is written by Ryan Tedder, but fails to generate the dramatic pop fire he's lit under many female pop stars. When I first heard "Aftermath," I thought it sounded a lot like Kelly Clarkson. Come to find out its produced by Howard Benson, who produced five of the songs on her All I Ever Wanted. The album does close on a strong note with tender (although overproduced) ballad "Broken Open" and the 2010 soundtrack single "Time for Miracles."

While uneven, the highlights of For Your Entertainment are enough to make me recommend this album. It's a lot like Kelly Clarkson's debut in that way, It similarly explores multiple pop styles as if the producers were trying to figure out which would make the best fit. That Lambert succeeds at many different ones could be a blessing or a curse. There are some really fun big moments here as well as some lovely ballads, but I wouldn't want an album of just either. Hopefully his second album will be more focused but still showcase his range and vocal skill.

Best: A Loaded Smile, If I Had You, Soaked, Music Again, Pick U Up

BBC Sounds of 2009 - A Year Later

Soon the BBC will come out with its Sounds of 2010, identifying a corp of emerging artists it thinks we'll all go GaGa over next year. A year later, here's a look back at how successful the 2009 crop were this year, including their UK chart placings:

1. Lady GaGa. Lady GaGa became an inescapable force in pop music this year, easily topping this list as the most successful act from the BBC Sounds of 2009 poll. Expect her to rake in some Grammy nominations tomorrow. Singles: "Just Dance," #1; "Poker Face," #1; "Paparazzi," #4; "Bad Romance," #5; "Chillin' (w/Wale")," #12; "Lovegame," #16; "Telephone (w/Beyonce)," #30. Album: The Fame, #1.

2. La Roux. I fell in love with La Roux this year, who broke out quite big, landing the UK's third biggest-selling single (so far) with "In for the Kill," a summer #1 hit and US dance #1, "Bulletproof," and a Mercury Prize nomination for the album. Singles: "In for the Kill," #2, "Bulletproof," #1, "I'm Not Your Toy," #27. Album: La Roux, #2.

3. Florence and the Machine. Florence had quite a year, receiving a Mercury Prize nomination for her debut album, Lungs, one of the year's best-selling albums. Singles: "Rabbit Heart (Raise It Up)" #12, "You've Got the Love," #16. Album: Lungs #2.

4. Little Boots. Little Boots topped the BBC poll, but didn't quite achieve as much success as I and others had hoped. Still, she did quite well for a new artist. Singles: "Remedy," #6; "New in Town," #13. Album: Hands, #5.

5. Kid Cudi. This Kanye West protege had one major international smash hit--"Day N Nite"--and that was about it. His album hit #4 in the US, but didn't show up on the UK albums chart. Single: "Day N Nite," #2.

6. White Lies. Their album did really well when it was released, as they had quite a lot of hype, but they really died down after that without scoring a major hit single. Singles: "To Lose My Life," #34; "Farewell to the Fairground," #33. Album: To Lose My Life, #1.

7. The Temper Trap. This Australian band scored a major hit with its single "Sweet Disposition." Single: "Sweet Disposition," #6. Album: Conditions, #26.

8. Empire of the Sun. This Australian band was like the poor man's MGMT. I thought their album was bland and disappointing, although it did have a couple of good songs. Single: "We Are the People, #14. Album: Walking on a Dream, #19.

9. Frankmusic. This British electropop performer did fairly well; "Confusion Girl" was an especially winning hit. Singles: "Better Off as Two," #26; "Confusion Girl," #27. Album: Complete Me, #13.

10. Mumford & Sons. This British folk act managed to do pretty well, considering. Their new single, "Winter Winds" is currently on the BBC Radio 1 A List. Single: "Little Lion Man," #24. Album: Sign No More, #11.

11. VV Brown. I was really surprised she didn't break out bigger. Following in the footsteps of Amy Winehouse and Estelle, she seemed poised to become big, yet for some reason just didn't. Single: "Shark in the Water," #27. Album: Travelling Like the Light, #30.

12. The Big Pink. Can't say I heard much about them last year. If you search "big pink" in Wikipedia you get the US Bancorp building in Portland, Oregon ("big pink" is its nickname, since its facing is made from pink stone, and I didn't need Wikipedia to tell you that). Single: "Dominos," #27. Album: A Brief History of Love, #56.

13. Passion Pit. I was fairly interested in this band and reviewed their album, which was fairly good. I'm surprised they didn't score any major hits. Album: Manners, #55.

14. Dan Black. I was surprised he didn't break out bigger, as I thought he sounded pretty interesting. No hit singles or albums, although he did release an album, UN.

15. Master Shortie. Also, a non-charting act thus far. His album ADHD was released in the summer.

How the BBC ranked them:

1. Little Boots
2. White Lies
3. Florence and the Machine
4. Empire of the Sun
5. La Roux
6. Lady GaGa (lowballed this one, didn't they?)
7. VV Brown
8. Kid Cudi
9. Passion Pit
10. Dan Black

Album Reviews: Phoenix and Animal Collective

A couple of indies I've been meaning to review for some time. Both I expect will receive Grammy nominations tomorrow for Alternative Album of the Year.

Phoenix - Wolfgang Amadeus Phoenix (4/5)

Perhaps my favorite indie album of the year (although I just bought one I might like better--more on that in time), Wolfgang Amadeus Phoenix is the fourth album from French alternative band Phoenix. It's '80s-curbing synth-based melodies and overall jaunty atmosphere remind me of last year's brilliant debut from Black Kids, albeit more restrained. These fun, but mannered songs never get too frothy, nor thankfully too maudlin. This album's specialty is contrast, finding musical joy in pitting rocking moments of guitar and drums up against quieter ones of milky warm synth chords, frequently with alternating passages of both within the same song.

Opening tracks "Lisztomania"--a reference to the fan mania (no joke) experienced by the 19th century German pianist Franz Liszt--and "1901" are the album's most upbeat moments, but even "Lisztomania's" passages of frenetic drumming are tempered by the warm, mellow synthesizer chords. "1901" is more rocking, with some feedback and more prominent guitar. "Fences" is mellower and a little darker.

These are the kind of songs you expect to show up in an iPod ad--mellow enough for TV but just enough swagger to be cool. But just when you think this album is going the same way many other synth-loving alternative albums have of late, up comes moody two-parter "Love Like a Sunset." The mostly instrumental first part opens with a repetitive, progressively changing keyboard refrain and buzzing synths that segue into guitar and percussion with the melody eventually building with more synths and fuzz. It's an interesting break from the accessible pop of the album's first three tracks. During the last minute and a half it breaks into a more regular rhythm. Part II starts with some big guitars, like U2 with synths, building with vocals and then over in just 2 minutes.

The second half of the album isn't quite as impressive, but is still quite enjoyable. "Countdown" is the standout track, with choruses that alternate between rockin' guitar and quite keyboard moments. "Lasso" is a decently upbeat, pretty normal guitar-driven track. "Rome" starts with sparse staccato bass line before kicking in its guitars. It's middle section has a pleasing "hush" to it, where deep synth chords take over rather than the usual guitar solo. "Girlfriend," while a fine song, offers little to distinguish itself as interesting compared to most other songs here. Final track "Armistice" is better, with a likable insistence and alternating sections of tripped out synths and electric guitar.

Best: Lisztomania, 1901, Love Like a Sunset, Fences, Countdown


Animal Collective - Merriweather Post Pavilion (3.5/5)

Often weirdly beautiful and other times just weird, Merriweather Post Pavilion--named for a popular outdoor concert venue not far from me--is the 8th studio album from the Baltimore-based Animal Collective. This album came out at the beginning of the year, to pretty much universal acclaim.

The layered sounds of opening track "In the Flowers" recalls The Flaming Lips. It's followed by "My Girls," which starts with waves of layered synth effects and overlapping vocals before transitioning into one of the album's most upbeat and accessible songs. Jaunty "Summertime Clothes," whose opening sounds like the rhythmic pulse of a washing machine, is the album's best track. "Daily Routine" is much mellower, with it undulating synths and calming sounds like that of an ocean.

Other songs are more bizarre, like "Taste," which sounds like someone stole the synthesizer riff from Madonna's "Lucky Star" and sent it to an outer space street carnival. Several songs incorporate African sounds, like "Lion in a Coma" and "Brother Sport," reinterpreted with synth melodies rather than the acoustic instruments that usually accompanies moves. I can see why this album is well-liked, and it is an interesting listen, although not something I would imagine myself going back to again and again. Just for fun, click on the album cover to make the image big and just stare at it...isn't that cool?

Best: Summertime Clothes, Daily Routine, My Girls.

Q Magazine/Uncut Best Albums of 2009

The Q Magazine's list of the year's best albums is out. Here's the top 10 (full list here):

1. Kasabian – West Ryder Pauper Lunatic Asylum
2. Florence And The Machine – Lungs
3. Yeah Yeah Yeahs – It’s Blitz
4. Animal Collective – Merriweather Post Pavilion
5. Manic Street Preachers – Journal For Plague Lovers
6. Arctic Monkeys – Humbug
7. Muse – The Resistance
8. Lilly Allen – It’s Not Me, It’s You
9. U2 – No Line On The Horizon
10. Phoenix – Wolfgang Amadeus Phoenix

I'm surprised to see Kasabian at #1; I'll have to check that album out, as it's one I took a pass on. This is list is more alternative than in previous years, save for Lily Allen and U2. Other entries on the list: #11 Doves, #13 Grizzly Bear, #16 Empire of the Sun (really?), #17 Green Day, #30 La Roux, #40 Cheryl Cole.

Here's Uncut's top 10 (full list here):

1. Animal Collective – Merriweather Post Pavilion
2. Super Furry Animals – Dark Days/Light Years
3. The Dirty Projectors – Bitte Orca
4. Bob Dylan – Together Through Life
5. Wild Beasts – Two Dancers
6. The XX – The XX
7. Wilco – Wilco (The Album)
8. Grizzly Bear – Veckatimest
9. Yeah Yeah Yeahs – It’s Blitz!
10. Phoenix – Wolfgang Amadeus Phoenix

Three entries overlap with Q's top 10 (Animal Collective, Yeah Yeah Yeahs and Phoenix). I imagine we'll be seeing Animal Collective on a lot of lists. It's interesting, although not an album I'd recommend (my reviews of it and Phoenix are coming soon). Other entries on Uncut's list: #14 The Flaming Lips, #16 Florence and the Machine, #17 Doves, #38 Arctic Monkeys.

UK Singles Chart, December 5, 2009

1. The Official BBC Children in Need Medley - Peter Kay's Animated All Star Band
2. You Are Not Alone - The X Factor Finalists

One novelty charity record replaces another at the top of the UK singles chart this week. Leading the pack is this year's Children in Need single, a medley of popular songs performed by popular, mostly British, children's television characters (familiar faces included Paddington Bear, Bob the Builder, Scooby Doo and the Teletubbies, among many many others). The medley is of The Jackson's "Can You Feel It," Fleetwood Mac's "Don't Stop," AR Rahman and the Pussycat Dolls' "Jai Ho (You Are My Destiny)," Chumbwamba's "Tubthumping," Take That's "Never Forget," The Beatles' "Hey Jude," and Elbow's "One Day Like This." It's an unusual mix of songs, that doesn't quite go together, but the video is rather fun.

This is the first Children in Need single to top the chart since Girls Aloud's "I'll Stand By You" in 2004. The last couple of years in particular the annual single had lost its luster, as the Spice Girls' "Headlines" and McFly's "Do Ya" failed to reach the top 10. Credit goes comedian and Executive Producer Peter Kay, who's become quite the charity single maestro, being responsible for such big ones as Tony Christie's "(Is This The Way to )Amarillo," a Comic Relief single that was the biggest-selling single of 2005, "I'm Gonna Be (500 Miles" with the Proclaimers and Andy Pipkin," also a major #1 hit, and last year's reality TV singing competition spoof, "The Winner's Song."

Also worth noting is that this is the 7th week in a row that the #1 single has sold over 100,000 copies (, a stretch of 100K+ sellers unseen since early 2002, when singles from Enrique Iglesias, Westlife, Will Young and Gareth Gates. Finally, this is the first #1 hit since early October that didn't reach #1 after being performed on The X Factor.

5. Bad Romance - Lady GaGa

Lady GaGa climbs three spots scoring her fourth top 5 hit.

6. Russian Roulette - Rihanna

Rihanna earns her 11th top 10 hit with "Russian Roulette," the first single from her fourth album Rated R. This is actually a bit low for her, as the first singles from her previous three albums all landed at #1 or #2. The song's dark themes have no doubt made it less commercial than her sunny previous hits--songs like "Umbrella" and "S.O.S." However, she performed this on The X Factor this weekend, which could boost the single next week, at least into the top 5.

7. Tik Tok - Ke$ha

Ke$ha holds steady this week on downloads but is in stores tomorrow. How high will it go next week? Could it be a #1? I would think a second week at #1 for Peter Kay would be more likely, but anything is possible.

9. Wild Horses - Susan Boyle

Susan Boyle--SuBo as she's sometimes referred to--has her first top 10 this week. Her album, I Dreamed a Dream, is an international smash hit, topping the UK albums chart this week with over 400,000 copies sold (in the US, it's expected to outsell Eminem's 600,000 bow with Relapse in May). "Wild Horses" is a lovely song, good enough to make me interested in what else her album holds.

16. Cry Me Out - Pixie Lott

Pixie Lott climbs four notches to #16 with her third single, "Cry Me Out." No physical release for this one--an odd choice, given that her last two singles were both #1s. Seems to indicate a lack of confidence.

19. I Want to Know What Love Is - Mariah Carey

This did a big belly flop in the US, but at least makes the top 20 in the UK. It's the first top 40 hit for Carey from her latest album, Memoirs of an Imperfect Angel, which didn't get released in the UK until this week, despite coming out in late September or early October most other places. I don't think "Obsessed," was officially released in the UK, as it peaked at #52. Bought on imports maybe?

30. Telephone - Lady GaGa feat. Beyonce

Lady GaGa's next single, "Telephone," charts early due to being available as a download from The Fame Monster. It's her 7th top 40 hit.

37. I Dreamed a Dream - Susan Boyle

And finally, Susan Boyle charts with a second track, her version of "I Dreamed a Dream," the song she sang on Britain's Got Talent that made her famous.

Album Review: Lady GaGa - The Fame Monster (4/5)

At the beginning of the year when I reviewed The Fame, I was underwhelmed, finding much of to sound about the same. Ten months and four more hits later, my opinion of Lady GaGa's debut is still about the same. It's launched some great singles, but after that, the album is uneven and overlong.

Both of these shortcomings have been addressed on The Fame Monster, the stopgap follow-up originally envisioned as new tracks for The Fame's re-release, but which has taken on a life of its own as a long EP--long enough really to be considered a new album. At just eight tracks--the same number as on Madonna's 1983 debut--The Fame Monster is lean and mean with just as much (if not more) diversity of sounds than on The Fame.

"Bad Romance" is as stomping a dance track as anything we've heard from GaGa yet. "Alejandro" sounds like an unearthed Ace of Base song from the '90s, during which GaGa rejects the advances of a bevy of Latin lovers--Alejandro, plus his buddies Roberto and Fernando. "Monster," one of several very '80s-sounding tunes, continues the down with love vibe established by the first two songs ("he ate my heart...that boy is a monster"). "Dance in the Dark," also very mid-80s sounding, is ever darker with a fantastic synth refrain and spoken-word middle section clearly inspired by Madonna's "Vogue."

"Speechless" is the disc's only slow song, styled as a rock ballad like the kind Pink excels in, during which GaGa confronts a messy drunk (whom she's claimed is her father) with his "Johnny Walker eyes." "Telephone" is produced by Rodney Jerkins and opens with his trademark harp in the background. Beyonce shows up as a guest artist--returning the favor for GaGa appearing on Beyonce's own telecommunications song, "Video Phone." She's underutilized, singing only in the song's brief middle section.

Blatant narcissism never sounded as good as it does on "So Happy I Could Die," recalling Madonna's Like a Virgin-era sound. Swinging "Teeth" closes the album on a lively R&B note.

As much as anything, The Fame Monster advances Lady GaGa's apparent bid to become the new Madonna, taking several pages from the singer's '80s and early '90s playbooks. With Madonna moving on to do who-knows-what with the Live Earth people, its a role I'm happy to see someone take on.

Best: Bad Romance, Alejandro, Dance in the Dark, Monster, Speechless

Album Review: Rihanna - Rated R (4/5)

We all know the story. Nine months ago, just before the Grammy Awards, an argument between Rihanna and her then boyfriend Chris Brown escalated into violence. She was injured, he was arrested and eventually convicted. Both stayed out of the spotlight for some time. Now it's time for Rihanna to tell her side of the story, first through interviews and now this album.

Rated R could have been musical catharsis, but that's really not the Barbadian singer's plan. For the album is dark, angry and blantantly theatrical, from the title--a reference to the US movie rating for shows that aren't for kids--to the frequent hip-hop-style boasting and profanity. She's baring her teeth, not her soul.

In addition to her mood, Rihanna's sound has changed too. Where Good Girl Gone Bad was a dance pop album with a few other styles on it, Rated R is pop/R&B, with no dance pop to be found. It's hard, cold and edgy, with very little warmth. Introductory "Mad House" sets the mood, during which an announcer warns those easily frightened to turn away. A bit of foreboding music follows, further developing the carnival-like atmosphere. "Wait Your Turn" follows, an "I'm back" declaration over a minor-key electronic R&B production. Both of these tracks were produced by British DJs Chase & Status, who also turned out the rugged "G4L" (gangster for life), a song that includes one of the album's best lyrics ("I lick the gun when I'm done cause I know revenge is sweet").

New single "Hard" positions Rihanna in hip-hop territory, complete with typical boasting ("that Rihanna reign, just don't let up") and guest rapper Jeezy (minus the "young"--apparently showing his age). Slickly produced by The Dream and Tricky Stewart, it's another dark track blending hip-hop beats, piano and deep synth notes. "Rockstar 101" takes the hard-edged attitude even further: "feelin' so good, lookin' so bad....got my middle finger up, I don't give a fuck." Musically, it's little more than guest Slash's electric guitar chords over a modern hip-hop beat. When the more melodic middle section comes, it feels like relief.

"Stupid in Love," written and produced by Ne-Yo and Stargate, is the first song to allude to Rihanna and Brown's relationship. It's a bitter ballad, taking a typical Stargate piano and skittering beats production into much darker territory. Ne-Yo's lyrics rise to the occasion too ("my new nickname is 'you idiot'"). That song's direct approach contrasts with the metaphorical one in "Russian Roulette," also co-written by Ne-Yo, during which Rihanna contemplates her relationship like a game of Russian Roulette which, like the game itself, inevitably ends badly. This is pop music drama at its best, and its quite effective. The gunshot that closes the song still makes me jump.

"Fire Bomb" opens with chugging guitar, but mellows out with some '80s-style synths into one of the album's best tracks. It's warm melody makes it stand out from the mostly cold songs. Rihanna sounds great on it too, stretching her voice into some lower octaves and showing some strength. She's never been the greatest singer, but to her credit, she's getting better all the time. This song comes courtesy of Brian Kennedy, the man behind last year's "Disturbia." It should make a good hit single down the road.

"Rudy Boy" is fairly breezy pop. The synth kettle drums recall Rihanna's island heritage (her accent comes through more on Rated R than it did on her last album--an artistic choice, perhaps aimed at making her delivery more personal). "Photographs" finds Will.I.Am again contributing a winning track to another pop singer (having recently produced the best songs on Cheryl Cole's solo debut). It's another failed relationship song, effectively using the old cliche about having nothing left but the photos. Both of these are good songs that would make good singles.

Stargate-produced "Te Amo" adds a little Latin spice, while recounting a same-sex dance floor flirtation. Lovely Spanish guitar underpins the melody. It's the album's last buoyant moment, which closes with two dark ballads. First is "Cold Case Love," produced by Justin Timberlake's production group, The Y's. A prominent violin adds the right note of melancholy while Rihanna sings "we lost our way, took this too far, and I'll never find the pieces of my heart." Lushly produced "The Last Song" is the perfect close to the album's narrative. The singer and her man in their last moments as she realizes their relationship is over and she needs to move on.

Rated R represents an interesting transformation for Rihanna. Previously she was a breezy island pop singer turned dance pop diva--a plaything for the latest crop of hot producers to ply their trade. She scored quite a few big hits, but she never had a story, a narrative, until now. This makes Rated R her first album in the truest sense of what an album is. It's an impressive switch that some pop artists go their whole careers without achieving. And while I admit to missing the dance pop, it makes sense to not have it right now, and I imagine we'll get some when the inevitable re-release, perhaps Rated R: The Director's Cut, comes out next year.

Best: Fire Bomb, Russian Roulette, Stupid in Love, Photographs, Cold Case Love, Rude Boy, Hard

Best of 2000s: Madonna - Hard Candy (4.5/5)

Madonna has always applied a shrewd calculating eye to her music, frequently anticipating the next big trend on which to latch her hooky dance pop. With Hard Candy, some felt she took this too far, working for the first-time with proven producers like Timbaland, Nate Hills and The Neptunes to ensure the album would deliver a US-friendly modern R&B/pop sound. The results were markedly different than the Eurodisco feel of her last album, Confessions on a Dancefloor. The calculus worked, at least for awhile, as her duet with Justin Timberlake, "4 Minutes," was her biggest US hit in 7 years, but the album failed to score any subsequent hits, with "Miles Away" becoming her lowest-charting British single ever. Still, I rather liked the album, which managed to retain a Madonna sound at its core, despite the big-name production. She also rather boldly trotted out the problems with her soon-to-be-over marriage on "Miles Away" ("You're always have the biggest heart, when we're 6000 miles apart").

Best: 4 Minutes, Miles Away, Give It 2 Me, Beat Goes On, Heartbeat

December New Releases

After the massive month of November, December calms down a bit. But there's still some big name stuff coming.

Alicia Keys - The Element of Freedom (Dec. 14). Alicia Keys, one of this decade's most successful R&B singers, releases her fourth album. It features first single "Doesn't Mean Anything," new single "Try Sleeping with a Broken Heart" and "Empire State of Mind Part 2" (with Jay-Z).

Timbaland - Shock Value 2 (Dec.7/8). After some delays, it looks like this is a go. Features first single "Morning After Dark" with Nelly Furtado and SoShy. Previous Timbaland collaborators making an appearance include Justin Timberlake, OneRepublic, and Keri Hilson. Katy Perry, Miley Cyrus, Jet, JoJo, Daughtry and Drake also make appearances.

Charlotte Gainsbourg - IRM (Dec. 7). The French pop singer and daughter of Serge Gainsbourg, who collaborated with Air for her last album, teams up this time with Beck. Features first single "Heaven Can Wait" (with Beck).

Mary J. Blige - Stronger with Each Tear (Dec. 16). The renowned R&B singer puts forth her ninth album.

Lil Wayne - Rebirth (Dec. 21). Original due out in April, the 7th album from Lil Wayne, reportedly his first forray into rock, will finally come out. Word is that there is rap here, but it is mostly rock. Includes single "Prom Queen" and "Hot Revolver."

Chris Brown - Graffiti (Dec. 8). Chris Brown puts out his third album, featuring first single "I Can Transform Ya." Without judging the music, I think it's too soon for him to be putting out an album.

The Bravery - Stir the Blood (Dec. 1). The New York band puts out its third album. I'm really enjoying first single, "I Am Your Skin."

30 Seconds to Mars - This Is War (Dec.8). American rock band releases its third album; includes first single "Kings and Queens."

R. Kelly - Untitled (Dec. 1). The oft-troubled American R&B singer releases his ninth album. First single "Number One" (feat. Keri Hilson) got nowhere near as high on the charts as its name guessed it would.

Grammy Nominations Prodictions

The 2010 Grammy Award nominations will be announced next week (Dec. 2). So it's time to make some predictions! I always have so much fun trying to guess who will be nominated. So much so that a few weeks ago, I wrote this post analyzing factors for predicting the Album of the Year category. Let's see whether I can put my own advice to work (and next week, how good it really was).

Album of the Year:

• Beyoncé - I Am...Sasha Fierce
• Lady GaGa - The Fame
• Maxwell - BLACKsummers'night
• Taylor Swift - Fearless
• U2 - No Line on the Horizon

It's a harder than usual year for AOTY, as there weren't a lot of standout albums (further signs of the death of the album?). Leading the charge is young country star Taylor Swift's Fearless, which is the safest bet to get a nomination this year. After that, it actually gets kind of tricky. Although it was a great year for pop music, the year's biggest pop albums will actually be considered in othe genres, so I'm not including one in my prediction (a bold move, given that pop is AOTY's favorite genre). So into the mix goes Beyoncé's contemporary R&B album I Am...Sasha Fierce. Beyoncé has never been nominated in this category, and I see the consistently good and hit-filled Sasha Fierce as her best shot yet. Also, I expect Lady GaGa's The Fame to grab a nod, becoming the first electronic album to do so (like Fearless and Sasha Fierce, this is really a "pop" album, but isn't competing in that category). Because R&B usually gets a nod, I expect Maxwell's BLACKsummers'night to get a slot too. I was tempted not to include a rock album in my prediction, as it was a rather wan year for rock, but that would go against my advice to always include a rock album, so I was swayed to include perennial Grammy favorite U2 with their No Line on the Horizon.

Other than Taylor Swift, there really aren't any sure things this year. If a pop album does manage to make the cut, I expect it would be Black Eyed Peas' The E.N.D.; however, this album did better as a source for hit singles than as an acclaimed album. There's a slight chance the pop album could be Kanye West's 808s and Heartbreak, but his acclaim has gradually been eroding, and this album divided critics and fans alike, so I expect it will be his first album not to get an AOTY nod (ooh...he will be so MAD!). I loved Whitney Houston's I Look to You, but the album underperformed, and I expect Maxwell to get more love from the R&B segment. Because Fearless may be viewed more as a pop album, there is a chance that a second country album could appear, which would likely be George Strait's Twang, but two country albums have never been nominated together in this category, so it's really unlikely. If the rock slot doesn't go to U2, it could go to Green Day's 21st Century Breakdown, but just like U2, their album wasn't as well received as their last, the 2004 AOTY-nominated American Idiot. Bruce Springsteen deserves at least a mention for Working on a Dream, but if Magic couldn't get nominated in 2007, why would this newer, lesser album? It was such a weak year for rap, that there's not even an album worth mentioning. An alternative choice could be The Yeah Yeah Yeah's It's Blitz or Phoenix's Wolfgang Amadeus Phoenix, but I would consider either very very unlikely. Finally, Bob Dylan could be spoiler here for Together Through Life. He's an old Grammy favorite, and it could make up for the 2006 snub of The Modern Times.

Don't look for: Kings of Leon (released too early), Jay-Z (released too late) or Britney Spears (get real).

Record of the Year:

• Black Eyed Peas - I Gotta Feeling
• Kings of Leon - Use Somebody
• Lady GaGa - Poker Face
• Maxwell - Pretty Wings
• Taylor Swift - You Belong with Me

In comparison to AOTY, ROTY seems really obvious to me this year. In fact, if any one of the five songs listed above doesn't appear, I think it will be a big surprise. Surely Black Eyed Peas', "I Gotta Feeling," the year's biggest hit, is a shoo-in, as is Lady GaGa's "Poker Face" as the best-performing of The Fame's multiple hits. Since Kings of Leon's album doesn't qualify for AOTY, I expect they'll get love for their massive rock/pop crossover hit "Use Somebody." Finally, it's often that ROTY nominees are those from AOTY nominees, so I expect Maxwell and Taylor Swift to make the cut with their respective hits "Pretty Wings" and "You Belong with Me."

I think Beyonce would have had a good shot at this had she put up "Single Ladies," but she instead submitted both "If I Were a Boy" and "Halo," which could cancel each other out. Further hurting "Halo's" chances is the fact that Kelly Clarkson submitted "Already Gone," which is widely perceived as a "Halo" clone (credit Ryan Tedder for that--both songs are often considered "Bleeding Love" clones too). If a rock song sneaks in there it could be Green Day's "21 Guns" or U2's "I'll Go Crazy If I Don't Go Crazy Tonight," but I wouldn't count on either, since they weren't big hits. Katy Perry's "Hot N Cold" was another big hit for her, but it wasn't as much a standout as "I Kissed a Girl," which didn't get nominated last year. Other longshots: Jay-Z's "Run This Town," MGMT's "Kids," Owl City's "Fireflies," and Whitney Houston's "I Didn't Know My Own Strength."

Not submitted for consideration: Single Ladies, My Life Would Suck Without You

Song of the Year:

• Adele - Hometown Glory (Adele)
• Billie Joe Armstrong - 21 Guns (Green Day)
• Caleb Followill, Jared Followill, Matthew Followill & Nathan Followill - Use Somebody (Kings of Leon)
• Beyoncé Knowles, Christopher Stewart, Terius Nash, and Kuk Harrell - Single Ladies (Beyoncé)
• Maxwell and Hod David - Pretty Wings (Maxwell)

The songwriters award is hard to predict. Usually there's some overlap with record of the year (generally favoring the rock or adult pop nominees), so I threw in Maxwell and Kings of Leon, thinking that the poppier songs by Black Eyed Peas, Taylor Swift and Lady GaGa are unlikely to also score writing nods (although of those, I think Taylor Swift would have the best shot). Adele's "Hometown Glory" is a hauntingly beautiful song, and because I don't think Green Day's "21 Guns" will make ROTY, I think it has a better shot here. Beyoncé Knowles, Christopher Stewart, Terius Nash, and Kuk Harrell's "Single Ladies" (Beyoncé) wasn't submitted for ROTY, but was for SOTY, so I think it will make the list. Dianne Warren's "I Didn't Know My Own Strength" (Whitney Houston) is a lovely song, but I found some if its lyrical phrasing awkward (particularly the chorus), and it wasn't a hit. Singer-songwriter Diane Birch's "Nothing But a Miracle" could get a shot, if Grammy is willing to recognize an under-the-radar newcomer. A longshot choice would be Jessi Alexander and Jon Mabe for "The Climb" (Miley Cyrus), but given the recording artist's lack of critical credibility, I think it's quite unlikely.

Best New Artist:

• Diane Birch
• Bon Iver
• Laura Izibor
• MGMT
• Zac Brown Band

Not exactly the hottest Best New Artist slate. Lady GaGa was the year's biggest new artist, but because "Just Dance" was nominated last year, she's not eligible. Such a challenge to determine when someone is "new" since, after all, all of these people have been performing and recording for years up to now (calling it "breakthrough" would be more accurate). Other possibles: Keri Hilson, Owl City, The Script, and The Ting Tings.

Pop Vocal Female Performance

• Adele - Hometown Glory
• Beyonce - Halo
• Whitney Houston - I Didn't Know My Own Strength
• Katy Perry - Waking Up in Vegas
• Taylor Swift - You Belong with Me
• (If 6 nominees) Pink - Sober

The male and female pop vocal categories remind me of the Emmy Awards--once you get nominated, you tend to get nominated again and again. In the last decade, Britney Spears and Pink have been nominated 3 times each with no wins, so both could be up, but competition this year is tight, so I'm actually not predicting either. However, Adele, who won last year, and Katy Perry, who was nominated, look like strong choices. Beyonce's "Halo," which could get an ROTY nominee, should be a shoo-in here, as is Taylor Swift's "You Belong with Me," which I think will get ROTY. Even though it wasn't a hit, I imagine Grammy voters couldn't resist putting up 3-time winner and 6-time nominee Whitney Houston for "I Didn't Know My Own Strength." Kelly Clarkson's "Already Gone" could be in, but I give similar "Halo" the better shot. This category is generally dominated by big names, but if a lesser known is given a shot, it could mean a nod for Regina Spektor or Diane Birch.

Pop Vocal Male Performance:

• Maxwell - Love You
• Seal - If You Don't Know Me By Now
• Rob Thomas - Her Diamonds
• James Taylor - Wasn't That a Mighty Storm
• Kanye West - Heartless

Nothing underscores the fact that female pop stars are bigger than their male counterparts than by comparing the Grammy award categories. It's hard to predict the females because there are so many good choices. It's hard to predict the males since there are so few. And no John Mayer this year (that's always an easy call, he's been nominated 5 times and won 4). I think Kanye West's "Heartless" should have a good shot as the biggest hit of the likely nominees. James Taylor is a perennial favorite, so I think he'll be in. Seal's been nominated 3 times this decade, so look for him too, as well as boring ol' Rob Thomas. As long as this is shaping up to be a major snooze fest, let's also throw out Jason Mraz's "Make It Mine" and Stevie Wonder's "All About Love Again," and hope that the more interesting choice, Maxwell's "Love You," is the one that gets in.

Pop Duo/Group with Vocal:

• 3Oh!3 - Don't Trust Me
• The All-American Rejects - Gives You Hell
• Black Eyed Peas - I Gotta Feeling
• The Fray - Never Say Never
• The Pussycat Dolls - I Hate This Part

Kind of boring category this year, with Black Eyed Peas sure to win. Bon Jovi's "We Weren't Born to Follow" is also a possibility. Longshots include Keane's "The Lovers Are Losing" and The Script's "The Man Who Can't Be Moved."

Pop Vocal Album:

• Black Eyed Peas - The E.N.D.
• Kelly Clarkson - All I Ever Wanted
• Pink - Funhouse
• Rob Thomas - Cradlesong
• Kanye West - 808s and Heartbreak

I expect Kanye West and Black Eyed Peas, who are possible for AOTY, to be the frontrunners here this year. There's generally several adult pop nominees, so Rob Thomas's Cradlesong will probably get a nod. I'll give the last two slots to the big female contenders, Pink and prior winner Kelly Clarkson. Seal, Diane Birch and Regina Spektor and longshots.

Other predictions, without commentary

Dance recording:

Black Eyed Peas - Boom Boom Pow
Cascada - Evacuate the Dancefloor
David Guetta & Kelly Rowland - When Love Takes Over
Lady Gaga - Poker Face
Britney Spears - Womanizer

Electronic album:

The Crystal Method - Divided by Night
Lady GaGa - The Fame
David Guetta - One Love
Pet Shop Boys - Yes
Royksopp - Junior

Rock album:

Dave Matthews Band - Big Whiskey and the Groo Grux King
Green Day - 21st Century Breakdown
Guns N Roses - Chinese Democracy
Bruce Springsteen - Working on a Dream
U2 - No Line on the Horizon

Alternative album:

Animal Collective - Merriweather Post Pavillion
Bjork - Voltaic
Grizzly Bear - Veckatimest
Phoenix - Wolfgang Amadeus Phoenix
The Yeah Yeah Yeahs - It's Blitz

Contemporary R&B album:

Beyonce - I Am...Sasha Fierce
The Dream - Love vs. Money
Jamie Foxx - Intuition
Keri Hilson - In a Perfect World
Trey Songz - Ready

R&B album:

India Aire - Testimony 2
Whitney Houston - I Look to You
Laura Izibor - Let the Truth Be Told
Maxwell - BLACKsummers'night
Chrisette Michele - Epiphany

Personal Chart, November 28, 2009

Billboard Hot 100, December 5, 2009

Why am I ravenously hungry this morning? You'd think after yesterday, I'd never want to eat again. But you're not here to hear about that...

1. Empire State of Mind - Jay-Z feat. Alicia Keys

Jay-Z and Alicia Keys spend a second week at #1, ending the rapid-fire #1 turnover during the last 7 weeks. Two of Alicia Keys' three other #1 hits topped the charts this time of year--"My Boo" with Usher in 2004 and "No One" in 2007.

2. Bad Romance - Lady GaGa

Lady GaGa jumps up 9 spots to #2 earning this week's digital gainer. The track is currently #1 at iTunes, and I would imagine it has a good shot at #1 next week. This is GaGa's fourth top 5 hit--only "Paparazzi" missed the top 5, peaking at #6.

5. Tik Tok - Kesha

I resisted this song, but it won me over recently. This week its up 5 spots and earns the airplay gainer.

7. Sexy Chick - David Guetta feat. Akon

David Guetta nabs his first US top 10 hit as "Sexy Chick" rises five spots to #7. The dance track was a #1 hit in the UK late this summer. "Sexy Chick" has far outpaced "When Love Takes Over," Guetta's other recent UK #1, which peaked at #76 in the US.

25. Half of My Heart - John Mayer feat. Taylor Swift
40. Two is Better than One - Boys Like Girls feat. Taylor Swift

John Mayer scores a second top 40 hit from his Battles Studies album and Boys Like Girls score their second top 40. No doubt Taylor Swift had something to do with it. How many top 40 hits has she had this year? 14!

Love Story (#4 in January)
White Horse (#29 in March)
You're Not Sorry (#40 in March; had hit #11 in November 2008)
Crazier (#17 in May)
You Belong with Me (#2 in August)
Jump then Fall (#10 in November)
Untouchable (#19 in November)
The Other Side of the Door (#22 in November)
Superstar (#27 in November)
Come in with the Rain (#30 in November)
Forever and Always (#34 in November)
Fifteen (currently #26)
Half of My Heart (currently #25)
Two is Better than One (currently #40)

31. Happy - Leona Lewis

So "Happy's" US chart performance is no longer a complete disaster, as this week the single takes an unexpected climb to #31, up 28 spots, and spending its first week in the top 40. It's cold at top 40 radio now, but with the album out, Leona did some heavy promotion last week, playing The Ellen DeGeneres Show and Dancing with the Stars. After "Bleeding Love" and "Better in Time," this is Lewis' third top 40 hit.

The Music Snob's Best Albums of the Decade

I've been working on my list of the best albums of the decade and checking out what lists have been published so far. Since I'm an unashamed pop music fan, there will definitely be pop albums on my list--the kind that don't make the music critics' lists. But what will such critics be singing the praises of as they tally their lists of the best albums of the decade? Here are 30 albums that are sure to appear on many, many lists (including perhaps mine):

Outkast - Stankonia (2000) and Speakerboxx/The Love Below (2003). Both generated big hits, and Speakerboxx, in particular, was also a major commercial success, in addition to both being reviewed quite favorably.

Radiohead - Kid A (2000) and In Rainbows (2007). Both are excellent and will definitely appear on my list.

Bob Dylan - Love and Theft (2001), Modern Times (2006), and Together Through Life (2009). It's shameful that I'm not familiar with Bob Dylan. I've never heard any of these, but they were all very highly regarded.

The Strokes - Is This It (2001). NME named in the album of the decade. I wouldn't be surprised if Spin and Rolling Stone don't do that too. I actually rather like this album. It will probably appear pretty high on my list.

The White Stripes - White Blood Cells (2001) and Elephant (2003). These two albums represent the band at its critical peak, with Elephant also being its commercial one. I love Elephant, and although I haven't listened to White Blood Cells as much, I'm trying to give it a fair chance to make my list.

The Streets - Original Pirate Material (2002) and A Grand Don't Come for Free (2004). British lists in particular will definitely be including these. I have his second album, which is pretty good, although I doubt it will make my decade list.

Wilco - Yankee Foxtrot Hotel (2002). I'm more into Sky Blue Sky, but this one is good too. I haven't listened to it a whole lot.

Bruce Springsteen - The Rising (2002) and Magic (2006). Alternative pubs will probably not highlight him, but traditional rock outlets (like Rolling Stone) will likely give these prominence. Both are fine, but not among my favorites.

The Arcade Fire - Funeral (2004) and Neon Bible (2007). This band was a critics' darling this decade, with both albums being quite lovingly reviewed. I think I like Neon Bible a better than Funeral, although Funeral has their best song, "Power Out."

Loretta Lynn - Van Lear Rose (2004). On a lark it seems, Jack White of The White Stripes produced the decade's most critically celebrated country album. This one gets a lot of play in my house (Chris loves it). I like it a lot too.

Kanye West - The College Dropout (2004) and Late Registration (2005). Critics seemed to cool on him after the first two albums, which is fairly typical. The College Dropout in particular seems to have been the best reviewed, even though it wasn't as big a hitmaker.

Sufjan Stevens - Come On Feel the Illinoise! (2005). I bought this album, since it got so many great reviews, but never got into it, aside from "Chicago." This was supposed to be the second in a series of state-themed albums (it followed 2003's Michigan)

Bright Eyes - I'm Wide Awake, It's Morning (2005). I got this when it came out, since it got such good reviews. Then I never really got into it. I think I might have liked his other album better that came out at the same time, but I never got it (it was more electronic).

Arctic Monkeys - Whatever I Say I Am, that's What I'm Not (2006). Another one that the British lists will definitely have. I liked their second album better, but this one's okay.

Amy Winehouse - Back to Black (2006). This is one of the few pop albums that music critics seemed to really like. I love it. Definitely a classic. Definitely will be placed very high on my list.

TV on the Radio - Return to Cookie Mountain (2006) and Dear Science, (2008). I have both of these, and I just don't get what the fuss is. Not my thing.

M.I.A. - Kala (2007). This is something I'd like to hear more of. I have a few tracks, and I enjoyed the hit single "Paper Planes."

LCD Soundsystem - Sound of Silver (2007). I could never get into this. What's so great about it?

Robert Plant and Alison Krauss - Raising Sand (2007). This won the Grammy Album of the Year earlier this year--along with Outkast's 2003 album, it's probably the highest regarded album to do so. I like this. It's definitely grown on me since I first got it for Christmas 2 years ago.

Vampire Weekend (2008). Gag. Not into them at all.

Fleet Foxes (2008). This I like better. It's unusual and folksy, but pretty. We'll see. It could make my list.

Beyonce and Lady GaGa Hung Up on Phones

There's not one but two songs out by Beyonce and Lady GaGa about telephones. From Beyonce (feat. Lady GaGa) there's the new remix of the I Am...Sasha Fierce track "Video Phone," which is B's new US single (it's available from iTunes as part of the I Am...Sasha Fierce Bonus Tracks EP). Then on Lady GaGa's Fame Monster's there's "Telephone" (feat. Beyonce). Which do you like better?

Video Phone:



Telephone:



What's next..."Mobile Phone?"