<p>Meg White of the White Stripes</p>

Meg White of the White Stripes

Credit: Third Man

Listen: John C. Reilly w/ Jack White, plus rare White Stripes make for a Third Man haul

New vinyl releases from White's imprint, including Edgar Oliver and merch galore

I gotta hand it to Jack White and his label Third Man's handlers. They make every vinyl release seem like an event. In a festively worded press release, Third Man announced its newest round of goodies, in time for Christmas, including rarities and singles from now-defunct White Stripes, from actor and musician John C. Reilly and from Edgar Oliver.

Check out clips of some of these below.

First, with Jack and Meg White's old band there are four records to be had, starting Dec. 6:

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<p>Mary J. Blige's &quot;My Life II&quot;</p>

Mary J. Blige's "My Life II"

Listen: Mary J. Bige and Beyonce tell you how to 'Love a Woman'

Are these useful instructions?

So you think you know how to love a woman? Mary J. Blige and Beyonce think you might be doing it wrong.

The two seasoned singers paired up for "Love a Woman," for Blige's forthcoming "My Life II... The Journey Continues (Act 1)," a title that's as much a mouthful as this track is. Blige and Bey try to delineate between just having sex with your girl and making love, that women want more than material things. Also: girls like to talk it out. Duh. It's actually a pretty standard list of grievances and explanations, but the real guts of the thing is when the two to light up, to bring out the best vocal performances in each other, shooting you straight back to the 1990s.

And you get it, with the extended bridge section, though the sparkler synth at the end of the runs really interfere with the combined fireworks of Blige's dark vowels and Beyonce's strong vibrato.

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<p>Florence Welch in &quot;No Light, No Light&quot;</p>

Florence Welch in "No Light, No Light"

Watch: Florence + The Machine 'pin' Christianity against Voodoo in 'Light' video

HitFix
B-
Readers
n/a
This heavy and melodramtic clip is anything but 'Light'

Florence + The Machine tried to make more than just a beautiful -- though, somewhat disturbing -- music video for "No Light No Light." There seems to be a fable here, or a classic battle between good and evil.

The melodramatic clip literally pins Florence Welch against a contortionist/Voodoo priest and his minions (?), as she's tortured by a Voodoo doll, falls from a skyscraper, runs from danger, writhes in pain. She ultimately, baptismally falls through a stained-glass window through the top of a church (?) and into the arms of an all-boys choir. The priest falls to the ground, dying it seems, and Florence is comforted safely by the boys and by the cutey pie she's been singing about all along.

It's actually kind of startling when you consider the symbolism, pairing classic Christian imagery against an exotic -- and, yes, dark-skinned -- "other." I'm not sure if Welch intended commentary on spiritual matters, or was just playing with themes, but she returns, once again, to the symbol of immersion (water and otherwise) with the clip.

At the end of the day, it's a bit too much to watch. I like the rality of her running scared, and the dancers who cause her pain are impossible not to watch. It's just so... so.

"No Light No Light" is off of Florence + the Machine's latest "Ceremonials," already out this fall.

What do you think?

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<p>&quot;Hey girl, want to see my tattoos?&quot;</p>

"Hey girl, want to see my tattoos?"

Watch: Wale drops videos with Rick Ross, for the 'Ambitious Girl, and 'Lotus Flower'

Is the rapper's girl paying her way through school by stripping?

I like Wale's new record overall because of it's variety. It's clear that Wale like a lot of variety in his ladies, too, judging from two new videos, plus another street clip with Rick Ross, all released this week.

"Ambition" was released early this month, but three vids dropped just this week, including today's "Ambitious Girl." It's a love poem to a girl he hasn't met yet, but she proves self-worth through the woman she aspires to be. She also just happens to be a stripper, y'know, to get herself through school. F'real. The slow-mo clip is otherwise well-shot, only a little gratuitous and well-meaning on the whole.

"Lotus Flower," on the other hand, is a LOT gratuitious, but not without a good laugh by the end. Miguel lays down the bedroom-jamming refrain. I suddenly feel the need to wear a leotard?

And then there's "Tats on My Arm," with Bawse, both rhymers woofing all over this simple record for the club (and, of course, your local tattoo parlor).

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<p>Feist in &quot;How Come You Never Go There&quot;</p>

Feist in "How Come You Never Go There"

Watch: Feist finally releases a new music video, for 'How Come...'

HitFix
B-
Readers
n/a
Cut your hair, hippy

Feist became well-known for her music videos from "The Reminder," particularly for the one for "1234." For "Metals," however, it's been quiet on the A/V end. Until now.

The Canadian singer-songwriter stars solo in this black-and-white Middle Earthish shoot, for "How Come You Never Go There." She sports a very long wig, which is being tousled by the wind. Perhaps she borrowed a machine from Rebecca Black?

Leslie Feist told me in an interview recently that she hasn't been feeling music videos lately, in part because she lost collaborator Patrick Daughters (who stepped away from video-directing to focus on other art). There hasn't been a name associated with this clip yet, but perhaps it's the start of another beautiful friendship.

 Feist is currently on tour in North America in support of "Metals." She has help from troupe Mountain Man on backing vocals. It's really good, guys. "Metals" was released this fall.

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<p>David Byrne</p>

David Byrne

Listen: David Byrne, Will Oldham collab for Sean Penn's 'This Must Be the Place'

Bonnie 'Prince' Billy and Talking Heads legend combine with Michael Brunnock

Sean Penn is channeling The Cure's Robert Smith for his look for forthcoming new film "This Must Be the Place," the but the title itself was inspired by the Talking Heads' song of the same name. So it only makes sense that David Byrne was pulled into the project, for the soundtrack, forming a unique collaboration with Will Oldham.

The two went further and hooked up with singer Michael Brunnock for a couple songs on the 17-track set, and the trio perform those songs under the name The Pieces of Shit, probably because they are mature grown men.

Oldham, aka Bonnie "Prince" Billy, loaned his gorgeous "Lay & Love" to the soundtrack, on which Brunnock sings lead; as a matter of fact, Brunnock leads most of the five original tunes, with the music by Byrne and lyrics by Oldham. Got it?

A live version of Byrne's performance of the title track and the song played in the trailer, “Every Single Moment In My Life Is a Weary Wait," both make the cut. Hair paste not included.

Check, too, Jonsi & Alex's previously released "Happiness," Gavin Friday's lengthy "Lord, I'm Coming" from his new album this year and Iggy Pop's classic "The Passenger."

As HitFix's Gregory Ellwood points out, "This Must Be The Place" just got major distribution and will be out in theaters some time in 2012. In the film, Penn plays a retired rock star who hunts down a Nazi. Yup!

Here are the five new tunes plus "Lay & Love" from The Pieces of Shit:

Here is the tracklist for "This Must Be the Place":

“Lord I’m Coming” - Gavin Friday
“Lay & Love” - The Pieces Of Shit *
“Open Up” - The Pieces Of Shit
“Chairmaine” - Mantovani & His Orchestra
“Spiegel Im Spiegel” - Daniel Hope & Simon Mulligan
“This Must Be the Place (Naïve Melody)” [Edit] - Trevor Green
“This Must Be the Place (Naïve Melody)” [Live] - David Byrne
“Gardermoen” - Julia Kent
“Happiness” - Jonsi & Alex
“Eliza” - The Pieces Of Shit
“The Passenger” - Iggy Pop (4:41)
“You Can Like It” - The Pieces Of Shit
“Achille’s Heel: II. Second Bounce” - Brooklyn Rider
“If It Falls It Falls” - The Pieces Of Shit
“This Must Be the Place (Naïve Melody)” - Gloria
“Every Single Moment In My Life Is a Weary Wait” - Nino Bruno E Le 8 Tracce
“The Sword Is Yours” - The Pieces Of Shit

* Oldham, Byrne, and Brunnock

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<p>Selena Gomez</p>

Selena Gomez

Watch Selena Gomez be cute for several minutes in 'Hit the Lights'

Former Disney star and Bieber-lover wears some... outfits in optimistic dance track

I am not here to dump on every former Disney and/or tween-fanbased star that hits my desk. I actually want to pull for Selena Gomez, to mark a positive path for girls who want to be more than just Justin Bieber's girlfriend. I also actually, genuinely like "Who Says" and I think the styling for her "When the Sun Goes Down" was pretty stunning.

That being said, Selena Gomez' music video for "Hit the Lights" is something like a three-and-a-half-minute JCPenney commercial. Preceded by a Selena Gomez Kmart commercial. Wasn't there, like, three teases and a behind-the-scenes of this? For what?

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<p>Drake's &quot;Take Care&quot;</p>

Drake's "Take Care"

Review: Drake's 'Take Care' better now than 'Later'

HitFix
B
Readers
A-
Can Rihanna, Nicki Minaj, Lil Wayne, Stevie Wonder, more help this sophomore set?

In trying to parse just what bothers me about Drake, I can’t help but compare him to Kanye West, particularly the success of last year’s “My Beautiful Dark Twisted Fantasy.” While hip-hop still rages at hip-pop, here’s a whole load of so-called emo rap, both with the self-inflicted trappings of conflicted princes/kings; both with so much about feelings; both with artists expressing doubt and cosmic reflections through some singing, a lot of rhymes and a bevy of guest spots.

As I’ve written before, there’s something about October’s Very Own that feels spectacularly unearned. I think the heaviest weight of last year’s “Thank Me Later” was shouldered by guest talent and the endless hype from the Young Money movers. Drake’s abilities as a singer have grown somewhat on this new album, and that goes further to say that I think Drizzy is working harder than ever. But his rhymes, and his editing process, still have a ways to go, before his invitees aren’t always threatening to upstage him.
 
Take for instance “Make Me Proud” with Nicki Minaj. It takes song No. 10 into the 18-song monster (“Monster”?) for Drake to even threaten having some fun; this, after he waffles between the hair-smoothing bravado of “Over My Dead Body” and half-lamenting his “overconfidence” and rappers copping his “soap opera” style in “Headlines.” He swims in big, beautiful bloat of “Crew Love” featuring The Weeknd, “Take Care” with Rihanna and early arrival/fan favorite “Marvin’s Room” with Kendrick Lamar: these three make up a triple-punch to the tear ducts, but you can’t help to notice some vocal inferiority compared to the Bajan pop star and the rising co-Canadian Weeknd.
 
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<p>Lady Gaga on &quot;X Factor&quot; U.K.</p>

Lady Gaga on "X Factor" U.K.

Lady Gaga's split with creative director Laurieann Gibson: make-or-break?

Artistic vision or diva behavior? Plus, 'Marry the Night' on U.K.'s 'X Factor'

Lady Gaga may have lost a vital limb, as it's been confirmed she's split with longtime creative director and choreographer Laurieann Gibson.

All-caps-inclined site MediaTakeOut reported the news last week that Mother Monster and Gibson had a "bitter fight," and that sources near the pair had insinuated the latter developed a big head, ever since she launched her E! reality show series "The Dance Scene" and got a second pump with BET's "Born to Dance." The Hollywood Reporter firmed with reps today that the two were dunzo.

Gibson had worked on routines for artists like JoJo and Danity Kane before she was linked with Gaga; she went on to choreograph Gaga's videos for "The Fame" and "The Fame Monster" (like "Poker Face" and "Bad Romance") as well as some like Katy Perry's "California Gurls" and Keri Hilson's "The Way You Love Me." As for "Born This Way," Gibson choreographed, and tried her hand at directing by co-helming "Judas" with Gaga and heading up "You and I."

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<p>Rihanna</p>

Rihanna

Listen: Rihanna's Jay-Z collab 'Talk That Talk' is a lot of hot air

Also: Does 'Drunk on Love' intoxicate you?

Much of Rihanna's "Talk That Talk" has leaked now, but among the tracks is one that's been much sought-after: her reunion with Jay-Z.

Hov appears on the title track to the set, and frankly, it's an elementary and mildly stupid contribution from the veteran rapper. While Ri-Ri and Jay-Z's combos on "Umbrella" and "Run This Town" had an it's-only-natural vibe, this sounds like a cut and paste of dull Hova bluster, the sole verse making a play on his 'Nets arena and "dome," the chest-puffery of a "singer slash actress" in his bedroom (and not, well, his wife) and eye-roll of a rhyme involving the bladder and peeing. Good one.

With that, I'm a mite disappointed that I think it's destined to be a hit, because that sloppy refrain still sticks to my head.

A bit better is "Drunk on Love," Rihanna's aforementioned utilization of the xx's "Intro" for it's chilled-out beat. The Bajan singer goes a little too new-agey -- stiffly formal, in a way. But the production pairs nicely with the simple lyricism.

"Talk That Talk" is out on Nov. 22 which (believe it or not) is next week, the Tuesday before Thanksgiving, holy cow. Check out "You Da One," the new single that debuted last week. The first single is hit "We Found Love," which she will perform on "X Factor" this week on Thursday (Nov. 17).

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