Where does Phoenix come in?
Fans are showing plenty of love to Michael Buble’s “To Be Loved” as the crooner’s latest album will handily top the Billboard 200 next week with sales between 150,000-170,000. That tally is close to double the amount for Fantasia’s “Side Effects Of You,” which will come in at No. 2 with up to 95,000 copies.
They are joined in the Top 10 by two other likely debuts: Phoenix’s “Bankrupt” at No. 4 (45,000-50,000) and Rob Zombie’s “Venomous Rat Regeneration Vendor,” at No. 8 (27,000-32,000).
Justin Timberlake’s “The 20/20 Experience” remains in the top 3 at No. 3, while this week’s No. 1, Fall Out Boy’s “Save Rock And Roll” falls to No. 5.
Kid Cudi’s “Indicud” likely falls 2-6, while Blake Shelton’s “Based On A True Story” will be at No. 7, according to Hits Daily Double.
Rounding out the Top 10 will be Macklemore & Ryan Lewis’s “Heist” at No 9 and Lil Wayne’s “I Am Not A Human Being II” at No. 10.
Snippet praises Rihanna's walk
As promised yesterday, The Wanted has released a snippet of the British band’s new single, “Walks Like Rihanna” and the Dr. Luke-producer tune is pretty much exactly what you would expect: a uber-pop ditty with the chorus “She can’t sing/she can’t dance/but who cares/she walks like Rihanna.”
[More after the jump...]
Outing kicks off following release of new album
Originally slated to play only four dates, Black Sabbath has expanded its 2013 North American tour to 20 shows, starting July 25 in Houston.
The tour will follow the release of Black Sabbath’s Rick Rubin-produced new album, “13,” out June 11, featuring the song “God Is Dead,” which was released last week. The album is the first to feature lead singer Ozzy Osbourne since 1978’s “Never Say Die.?
The band, which also includes Tony Iommi and Geezer Butler, kicked off its 2013 world tour April 20 in Auckland, New Zealand.
7/25 Houston, TX – Cynthia Woods Mitchell Pavilion (on sale May 4th)
7/27 Austin, TX – Frank Erwin Center (on sale May 4th)
7/29 Tampa, FL – Live Nation Amphitheatre (on sale May 11th)
7/31 W. Palm Beach, FL Cruzan Amphitheatre (on sale May 4th)
8/2 Bristow, VA – Jiffy Lube Live (on sale May 10th)
8/4 Holmdel, NJ – PNC Bank Arts Center
8/6 Detroit, MI – DTE Energy Music Theatre (on sale May 4th)
8/8 Uncasville, CT – Mohegan Sun Arena (on sale May 4th)
8/10 Philadelphia, PA – Wells Fargo Center (on sale May 4th)
8/12 Boston, MA – Comcast Center
8/14 Toronto, ON – Air Canada Centre
8/16 Tinley Park, IL – First Midwest Bank Amphitheatre (on sale May 4th)
8/18 Indianapolis, IN – Klipsch Music Center (on sale May 4th)
8/22 Vancouver, BC – Rogers Arena (on sale May 4th)
8/24 Seattle, WA – Gorge Amphitheatre
8/26 San Francisco, CA – Shoreline Amphitheatre at Mountain View (on sale May 4th)
8/28 Irvine, CA – – Verizon Wireless Amphitheatre
8/30 Phoenix, AZ – US Airways Center
9/1 Las Vegas, NV – MGM Grand Garden Arena
9/3 Los Angeles, CA – Los Angeles Sports Arena
How does she walk, exactly?
How does Rihanna walk exactly? We’ll find out more if the rumors are correct that The Wanted’s new single is called “Walks Like Rihanna" (We're also seeing it listed as "She Walks Like Rihanna").
That’s the word in the Twitterverse today, and according to gossip site sugarscape. Apparently, the British lads, who are filming their own reality show for E!, have already shot a video for the tune, whose high-brow lyrics include “She can’t sing/She can’t dance/But who cares/She walks like Rihanna,” according to Idolator. I guess that answers the question of whether she moves like Jagger.
Idolator took it one step further, deciding to poke fun at the notion by coming up with 10 other potential song titles using famous divas, including “She Twerks Like Miley,” and “She Falls Asleep Judging ‘The X Factor’ like Britney.”
Regardless, it looks like we won’t have to wait that long to find out. The Wanted is releasing the new single on Friday morning...or a new single, regardless of whether it's called "She Walks Like Rihanna," In the meantime, the members of The Wanted and One Direction can carry on their feud.
Will we get a new album or just new commercials?
Manager says Bieber is writing 'one to two songs a day' on the road
Justin Bieber has a seemingly inexhaustible supply of energy on the road. He’s writing “one to two songs a day for the entire tour,” his manager Scooter Braun tells MTV. “He actually labels them by the city he writes them in.” Are you ready to hear songs called “Berlin?” “Oslo?” “Madrid?”
Bieber hinted that something was afoot created the hashtag #musicjournals. They are apparently the repository for his current creative flow.
Braun was mum on any details about a new album, however. “We’re talking about what should come next musically,” he says. “And I think creatively, he just wants to share all his thoughts through music.” We smell a new album called “Music Journals.”
Speaking of smells, The Daily Mail is reporting that cops in Stockholm searched Bieber’s empty tour bus last night after smelling pot. The police found a small amount of narcotics and a stun gun, according to the report, but will not press charges.
Psy's 'Gentleman' storms into the top 10
P!nk’s “Just Give Me A Reason” featuring Nate Ruess remains atop the Billboard hot 100 for its second week, as it gains in radio play and streaming, but drops in downloads.
Macklemore & Ryan Lewis hold down the No. 2 and 3 slots with current single, “Can’t Hold Us” featuring Ray Dalton moving 5-2 and “Thrift Shop” featuring Wanz falling 2-3. It’s the first time a group has landed two songs in the top 3 since the Black Eyed Peas in 2009. Rihanna was the last solo act to do so in 2010, according to Billboard.
Bruno Mars’ former No. 1, “When I Was Your Man,” slips 3-4.
Bolstered by the Billboard Hot 100’s new chart methodology that includes YouTube streaming, Psy’s “Gentleman” soars 12-5, largely fueled by its more than 216 million YouTube views and 8.6 million streams in the U.S. Rihanna’s “Stay” slides 4-6.
Joining Macklemore & Ryan Lewis with two tunes in the top 10, Justin Timberlake is at No. 7 with “Mirrors” and No. 8 with “Suit & Tie,” which falls two places.
Pitbull’s “Feel This Moment” featuring Christina Aguilera moves 8-9 and Drake’s “Started From The Bottom” falls 9-19.
Next week, look for P!nk to fend off a charge from “Can’t Hold Us” and for Daft Punk’s “Get Lucky” to move into the Top 10 as it bursts onto the chart at No. 20.
Passions rise as high as the mercury in New Orleans
- Critic's Rating B+
- Readers' Rating n/a
Everything about the clip screams '80s
- Critic's Rating B-
- Readers' Rating B-
For Fitz & The Tantrums’ second album, “More Than Just A Dream,” the Los Angeles band incorporates many of the sounds of the ‘80s, especially on first single, “Out Of My League,” so it’s entirely fitting, if not particularly scintillating, that the video for “League” looks like something from that era.
[More after the jump...]
Are he and Ethan Johns the next Rick Rubin/Johnny Cash?
- Critic's Rating A
- Readers' Rating A
Tom Jones has, thankfully, never faded away since his sexy, swinging success of the ‘60s, and every decade or so, he has a resurgence.
In 1989, hipsters embraced Jones through his kicky remake of Prince’s “Kiss” with The Art of Noise. Then in 1999, he scored a dance hit with “Sexbomb.”
This latest wave, though somewhat lower profile, started in 2008 with “24 Hours,” his first album of all new material in the U.S. in 15 years. He covered such wildly divergent material as Bruce Springsteen’s “The Hitter,” and “Sugar Daddy” (written by Bono and The Edge), as well as performed a number of his own compositions.
That whet people’s appetites for 2010’s “Praise & Blame,” his first pairing with producer Ethan Johns (Kings of Leon, Ray LaMontagne). Unlike “24 Hours,” which had a little silliness along with depth, “Praise & Blame” aimed to give Jones a certain gravitas afforded folks like Johnny Cash with his Rick Rubin/American Recordings set. And it worked. The collection of gospel covers received wildly enthusiastic reviews. The song reached No. 2 on the U.K. Albums Chart.
So the pump was primed for another set between the sympatico Jones and Johns and they have delivered in a big way with “Spirit in the Room,” out today (23).
While the pair have broadened the parameters —these songs are more about the human spirit and the human condition than religious tunes, though there’s plenty of spirituality here— the guidelines remain the same: let Jones’ voice fully carry the album because, at 72, he still can. His vocals are vital and robust here. Surround him with songs that will be familiar to some and new to others, but none were such big hits (with the possible exception of Mickey Newbury’s ‘60s hit, “Just Dropped in”) that the originals will loom large.
In almost all cases, Johns has opted to give Jones’ voice as little accompaniment as possible because it’s still so rich and supple that it never needs a place to hide. The one place that differs is on The Low Anthem’s gorgeous “Charlie Darwin.” The original features layered gossamer vocals. Instead, Johns adds a choir that gives the song an even more otherworldly feel.
Jones drops all the schmaltz —to be fair, he hasn’t relied on that in a long time— and lays his sins bare, especially on a scarily menacing remake of Blind Willie Johnson’s “Soul of a Man.” He takes Tom Waits’ deliciously devilish “Bad As Me” and turns up the heat as he relishes in finding someone who shares his same demons. Just listen to his cackle.
Conversely, there are songs of great tenderness, including his cover of Bob Dylan's “When The Deal Goes Down, “ rendered as an accordion-and optigan-bolstered waltz so smooth and genteel you could practically ice skate to it.
Not only does Johns have a sure hand as producer, his guitar work here—on slide and electric— adds a Spaghetti Western feel to many of the tracks, giving them a cinematic feel, especially on Joe Henry’s swampy and haunting “All Blues Hail Mary.”
Some artists just get better and better with age and just as Jones has let his naturally gray hair shine through over the last few years instead of dying it black, there seems to be the same kind of authenticity in his songs. He pours every one of his 72 years’ worth of experience and pain and hurt and joy into these songs.