MP3 UPDATER

Emimem's 'Recovery' Remains at No. 1 on the Billboard 200

2010-07-08T09:51:00.000-07:00

Drake's "Thank Me Later" remains in the runner-up slot on the Billboard 200 for a second week, selling 105,000 (down 33%). The "Twilight Saga: Eclipse" soundtrack takes an expected jump up the list, vaulting from No. 10 to No. 3 with 65,000 (up 69%) following the film's U.S. release in theaters last Thursday (July 1).

The "Now 34" compilation holds at No. 5 (45,000; down 18%) and Justin Bieber's "My World 2.0" climbs two spots to No. 6 (41,000; down 4%). Jack Johnson's "To The Sea" drifts down one rung to No. 8 (35,000; down 21%), Miley Cyrus' "Can't Be Tamed" trips down six to No. 9 (32,000; down 68%) and Lady Antebellum's "Need You Now" is up two slots to No. 10 (30,000; down 7%).

With the top 10 a bit quiet, we turn our attention to the spaces between Nos. 11 and 20 for the chart's next two highest debuts. Scissor Sisters sharpen up at a career-high No. 18 with the debut of its third album "Night Work" (18,000). However, its sales start is slower than that of its last set, "Ta-Dah!," which entered at No. 19 with 42,000 back in 2006. Coming in two steps behind the Sisters is the score to "The Twilight Saga: Eclipse," bowing at No. 20 with 17,000.

Overall album sales in this past chart week (ending July 4) totaled 5.54 million units, down 9% compared to the sum last week (6.07 million) and down 20% compared to the comparable sales week of 2009 (6.96 million). Year to date album sales stand at 154.0 million, down 11% compared to the same total at this point last year (172.9 million).

Digital track sales this past week totaled 21.5 million downloads, down less than 1% compared to last week (21.7 million) and down 7% compared to the comparable week of 2009 (23.2 million). Year to date track sales are at 597.4 million, down less than 1% compared to the same total at this point last year (598.9 million).

Justin Bieber's Manager Arrested, Snoop Dogg's 'More Malice'

2010-03-28T20:47:00.000-07:00

In today's Daily Noise, brought to you by Fuse and Billboard.com, Justin Bieber's manager Scott "Scooter" Braun was arrested for failing to Twitter effectively when fans got out of hand at a Long Island Bieber appearance. The State of California has recommended revoking the medical license of Michael Jackson's physician Conrad Murray, and in New Noise, Snoop Dogg talks about playing a superhero in the deluxe CD/DVD follow-up to "Malice in Wonderland".

"American Idiot" Headed for Hollywood? Pete Wentz Aids Clean Water Project

2010-03-28T20:40:00.000-07:00

In today's Daily Noise, brought to you by Fuse and Billboard.com, Tom Hanks has plans to turn Green Day's "American Idiot," which heads to Broadway in April, into a feature film. Former Death Row head Suge Knight is wanted by the police in California for assaulting rapper Yukmouth in a Ralph's supermarket parking lot, and in Making Noise, Fall Out Boy's Pete Wentz talks about becoming an ambassador for UNICEF's Tap Project to bring clean water to children worldwide.

Ted Leo & The Pharmacists, "The Brutalist Bricks"

2010-03-26T21:32:00.000-07:00

English punk band Crass may have declared in 1979 that "Punk Is Dead," but Ted Leo & the Pharmacists help refute that notion on their sixth studio set, "The Brutalist Bricks."

Although it may not be a punk album through and through, songs like "The Stick" and "Where Was My Brain?" embody the genre's spirit with pounding drums, frenzied guitars and rushed deliveries (the former cut clocks in at less than two minutes), while "Mourning in America" mixes the genre's chaotic arrangements and political bite with Leo's usual power-pop flare.

The frontman's pop tendencies also shine through on "Ativan Eyes," where he serenades a drugged lover with catchy hooks and references punk predecessor Flux of Pink Indians. Tracks like this should please fans of the band's stock-in-trade, while the set will pleasantly surprise open-eared listeners.-Lindsey Fortier

Disco Biscuits, "Planet Anthem"

2010-03-26T21:18:00.000-07:00

Philadelphia electro jam band Disco Biscuits has been rolling out its fifth studio album for months, starting last fall with the EPs "On Time" and "Widgets," for the professed reason, among others, of taking a fan-friendly approach to unveiling its ever-evolving sound.

And "Planet Anthem" certainly doesn't fit any predictable jam mold--the album's tight, diverse offerings stand to attract audiences outside of the group's faithful live scene.

The single "On Time" is a technology-themed, high-energy dancefloor track that has been remixed by and serviced to club DJs, while "You and I" is a crunchy, disco-driven rocker that could hold its own against any licensable indie single on the air. The song "Widgets" represents the more classic, guitar-driven jam contingent; "Rain Song" brings in female vocals and avant-garde synth effects; and "Fish Out of Water" shows the Biscuits' upbeat, lovesick power-pop chops.--Evie Nagy

Marvin Sapp, "Here I Am"

2010-03-26T21:06:00.000-07:00

The sonorous voice behind the long-running gospel No. 1 and R&B crossover hit "Never Would Have Made It" is back with his eighth album, "Here I Am." Recorded live at the same Michigan church where Marvin Sapp laid down 2007 album "Thirsty," the singing preacher once again delivers powerful and emotional messages focusing on inspiration, praise and spiritual guidance. The joyous fervor of album opener "I Came" sets the pace as Sapp and accompanying singers feed off the energy of the enthusiastic audience.

After shifting into revivalist mode on the aisle-dancing praise jam "Fresh Wind," Sapp taps back into the uplifting lessons of "Never" on the album's encouraging lead single, "Best in Me," as well as its deeply moving title track.

In a surprise move, a fearless Sapp upends the proceedings with the rock-veined anthem "Praise You Forever." It's that ability to skillfully stretch convention without compromising his gospel roots that makes Sapp such a vital force.--Gail Mitchell

Alan Jackson, "Freight Train"

2010-03-26T21:02:00.000-07:00

Although the style vs. substance debate has been raging for more than 50 years along Nashville's Music Row, there's no mystery about which side Alan Jackson falls on.

Just as the fruit-flavored martini is for drinkers who don't much care for the hard bite of gin, the vast majority of Nashville's most famous export is intended for folks who don't much care for country music--at least not Jackson's brand of traditionalism.

His 14th studio album, "Freight Train," opens with the blue-collar tribute "Hard Hat and a Hammer," which could be a giant radio hit, given the current economic woes in the heartland. He duets with Lee Ann Womack on Vern Gosdin's 1977 weeper, "Til the End," and recruits bluegrass queen Rhonda Vincent for harmony on three tracks, including the haunting, lovely "Every Now and Then." And Jackson combines genuine emotion with a clever twist on "Tail Lights Blue."--Wade Jessen

Black Rebel Motorcycle Club, "Beat the Devil's Tattoo"

2010-03-26T20:38:00.000-07:00

Rock trio Black Rebel Motorcycle Club's newest album, "Beat the Devil's Tattoo," draws from the better and better-left-alone components of the group's previous efforts. The result is a collection rich in fan favorites, but lacking in momentum.

The band is at its best on tracks like "Conscience Killer" and "War Machine," which are born out of the same distorted, Jesus and Mary Chain-inspired garage rock of the group's 2001 debut, "B.R.M.C." Other songs on the new set--"Sweet Feeling" and "The Toll"--recall the mellower sounds and Americana influence found on 2005's "Howl," but they're less engaging than their predecessors. Overall, "Beat the Devil's Tattoo" is in the same vein--a substantial effort, but one that could benefit from a step outside the box.--Lindsey Fortier

The Besnard Lakes, "The Besnard Lakes Are the Roaring Night"

2010-03-26T20:14:00.000-07:00

The Besnard Lakes amp up the energy with a more guitar-driven approach on third album "The Besnard Lakes Are the Roaring Night." But this added vigor doesn't distract from the rock band's more familiar fare of gentle vocal deliveries and downplayed drums.

"Like the Ocean, Like the Innocent Pt. 2: The Innocent" represents this balance well--distorted power chords and grungy levels of feedback don't overpower the soft vocals.

The shoegaze-sounding guitars that make up the foundation of "Glass Printer" build around a powerful walking bassline, while "Light Up the Night" includes a wailing guitar solo that would make Queen guitarist Brian May jealous. But too much of a good thing can be tedious--lead single "Albatross" could benefit from less reverb and cloudy distortion. However, turning up the amps has definitely sent the Besnard Lakes into a more user-friendly direction.--Erin Clendaniel

DJ Khaled, "Victory"

2010-03-26T20:09:00.000-07:00

Last year, DJ Khaled was appointed the head of Def Jam South. As a result, "Victory," his fourth album in five years, finds the artist pulling the strings on an understandably triumphant affair. Khaled's approach, however, remains the same, with a constellation of hip-hop stars (Rick Ross, Young Jeezy, T-Pain) imbuing straightforward anthems with their branded swagger.

But Ludacris' comedic candor and Snoop Dogg's cool collectedness add differing dimensions to "All I Do Is Win." On the title track, Nas' eternal conflict between ghetto poetry and brag-rap surfaces ("We be on that real shit/Luxury four-wheel shit"), while Usher, Lil Wayne and Drake seem to get lost in the mix on the uninspired, synth-driven "Fed Up," which features production by the Runners. Similarly, Schife & OhZee, another pair with numerous contributions to the album, fail to distinguish themselves from their contemporaries.--Devin Chanda

Kidz in the Hall, "Land of Make Believe"

2010-03-26T20:06:00.000-07:00

MC Naledge and producer Double-O, who comprise alternative hip-hop duo Kidz in the Hall, don't fit the rap stereotype--the pair graduated from the University of Pennsylvania and the latter was on the Belize track team during the 2004 summer Olympics.

However, the title of the group's third album, "Land of Make Believe," refers to the larger-than-life accommodations of rappers and celebrities. Naledge's rhymes are a complex web of pop culture references and braggadocio (on "Flickin'," he raps, "Skin like cocoa/Bounce like Pogo/Toss like Romo/Fly kids call my closet dojo/Rich Boy but don't know Polow").

Double-O's pop-soul production serves as a bright, sugary backdrop for Naledge's brag-rap. Although it would probably complement their "smart is the new gangster" shtick to condemn the superficial rapper lifestyle, the closest the act comes is "Simple Life," on which Naledge considers a life free of luxuries and indulgences. Album closer "Rise & Shine," on the other hand, is a triumphant exoneration of the duo's career choice.--Evan J. Nabavian

Ludacris, "Battle of the Sexes"

2010-03-26T20:02:00.000-07:00

Originally conceived as a sort of Marvin-and-Tammi-style collaboration between Ludacris and Shawnna, "Battles of the Sexes" shifted game plan after Shawnna decamped from Luda's Disturbing Tha Peace crew in 2009. But the rejiggered album pairs the affable Atlanta rapper with a handful of feisty female MCs, including Lil' Kim and Nicki Minaj.

The set also includes appearances by Gucci Mane ("Party No Mo'"), Lil Scrappy ("Everybody Drunk") and Flo Rida ("I Know You Got a Man")--none of whom makes much of an effort to conceal his preference for bodies over minds.

"Hey Ho" gestures towards an examination of gender-based double standards ("If men sleep around we some players," Ludacris observes, "But for women they be saying, 'Hey, ho'"), while the R&B-leaning "Sex Room" finds the rapper generously offering to "power down your inhibitions and power up your inner freak." Yet with its rowdy gang vocals and efficient club beats, "Battle of the Sexes" is ultimately more concerned with partying than with politics. Surprised?--Mikael Wood

The Knife/Mt. Sims/Planningtorock, "Tomorrow, in a Year"

2010-03-26T19:56:00.000-07:00

Given the increasing sophistication of the Knife's recent live shows--not to mention the outright performance-art weirdness of singer Karin Dreijer Andersson's other musical project, Fever Ray--it makes sense that this Swedish electro-pop duo would turn to opera for its follow-up to its 2006 breakout album, "Silent Shout.

" But that's about all that makes sense on the Knife's latest release, "Tomorrow, in a Year," which is said to be based on the life and work of Charles Darwin. Commissioned by Danish theater group Hotel Pro Forma, the album is a sprawling, experimental work defined more by ambient synth hum and field-recording rustle than by melodic hooks or danceable grooves.

(The Knife wrote and recorded the 90-minute piece in collaboration with underground electronic acts Mt. Sims and Planningtorock.) Hooks and grooves do crop up occasionally, as heard on "Seeds," a supremely lonely-sounding avant-house jam, and the 11-minute "Colouring of Pigeons," where the musicians marry moaning strings to ominous tribal drums.--Mikael Wood

Jorge Drexler, "Amar la Trama"

2010-03-26T19:52:00.000-07:00

On Jorge Drexler's latest album, "Amar la Trama," the Uruguayan singer/songwriter--perhaps best known for his Academy Award-winning song "Al Otro Lado del Rido" from the 2004 film "The Motorcycle Diaries"--delivers another set that encourages repeated listening. Poetic lyrics address some of his familiar themes: fated encounters, global wanderings, the South American experience and the universal wonder of everyday moments.

Drexler and a diverse band of musicians recorded "Amar la Trama" in front of an audience during a four-day period in Madrid. Highlights include "Toque de Queda," on which Drexler returns to his Southern roots musically and thematically (the title means "curfew") in a duet with Spanish actress Leonor Watling, who's also the mother of his son.

The jazzy pop fanfare on opener "Tres Mil Millones de Latidos" can seem fussy at times, distracting from Drexler's voice, which is more expressive when set off by quieter arrangements. That's apparent on tracks like "Noctiluca," which is dedicated to his son and features electric guitar, drums, and some evocative tinkling from a child's music box.--Judy Cantor-Navas

Gary Allan, "Get Off on the Pain"

2010-03-26T19:48:00.000-07:00

Gary Allan's albums are as comfortable as the day is long, and his fans usually know what to expect. That could be a problem in the hands of a lesser talent, but it works in Allan's favor. The artist's familiar smoky vocals and the consistently rich production draw the listener in on his latest release, "Get Off on the Pain.

" The heart-tugging single "Today" displays a world-weariness that thrice-married Allan has earned. The singer didn't write the title cut, but makes it more than believable, likely drawing from the pain of his third wife's suicide six years ago.

Allan pours his emotive voice into the song "No Regrets," which he wrote about his deceased wife ("From the day we met to the night she left/I loved her, no regrets"). Other highlights include the I-know-we're-not-together-anymore-but-let's-use-each-other-anyway track "Kiss Me When I'm Down" and the hopeful "When You Give Yourself Away."

Broken Bells, "Broken Bells"

2010-03-26T19:39:00.000-07:00

Since becoming a hipster-household name six years ago with the release of "The Grey Album," Danger Mouse has assembled an impressive roster of collaborators from all over the art-pop map, including Beck, Damon Albarn and David Lynch.

The producer's latest musical partner, Shins frontman James Mercer, hails from a cozier realm. But Broken Bells-the name of the duo's collaboration and self-titled debut-is still long on the tasteful psychedelic textures that Danger Mouse has brought to hits like Gnarls Barkley's "Crazy" and the Gorillaz' "Feel Good Inc.

" The new album's opener, "The High Road," revs to life with the sputter of what sounds like an arsenal of vintage keyboards, while shivery film-score strings coat Mercer's sad-guy croon on "Citizen." The singer matches Danger Mouse's inventive sonics with his usual complement of twisty-turny melodies and dense wordplay, though compared with the Shins' relatively high-octane 2007 release, "Wincing the Night Away," such jangly space-folk tunes as "Vaporize" and "Sailing to Nowhere" can seem a little snoozy.

Goldfrapp, "Head First"

2010-03-26T19:28:00.000-07:00

There's no doubt which decade Goldfrapp would like to relive. From the dark disco of its 2006 album, "Supernature," to the sleepier, psychedelic strums of 2008's "Seventh Tree," fashionista frontwoman Alison Goldfrapp and producer Will Gregory are firmly ensconced in the turbulent '70s.

On Goldfrapp's fourth full-length, "Head First," the act returns to poppier form while trying to channel ABBA. The song "Alive" sounds like a more muted "Waterloo," with a guitar punch on the verse and Goldfrapp harmonizing with herself, and the title track uses a grand piano vamp and a side-to-side melodic shuffle. Overall, however, the set is uneven.

Basic songs like "Rocket" and "Believer" sound as if Goldfrapp is consciously trying to replicate the synch success of "Supernature" (from which every cut was licensed), while the more nuanced "Dreaming" and "Hunt" pile on the breathy, electronic drama of its most distinctive work. Lovely moments abound, but the overall effect is less intoxicating

Vinyl Soul, "Dream"

2010-03-26T19:20:00.000-07:00

Los Angeles-based Vinyl Soul won a nationally televised battle of the bands on Spanish-language TV last summer because its acoustic Latin/ soul grooves were miles above the derivative sounds of its competitors.

With strong melodies, lush bilingual vocals and finely produced repertoire that ranges from mellow (the bossa nova-influenced "Como Olvidar") to uptempo tropical complete with horns ("Mamacita"), the band's newest album, "Dream," bears its onstage confidence and potential.

Other highlights include the strong pop hook on the track "Wishes" and the classy old-school swing of "Cabaret." Vinyl Soul's musical and vocal instincts could stand to benefit from more distinctive lyrics, particularly on the ballads, but overall it's an impressive effort for an emerging act.

Galactic, "Ya-Ka-May"

2010-03-26T19:09:00.000-07:00

For the second time in its eight-album career, New Orleans quintet Galactic recruits a host of Big Easy guest vocalists to shake up its standard instrumental-only mix of funk riffs and hip-hop beats on the group's latest release, "Ya-Ka-May." Galactic benefits from the inclusion of its hometown singers, who provide a boost of energy and musical styles.

The song "Katey vs. Nobby" features sharp, clever trade-off verses from New Orleans rappers Katey Red and Sissy Nobby, who deliver the lines in the high-energy "bounce" hip-hop style that's exclusive to the city.

Meanwhile, fat basslines and soulful vocals from John Boutte dominate the track "Dark Water," while the aptly titled "Liquor Pang" features singer Josh Cohen lamenting over a jazzy brass accompaniment, "I'm making bad decisions with the money I earn." In New Orleans vernacular, "Ya-Ka-May" is a stew comprising various meats, green onions, noodles and a hard-boiled egg. This album may well be the musical counterpart of the dish for which it's named.

Shearwater, "The Golden Archipelago"

2010-03-26T19:03:00.000-07:00

Austin-based folk rock outfit Shearwater weaves lyrical themes of island life and exploration into its usual harmonic fare on "The Golden Archipelago," its final installment in a trilogy of environmental-based concept albums. Indeed, Shearwater frontman Jonathan Meiburg's lofty vocals and soaring instrumentation inspire images of faraway shores and lagoons.

Over gentle piano and xylophone on the song "Hidden Lake," Meiburg mysteriously croons about the "hidden life of the empire that sleeps in the frozen lakes," while the tranquil strings that rapidly transform into a manic jam session on "God Made Me" complement lyrics about a fast-approaching storm.

Similarly, the sudden ascension from a piano-backed ballad to a larger-than-life clamor of strings on the track "Uniforms" demonstrates Shearwater's ability to transform the energy of a song on a dime. With its serene landscapes and beautiful imagery, listening to "The Golden Archipelago" makes waiting for the tropical temperatures of summer all the more difficult.

Rogue Wave, "Permalight"

2010-03-26T18:56:00.000-07:00

On its fourth studio album, "Permalight," Northern California rock act Rogue Wave expands on its usual guitar-drive approach by adding new electronic influences.

But the group's foray into electronica is hit and miss-the song "Good Morning" successfully utilizes dancehall synth to highlight Rogue Wave frontman Zach Rogue's cryptic lyrics ("The future isn't what it used to be/I'm not surprised"), but the Auto-Tuned vocals and cluttered background instrumentation on the title track represents a low point of the album.

Luckily, the second half of "Permalight" moves away from electronics and finds Rogue Wave returning to its guitar-based, head-nodding roots. With a campfire guitar riff and minimal percussive backbeats, the track "I'll Never Leave You" closely resembles tunes found on the band's 2005 release, "Descended Like Vultures.

" But the most intimate cut on "Permalight" is the 65-second "All That Remains," which closes out the set with lightly fading acoustic guitar chords and peaceful vocal harmonies.

Free Energy, "Stuck on Nothing"

2010-03-26T18:41:00.000-07:00

With its first full-length, "Stuck on Nothing," Philadelphia-based old-school rock act Free Energy already represents a change of pace. From the opening guitar riff and cowbell clang on the first track, "Free Energy," it's clear that the set is a new direction for the electronica-leaning DFA label and producer James Murphy of LCD Soundsystem.

The band's no-frills rock sound may not match up with its pedigree, but "Stuck on Nothing" is front-to-back dizzying fun nonetheless.

Sun-kissed jam "All I Know" chugs along before reaching a singalong chorus, while "Dream City" finds singer Paul Spranger snarling over a kick-drum beat and hand claps. The act keeps its songwriting simple, but every song pops out of the speakers thanks to Murphy's production and some technically crisp guitar work. The band is still finding its footing lyrically, and some tracks build to a climax that never arrives. "Stuck on Nothing" works well as a no-nonsense party album, but Free Energy shows tremendous promise on this debut.

Raheem DeVaughn, "The Love & War Masterpeace"

2010-03-26T18:36:00.000-07:00

While most contemporary artists are content to stay in the same lane, Raheem DeVaughn veers across the double lines on this ambitious outing without ever losing control. One-half social commentary and one-half love songs, "The Love & War Masterpeace" channels the creative spirit of Marvin Gaye as it conveys the search for inner peace amid the everyday challenges of recession, war, racism and relationships.

Aided by Ludacris, DeVaughn paints a powerful picture about life in the hood on the moving "Bulletproof." The singer next enlists such R&B standouts as Jill Scott and Anthony Hamilton for the compelling "Nobody Wins a War." DeVaughn comes just as hard on the love side with "The Greatness" (featuring Wale) and "Garden of Love.

" Tying the package together: interludes by scholarly griot Dr. Cornel West. Drawing from a palette rich in R&B, hip-hop and jazz, DeVaughn has crafted a powerful, thought-provoking album.

Gorillaz, "Plastic Beach"

2010-03-26T18:29:00.000-07:00

Gorillaz may have originated as a way for Damon Albarn to sidestep the limelight, but on the cartoon group's third album, "Plastic Beach," he very much takes center stage. Self-producing for the first time, Albarn also sings more than on previous Gorillaz releases, despite an embarrassment of riches on the collaboration front.

And, indeed, while contributions from the likes of Snoop Dogg and Lou Reed initially catch the eye, it's Albarn's musical vision that holds the project together. While Snoop's laconic swagger through the G-funk of "Welcome to the World of the Plastic Beach" is a world away from the Goldfrapp-esque stomp of Mark E. Smith's "Glitter Freeze" or the Arabian-tinged "White Flag" (featuring U.K. grime stars Kano and Bashy), what emerges is a truly coherent, if highly eclectic, album.

More than happy to engage the pop mainstream (once heard, the irresistible, day-glo chorus of "Superfast Jellyfish" is never forgotten), yet experimental enough to satisfy the hipsters, these cartoon characters just made the first 3-D album of the new decade.

Blake Shelton, "Hillbilly Bone"

2010-03-26T18:26:00.001-07:00

Blake Shelton's new six-song album, "Hillbilly Bone," may be a marketing and sales experiment by Warner Bros. Records, but fans of the Oklahoman artist won't be disappointed.

The title-track lead single (featuring Trace Adkins) is a rollicking, redneck celebration of all things stereotypically Southern, including F-150s, blue jeans and fiddles.

And although "Kiss My Country Ass," which conjures Hank Williams Jr. and honky-tonks, won't go down as the most original song in history, it's still a fun listen.

On "Almost Alright," Shelton channels the carefree island feel of Jimmy Buffett while singing about getting over a lover with the help of a couple of beers. The album's highlight is "Delilah," inspired by his girlfriend Miranda Lambert's dog of the same name.-Ken Tucker

Little Boots, "Hands"

2010-03-26T18:21:00.000-07:00

Nearly nine months following the U.K. release of singer/songwriter Little Boots' debut album, "Hands," stateside listeners will finally have the opportunity to acquaint themselves with a shining British talent who puts a futuristic spin on pop music.

Little Boots surrounds herself with complex electronic tracks that collapse into each other like dominoes, with such producers as RedOne and Greg Kurstin contributing energetic beats. "New in Town" and "Earthquake" provide a vivacious one-two opening punch, while "Remedy" is a gorgeous synthesis of Girls Aloud's chic pop and Kylie Minogue's light-as-air atmosphere.

For an album with crowded electro-pop instrumentation, the music isn't overbearing, and Little Boots' cheeky lyrics never lose any of their dry attitude. Despite the later U.S. release date, none of the glittery tracks on "Hands" have lost their luster; if anything, Little Boots may find more stateside success in a post-Lady Gaga pop landscape.-Jason Lipshutz

Peter Gabriel, "Scratch My Back"

2010-03-26T18:18:00.000-07:00

Peter Gabriel apparently, doesn't want to be your "Sledgehammer" anymore. The incoming Rock and Roll Hall of Famer's first studio album in eight years, "Scratch My Back," hits softly, with mostly lush orchestrations rather than typical rock'n'roll trappings. As the title suggests, the set is a collaboration with other artists in which Gabriel covers one of their songs and they, in turn, plan to do the same for one of his on a subsequent album, "I'll Scratch Yours.

" He treats David Bowie's "Heroes" with shimmering strings and Paul Simon's "Boy in the Bubble" as a mellow piano ballad. The dark ebb and flow of "My Body Is a Cage" gives the Arcade Fire song a proggy veneer, while subtly deployed strings lend an even more romantic tinge to Lou Reed's "The Power of the Heart." It may take listeners a while to wrap their heads (and ears) around "Scratch My Back," but it will undoubtedly polarize an audience that has long awaited something new from Gabriel.-Gary Graff

Source: Billboard.com

Canadian Music Industry

2010-03-08T01:36:00.000-08:00

The Ninth Edition of this ESSENTIAL GUIDE to the Canadian Music Industry has been completely updated and revised. Featuring over 60 categories, each listing includes: Company, Contact, Address, Phone, FAX, E-mail, Web Address and Description. We have collected thousands of e-mail addresses, Websites, and Internet-based references to make your search through the Canadian Music Industry even easier than ever before. All listings are 100% verified and submitted personally by the companies themselves.

Don’t waste your time searching through thousands of Websites trying to find contacts as the Music Directory Canada continues to bring together information from all ends of the industry, from equipment and recording, to management and touring, and everything in between.
This book is a "MUST HAVE" for all Students, Musicians, Music Lovers, Music Industry Personnel, Schools and Libraries! If you sell products or services to the Canadian music industry, Music Directory Canada provides you with an excellent source of sales leads and extensive information on each company or organization. Many sections are arranged geographically for easy prospecting.

Areas covered include: Associations, Booking Agents, Concert Venues, Custom Duplicators, Financial Services, Lawyers, Sound & Lighting Companies, Music Conferences, Music Education, Music Publishers, Orchestras, Promotion & Publicity Companies, Radio Stations - including Campus Radio, Record Producers, Recording Studios, Touring Networks .... and much more!

PLUS Special Sections: Artist Contacts, Award Winners, Canadian Chart Toppers, Selecected Discography, Glossary and much more!Keep this book with you wherever you go, and take notes on contacts that have been helpful, reliable, or simply interesting. Remember, any book is only as valuable as you make it, and you’ve already taken the first step.