Ah, who doesn’t love a good ‘come-up’ story? Schoolboy Q has reason to celebrate as his third LP Oxymoron takes over the no. 1 spot on the Billboard 200 Albums Chart. Apparently, them “Collard Greens” were pretty potent, as 139,000 people decided to add Oxymoron to their music collection. 139,000 copies isn’t the ‘end all be all’ in regards to album sales, but its definitely sound for what could be considered an up-and-comer, even three albums into a rap career. Compared to his colleague Kendrick Lamar, the numbers are less favorable (Good Kid M.A.A.D. City missed the top spot, but sold 241,000 copies), though Kendrick also had bigger buzz surrounding him at the time, not to mention the fourth quarter to propel him.
Schoolboy Q fended off that feisty Frozen Soundtrack, which continues to put up respectable numbers. This week, the magic number for the runner up was 91,000, which according to billboard.com was an increase from the previous week. Frozen kept another new release and veteran, Beck from the runner-up spot. Beck settles for no. 3 with 87,000 copies sold of Morning Phase, his first album in six years. Even though Beck couldn’t match a previous high watermark – a no. 2 peak for 2005 effort Guero – or its robust 162,000 copies start, he managed to outperform prognostications.
Surprise albums seem to be all the rage these days, with Kid Cudi’s oddball Satellite Flight: The Journey to Mother Moon fitting right into the trend. Kid Cudi doesn’t quite have the Beyoncé effect, but does debut at no. 4 with 87,000 copies. Compared to last year’s slightly more accessible Indicud, the numbers are down for the left-field rapper. In fact, Satellite Flight is Cudi’s lowest debuting album as of yet. The next closest in terms of his discography was his debut, Man on the Moon: The End of Day, which sold 104,000 good for a no. 4 bow. Previous album Indicud debuted at no. 2 selling 136,000 copies. Indicud was a drop-off itself, specifically from Cudi’s sophomore album, Man on the Moon: The Legend of Mr. Rager, which debuted at no. 3, but sold 169,000 copies. Is Scott Mescudi just too odd for sustainable commercial success? Perhaps.
Keeping things close (and new), Romeo Santos debuts at no. 5 with Formula: Vol. 2. Formula sold 85,000 copies, awesome numbers for a Latin album. Dierks Bentley didn’t quite get in on the “80s” action (80K that is), but Riser did debut at no. 6 with 63,000 copies. 63,000 copies doesn’t have much of a ceiling itself, but Bentley isn’t exactly country’s most consistent selling male artist. Still, 63,000 copies isn’t too shabby. The Fray would’ve enjoyed being even remotely close to 63K; they settle for a no. 8 bow and 37,000 copies sold of Helios. Seems like the popularity of “Over My Head (Cable Car)” hasn’t translated to the band’s more recent efforts. Other than Frozen, the only holdovers are Eric Church (The Outsiders), Now 49, and Beyoncé (Beyoncé). Good sales week – finally!
Pharrell Williams goes into next week’s chart with the momentum of retaining no. 1 on the Billboard Hot 100 (“Happy“). Pharrell’s second solo album GIRL is one of the competitive albums fighting for the top two spots on next week’s chart. Second solo album you ask? Well ole boy released In My Mind a couple of years back and snagged a Grammy-nomination for the LP. Rick Ross should have no. 1 locked up as he releases his sixth LP, Mastermind. With the exception of Ross’ best LP (in my opinion), Teflon Don, Ross has locked down no. 1 four previous times. Lea Michele wishes she could muster up the numbers expected from Ross or Williams, but according to Billboard prognostications, she won’t come close. And as for Eli Young Band, well 10,000 Towns is far behind. I won’t even mention Ashanti’s Brave Heart – it doesn’t have a shot.
Oh and going back to the Billboard Hot 100, what about my homeboy John Legend breaking into that top four (last week I believe)? Who would’ve thought that “All Of Me”, an old school, piano-driven ballad would be a hit in 2014? It remains at no. 4 this week according to Billboard. Rock on John, rock on!
Singer/songwriter Annie Clark (aka St. Vincent) delivers big-time on St. Vincent
St. Vincent • St. Vincent • Loma Vista/Republic • US Release Date: February 25, 2014
After several albums, St. Vincent (Annie Clark) still isn’t what you’d call a household name. It’s a shame given the singer/songwriter’s most recent self-titled effort is nothing short of captivating, filled with some truly exceptional material. On St. Vincent, the groove seems to propel every track, and there’s not one thing wrong with that. The songwriting throughout isn’t too shabby either, making this alt/indie-pop affair quite the musical treat. St. Vincent isn’t perfect (“Perfect Isn’t Easy”), but there are very few flaws for even the most nitpicky of nitpickers. You could say being ‘different’ pays off for St. Vincent, like big-time.
“Rattlesnake” captures the ears from the onset, delivering quite a unique sound. The mix of distorted guitars, drums, and synths definitely highlight. As previously mentioned, the groove itself is killer from the onset, inviting the listener to ‘move’ to the music. Sure, “Rattlesnake” is by no means an alt-dance song or club-cut, but the music itself gives it a pop sensibility. Lyrically, its all bread and butter with lyrics like “I see the snake holes dotted in the sand / as if the Seurat painted the Rio Grande / am I the only one in the only world?” If that’s too ‘abstract’, perhaps repetitive lyrics like “Running, running, running, rattle behind me…” are more lighthearted and fun.
“Birth In Reverse” would capture anybody’s attention, if for nothing else than the title itself. St. Vincent isn’t literally referring to ‘birth in reverse’, but she does seem to be figuratively playing on the idea of ‘death’ or sort of the predictability and boringness that can be everyday life. “Oh what an ordinary day,” she sings on the first verse. “Take out the garbage, masturbate / I’m still holding for the laugh…” Essentially, it’s as if there is no change of pace – the routines remain the same. Because St. Vincent captures this lyrically, “Birth In Reverse” shines marvelously.
“Prince Johnny” doesn’t let up off the gas, delivering a moody cut that proves to be equally beautiful. Lyrically, St. Vincent’s lyrics are ingenious, as she sings through numerous allusions and metaphors. The character Prince Johnny ends up being incredibly complex, but then again, St. Vincent relays that lyrically at the onset (“Prince Johnny, you’re kind but you’re not simple / By now I think I know the difference”). Among St. Vincent’s most clever allusion is to Pinocchio, in which she sings “Saw you pray to all to make you a real boy…” “Huey Newton” proceeds in hypnotic fashion, with an air of mysteriousness. Lyrically, St. Vincent continues to allure, whether its overt moments like “F**kless porn sharks / toothless but got a big bark / live children blind psychics / turned online assassins…” or more poetic ones such as “entombed in the shrine of zeros and ones / you know, you know /with fatherless features, you motherless creatures.” Annie Clark, you’re truly something!
“Digital Witness” is a definitely standout, with its soulful, groove-laden production work. St. Vincent definitely criticizes social media/networking, and how it’s affected traditional social relationships. “People turn the TV on, it looks like a window.” Basically, St. Vincent seems to suggest that real-life interaction has been supplanted with any number apps and social networking avenues. “Digital witnesses / what’s the point of even sleeping,” St. Vincent sings on the chorus. “If I can’t show it if you can’t see me / what’s the point of doing anything?” Does she overreact to the power of social media? Perhaps or perhaps not, but she makes one awesome song in the process.
“I Prefer Your Love” is another meaningful moment from St. Vincent. Written about her mother, Clark confidently sings, “I prefer your love to Jesus”. Lyrics throughout give away the fact that it is a dedication to her mother, including “Mother, won’t you open your arms and forgive me of all these / bad thoughts I’m blinded to the faces in the fog”. Relaxed, yet still rhythmic, “I Prefer Your Love” is easily one of the year’s most touching ballads. “Regret” is a contrast to the slow tempo of “Love”, incorporating more of a ‘rock’ nature about it, driven by the distorted guitar. “Regret” doesn’t quite have the same oomph of the cream of the crop, but there is still plenty of lyrical and instrumental personality exhibited. I mean, lyrics like “I’m afraid of heaven because I can’t stand the heights/ I’m afraid of you because I can’t be left behind…” will always standout regardless of the song itself.
“Bring Me Your Loves” thrives on lyrical repetition as one of its weapons. Unusual sounding at the onset, “Bring Me Your Loves” is also quite appealing. “I thought you were like a dog / I thought you were a dog, but you made a pet of me…” Wow, St. Vincent, wow! She goes on later to say “I took you off your leash / but I can’t, no I can’t make you heel.” She can’t control her man – he’s controlling her? Seems that way. Then there’s “Psychopath”, which is consistently rhythmic throughout. The use of acoustic guitars gives the cut a nice timbre. Still, the lyrics certainly aren’t what you would call ‘warm and fuzzy’: “Wanna make a bet whether I can make it back cause / I’m on the edge of a heart attack.” “Every Tear Disappears” benefits from its quirkiness, a pro that characterizing the entire of album. Simple, yet clever lyrically, that’s just the way Annie Clark rolls apparently. “Severed Cross Fingers” closes exceptionally; the harmonic progression shines, the groove anchors, and St. Vincent is, well St. Vincent.
Ultimately, St. Vincent ends up being a superb album. It is creative, quirky, and incredibly enjoyable. St. Vincent doesn’t go for the ‘humdrum’, but instead is forward thinking and truly thoughtful from both a lyrical and musical perspective. Sure, the singer/songwriter has been a round for years and the premise hasn’t changed, but St. Vincent continues to think outside of the box and plays against clichés rather than playing into them. Because of this, St. Vincent is one of the year’s best.
“Rattlesnake”; “Prince Johnny”; “Digital Witness”; “I Prefer Your Love”; “Severed Cross Fingers”
The Academy Awards was filled with a lot of predictability ultimately, but there were some interesting moments as well. For the music world itself, there was plenty to rejoice about. Jared Leto, who’s been more associated as the front man of 30 Seconds To Mars as opposed to acting as of late, won the Academy Award for Best Supporting Actor for an exceptional role in Dallas Buyers Club. 20 Feet From Stardom (Morgan Neville, Gil Friesen and Caitrin Rogers), a brilliant documentary that focuses the attention on the background singers as opposed to the star, won deservingly for Best Documentary Feature. Darlene Love, one of the featured background vocalists gave praise to God, belting out a powerful rendition of “His Eye Is On The Sparrow” onstage while accepting. And what about the victorious Documentary short, The Lady in Number 6: Music Saved My Life, about a Holocaust survivor Alice Hertz Sommer, a pianist? Sommer passed away just a week before the telecast, making the victory for The Lady in Number 6 even more special.
Music was well recognized at the 86th Annual Academy Awards. All Original song nominees would have their chance to perform, with perhaps the most infectious being Pharrell Williams’ no. 1 hit, “Happy”. The performance itself was enough to brighten even the cloudiest day, especially to see children and actors alike feeling the good vibes. Idina Menzel would have her name butchered by John Travolta before performing “Let It Go” from Frozen, but a questionable performance of the ubiquitous children’s favorite wouldn’t undo the momentum or ultimate win in a tightly contested category. U2 would evoke some magic with “Ordinary Love” from Mandela: A Long Walk To Freedom while Karen O (Yeah Yeah Yeahs) and Ezra Koenig (Vampire Weekend) would mysteriously and quietly perform “The Moon Song” from Her. The multiple times victorious Gravity (winner of seven), would also get some music swag, with Steven Price snagging Music – original score.
Other non-award related performances are worth noting. Bette Midler, who is 68, performed her classic ‘ace in the hole’, “The Wind Beneath My Wings” following the In Memoriam segment. Midler’s performance couldn’t be called technically perfect, but at her age and having never performed live at the Oscars, it was solid. P!nk surprising eschewed being suspended in air (surprisingly), to perform “Over The Rainbow”, with Liza Minnelli in the audience. Don’t call it a classic performance by Moore, but it worked.
Ultimately, this years Oscars not only recognized a Mexican Best Director (Alfonso Cuarón, Gravity), or the first black Best Picture winner (Steve McQueen becomes the first black producer to win) for 12 Years A Slave, but it also recognized the music world too. Whether directly or indirectly, the academy has truly embraced music and shown the world its importance and relevance.
The Frozen Soundtrack is sort of like winter itself – it just don’t stop! Once more, Frozen finds itself atop the Billboard 200 Albums Chart selling 89,000 copies. It is surprising that Frozen was able to rise to the top once more, particularly after Eric Church blew the competition out of the water with last weeks no. 1 debuting The Outsiders, which had sold 288,000 copies. This week, Church takes a step back to no. 2 with only 74,000 copies sold… yuck! Country newbie Cole Swindell debuts respectably with 63,000 copies of Cole Swindell, good for a no. 3 bow. Issues – an up and coming rock band – lands at no. 9 with Issues, selling 22,000 copies. Notice Candice Glover misses the top 10 with debut album Music Speaks. What a shame. Also no signs of Phantogram‘s Voices.
By the way, the “Dark Horse” has been dethroned… Pharrell Williams takes the incredibly fun “Happy” to no. 1 on the Billboard Hot 100. First he “got lucky” at no. 2 and now he’s incredibly “happy” at no. 1. Top spot baby! Who’s got next on next week’s charts? Beck (Morning Phase), St. Vincent (St. Vincent), and Schoolboy Q (Oxymoron) are all strong candidates. Where they will land, well only time will tell.
February 25, 2014 is filled with a number of notable new music releases. Last week had some notable albums released from Cole Swindell, Candice Glover, and Lost in the Trees amongst them, but only Cole Swindell looks to have a bit of momentum behind it. Bummer. Maybe better luck this week; the likes of Beck, Dierks Bentley, and The Fray are on deck.
It has been a minute since Beck’s last album, six years to be exact! 2008 effort Modern Guilt was a collaboration with ubiquitous production wizard Danger Mouse (Brian Burton). After such a long layoff though, Beck returns with Morning Phase led by single “Blue Moon”.
Singer/Songwriter Annie Clark, better known as St. Vincent, releases her fifth studio album, simply titled St. Vincent. St. Vincent follows up the singer/songwriter’s previous release, 2012 effort Love This Giant, a collaborative album with David Bryne. St. Vincent rides solo this go-round. Also worth noting is that St. Vincent is being released on Republic Records; this is the artist’s first major-label release.
2014 has definitely seen numerous releases from country male artists. Not wanting to feel left out, Dierks Bentley follows up his 2012 effort Home with Riser. Riser is led by promo single “I Hold On”. Early single “Bourbon in Kentucky” (from summer 2013) has long been available, and serves as the set’s opener.
Another Long Night Out
What better way to celebrate a debut album than to rerecord it and make some musical changes? Brian Culbertson does just that on Another Long Night Out, a re-recorded edition of Culbertson’s 1994 album, Long Night Out. While reinterpretations and re-recording can be iffy sometimes, having personally reviewed Another Long Night Out, I can attest to its excellence and high level of musicianship.
The Fray returns with its fourth studio album, Helios. Helios is the follow-up to 2012 effort Scars and Stories. “Hurricane” is the current single from Helios (January 2014). A previous single, “Love Don’t Die” materialized back in October 2013.
Formula Vol. 2
Romeo Santos is one of the hotter names in Latin Music as of late. His 2011 debut, Formula, Vol.1, debuted at number nine on the Billboard 200 Albums Chart. 2014 ushers in the release of its follow-up, Formula, Vol. 2. In between both releases, Santos also released a live effort entitled The King Stays King: Sold Out at Madison Square Garden.
Oxymoron should be one of the most anticipated rap releases of 2014. Whether it really is or not, well only the numbers will tell. But Schoolboy Q built some momentum back in 2013 when he and Kendrick Lamar delivered a joint entitled Collard Greens. Also judging by the strengths of his collaborations in the past, Oxymoron is probably and album that likely shouldn’t be slept on.
Live Through It
Gospel music often does get much love where reviewing is concerned, but I still appreciate a good inspirational, uplifting affair. Live Through It comes courtesy of gospel standout James Fortune. Fortune’s breakthrough album came out in 2012, when Identity debuted at number seven on the Billboard 200 Albums Chart. Keep in mind, gospel albums rarely crack the top ten, unless you are Kirk Franklin, or Tye Tribbett and Marvin Sapp as of late.
Mehliana: Taming The Dragon
Brad Mehldau & Mark Guiliana
Where jazz pianists are concerned, Brad Mehldau is one of today’s best. Mark Guiliana is an electronic artist…electro-jazz is part of that mix. The two combine for what should be quite an interesting listen…
This isn’t an anticipated release per se, but does anybody remember Neneh Cherry’s 1989 album Raw Like Sushi? Cherry had released her first album in 16 years when 2012 effort The Cherry Thing came about. Blank Project serves as the follow-up.
20 Feet From Stardom • Anchor Bay Entertainment • 91 minutes •US DVD Release Date: January 14, 2014
Executive Producers: George Conrades, Art Bilger, Peter Morton & Joel S. Ehrenkranz; Director: Morgan Neville; Producer: Gil Friesen
20 Feet From Stardom is a music documentary that shines a light on the oft-unheralded beings of the music industry: the background vocalists. Music without background vocalists – particularly back-in-the-day – would’ve have been incredibly plain; blasé. Personally, I believe that background vocals are like the frosting on a cake. To be an exceptional recording or to have a truly moving, authentic performance, the background vocalists truly aid in propelling musical momentum forward. That same vital part of the music arrangement though, has been unfairly overlooked over the years, particularly when many background vocalists historically have had solo career capable voices. The aforementioned documentary serves the purpose of telling the untold story of the background vocalist, a viewed through the eyes of famed backing vocalists Darlene Love, Merry Clayton, Lisa Fischer, Claudia Lennear, and Voice contest/Michael Jackson back-up singer Judith Hill.
The documentary gives a historical account of background vocals and how the role of the background vocalist evolved. That historical account exceptionally begins with the white background vocalists who merely read the musical score accurately, to the evolution of black background vocalists taking freer, more emotional roles. Most interesting is how much British rock truly enhanced the role of the background vocalist, particularly artists like The Rolling Stones and Joe Cocker. Being a musician and being so knowledgeable about music, I found much of this history to be quite educational, teaching me things I hadn’t previously researched or was ‘green’ about. The musicological aspects of 20 Feet From Stardom are top-notch.
Also included within 20 Feet To Stardom are the struggles of the background vocalist – the plight if you will – particularly those wishing to breakthrough. Darlene Love’s powerful vocals were featured on numerous albums and singles throughout the 1960s, but often credited to someone else. Merry Clayton, a commanding ‘lead’ background vocalist (called a “diva” by her contemporaries in the film), recorded three solo albums, but despite a high level of quality, they failed commercially. Lisa Fischer tasted success, managing to win a Grammy in the process, before the horrid sophomore album slump killed the vibe. Fischer admits, “I waited too long.” As for newbie Judith Hill, she tries to avoid background vocal gigs given her pursuit of being a legit solo artist (and an appearance on NBC’s The Voice), but admits she has to take background vocal gigs to support her dreams.
Going along with that ‘plight’ of the background vocalist, 20 Feet From Stardom explains the reason for a lack of success, taken from the perspective of established artists and the background vocalists themselves. It all seems to deal with the notion of truly having that “hunger” and the “drive” to promote yourself at any cost. It truly makes people think truly evaluate the question, “what lengths will you go to become a star”?
Finally, 20 Feet From Stardom highlights the artistry and abilities of each of the background vocalists. Performances and clips of each background vocalist are included to continue to ‘give flowers’ to those unfairly underrated. This aspect of the documentary showcases just how exceptional each of these women were, despite not achieving the solo success each should.
Ultimately, 20 Feet From Stardom educates us all about how tough it truly can be to accomplish a dream. It also expresses that merely being talented is not always enough ‘fuel for the fire’ to truly be successful. As realistically depressing and discouraging as that sounds, for the truly hungry musician, this documentary should encourage one to never be passive in achieving your dreams.
Let the “Church” say yes… Corny, I know. But one of country’s rising stars, Eric Church, just continues to rise. The Outsiders gives Church his second no. 1 album, selling a healthy 288,000 copies. Sub 100K weeks are done, at least this week. How does The Outsiders’ numbers compare to the numbers that greeted Chief? Well ole boy “Doubled Up”… or nearly doubled up (145,000 copies). In a slow weak for new releases, well, Church was the bright spot. Compilations continue to do soundly though, as Frozen Soundtrack sold another 100,000 (no. 2) and Now 49 sold 77,000 copies after a no. 1 debut. From there, the numbers are only so-so. What is notable, however, is that Toni Braxton & Babyface only see a small drop in sales of Love Marriage & Divorce (it is no. 8 this week). Go figure.
On The Billboard Hot 100, Katy Perry continues to rule the roost with some help from Juicy J on “Dark Horse”. However, being “Happy” definitely helps Pharrell Williams, who’s Academy Award nominated hit sits at no. 2.
As for next week’s chart impact from new releases, Candice Glover, the American Idol season 12 victor, released her debut album Music Speaks. Unfortunately, with little fanfare behind the album, who knows how well it will sale. Otherwise, unless Cole Swindell is incredibly established as a new country force, sales might underwhelm.
Ah, another week and the necessity for new music. February has been a slow month, particularly last week’s scant choice of releases. The three most notable releases last week included two country music artists Eric Church (The Outsiders) and Frankie Ballard (Sunshine & Whiskey), as well as a more underrated R&B release from British singer Daley (Days & Nights). This week isn’t exactly stacked, but there are seven new releases worthy of your consideration, particularly if the music collection is becoming a bit uninspired!
After much delay, American Idol season 12 victor Candice Glover drops her debut album Music Speaks, led by single “Cried”. Unfortunately, season 12 could be described as a ‘bust’ (at least in my eyes), so there isn’t a great amount of buzz surrounding this album. Still, Glover possessed a powerful voice; don’t sleep on it!
My sole experience with indie-pop duo Phantogram (Josh Carter and Sarah Barthel) involves a Flaming Lips song called “You Lust” in which the duo guests. If their work on that track is an accurate preview, sophomore album Voices – their first album in five years – could be something special. On their official Facebook page, Phantogram’s music is described as “a mix of organic and electronic sounds, with swirling guitar, spaced out synths, and chopped up samples and rhythms.” Sounds right up my alley!
One of my flaws as a music journalist as of late has been not giving enough love to country music – shame on me! I missed an opportunity with the release of Eric Church’s The Outsiders last week, the biggest music release last week, as well as Frankie Ballard’s Sunshine & Whiskey, but I’ll make sure I give Cole Swindell some press. Why – well he’s a newbie. It is always difficult to breakthrough, particularly in the crowded market of country male singers. Think about it folks, how many new country male artists have come and tried to dint the charts? Additionally, there seem to be fewer country female artists lately for whatever reason. Regardless, Cole is the latest artist looking for a breakthrough.
St. Paul & The Broken Bones
Half the City
Single Lock Records
Don’t let folks tell you that soul is dead – it ain’t. St. Paul & The Broken Bones, a Birmingham, Alabama based sextet, releases their soulful debut, Half The City on Tuesday. There is a distinct difference between soul and contemporary R&B; his band is about the authenticity of soul. Kudos St. Paul, kudos.
In recent times, rapper Talib Kweli hasn’t exactly lit up the charts (2007’s Eardrum Warner Bros. album did manage a no. 2 bow on the Billboard 200), but he keeps on releasing albums. This year, following 2013’s Prisoner of Consciousness, TK releases Gravitas. With a shortage of rap in 2013 – until the big-time Schoolboy Q release on February 25th – TK might just be the album to tide rap fans over.
City Heart Southern Soul
Underrated as albeit, Noel Gourdin quietly releases his third album, City Heart Southern Soul via Shanachie Records. Gourdin’s previous efforts came courtesy of two different labels – major label Epic and indie powerhouse eOne. Gourdin is no household name and likely will never achieve such status, but having personally reviewed his previous two LPs, I can attest to the fact that Gourdin is no slouch. The man can sing! Don’t sleep on him either!
Lost in the Trees
Who exactly is Lost in the Trees? Lost in the Trees is an indie-rock/pop group led by Ari Picker. The group’s 2012 LP A Church That Fits Our Needs was an exceptional album that tackled the topic of Picker’s mother’s suicide. Sure it had its sad moments given the heavy topic, but it was masterfully done. One of the year’s most underrated and overlooked albums, A Church That Fits Our Needs truly showed off Lost in the Trees’ musicianship and incredible potential, blending sound compositional technique and exceptional lyricism. 2014 effort Past Life certainly has a tough act to follow, but it’s definitely worth checking out to see what this creative collective comes up with.
From one compilation to another, Now 49 debuts at no. 1 on the Billboard 200 Albums Chart. In yet another sub 100,000 copies week, Now 49 sells 98,000 copies. Frozen doesn’t fall too far from grace – it is no. 2 and managed to sell another 88,000 copies. The big news on the charts is how much of an impact the Super Bowl had on Bruno Mars, who’s Unorthodox Jukebox returns to the top 3, with 81,000 copies sold. While his compilation contemporaries may not have near the bragging rights given their numbers, Mars should be proud. Unorthodox Jukebox was released in December 2012 and in February 2014 has managed to re-enter the top echelon of the charts. Now that’s swag.
Now 49 wasn’t the only debut. Toni Braxton & Babyface surprisingly outperform as Love Marriage & Divorce sells 67,000 copies, goo for a bow at no. 4. Sure 67,000 copies still doesn’t leave the duo a great ceiling, but it’s respectable given the status of R&B these days… well save for ‘Yoncé. Broken Bells land at no. 5 with their sophomore album, After The Disco. 44,000 copies isn’t too shabby considering Broken Bells isn’t exactly a household name. Lil Mix isn’t either, yet their sophomore album Salute lands at no. 6 with 43,000 copies. The numbers don’t exactly equate to prolonged success mind you, but in some regards, all four of the newbies on the chart performed better than I anticipated at least.
“Dark Horse” she’s not ladies and gentleman as Katy Perry continues to shine atop the Billboard Hot 100 with pal Juicy J. Changing gears though, as for who’s got next on the albums chart, put your money on Eric Church’s latest, The Outsiders. Church’s previous studio album, Chief debuted at no. 1. This is a relatively quiet release week.