One Direction do the predictable – debut at no. 1 and move lots of albums. Midnight Memories managed to sell 546,000 copies, giving the Brit-Irish boy band its largest sales week ever. 2012 sophomore album Take Me Home moved 540,000 copies to give the band a second no. 1 in the US. It was history when their debut effort, Up All Night, debuted in the top spot in early 2012, though its numbers were just a fraction of what the last two studio albums have sold (176,000). As for newbies on the chart, Garth Brooks does some work as Blame It All on My Roots sold 164,000 copies good for a no. 3 bow. That is awesome considering it’s a box set. Box sets tend to be more expensive and generally move less copies. Given it’s release during the Black Friday hubbub and its exclusivity via Walmart, it’s not shocking Brooks had some takers. Besides One Direction and Brooks, the week was all about previously releases efforts.
Eminem once more was forced from the top perch to no. 2, but sold 199,000 more copies of The Marshall Mathers LP 2 (already platinum). Others holding over include The Robertsons’ Duck the Halls: A Robertson Family Christmas (no. 4), Katy Perry’s Prism (no. 5), Kelly Clarkson’s Wrapped in Red (no. 6), Lady Gaga’s ARTPOP (no. 7) and Luke Bryan’s Crash My Party. What is significant about those albums? They all sold > 100,000 copies. Miley Cyrus also and Now 48 close out the top ten at nos. 9 and 10 respectively, but sold 79,000 and 77,000 copies, breaking the >100,000 copies sold.
Lorde’s Hot 100 reign is officially over with “Royals” – well at least for the time being. It was a nice nine weeks for Lorde, who has no reason to hang her teenage head. Miley Cyrus’ “Wrecking Ball” climbs it way back to the no. 1 spot. “Wrecking Ball” is the song that just can’t keep people from talking, really! Better yet, it can’t keep people from making their own versions…
Whose Got Next? Britney Spears of course, but the numbers are looking relatively small, with Billboard prognosticating between 115,000 to 120,000 copies sold. Yuck Britney! Why those numbers suck? Well, Britney is usually a lock for no. 1 or at worst no. 2 like Blackout, however, the numbers may not be strong enough to hold back previously released (aka holdovers) from charting ahead of the pop diva. Could Spears be blocked out of the top 3? Possibly. Besides Britney, it’s a pretty boring week for new releases.
- The 2013 Fourth Quarter Music Releases Underwhelm… (brentmusicreviews.com)
- One Direction’s ‘Midnight Memories’ Tops U.S. Album Charts (variety.com)
- On the Charts: One Direction Making ‘Memories’ at Number One (rollingstone.com)
- One Direction land a third US number one album with “Midnight Memories” (thecelebculture.com)
Various Artists⎪ NOW That’s What I Call Music, Vol. 48⎪ UMG ⎪⎪ US Release Date: November 11, 2013
In some respects, the term ‘compilation’ is synonymous to a swear word. Maybe it’s not quite as obscene as the f-word itself, but it’s at least worthy of a baby-curse word, LOL. Why? Because compilations – particularly music compilations – seem to always be filled with flaws, period. The main reason is not only the choice of song that makes the compilation versus those that miss the cut, but also because of timing. Generally, I’m a firm believer that all compilations would be better if the songs included were just nearing that peak and were still considered ‘hot’ you might say. Unfortunately, NOW That’s What I Call Music, Vol. 48, like former installments of the NOW series, doesn’t see my perspective obviously.
Among smart inclusions on this particularly compilation include “Roar” (Katy Perry), “Treasure” (Bruno Mars), “Wake Me Up” (Avicii), “Applause” (Lady Gaga), and “That’s My Kind of Night” (Luke Bryan). The aforementioned numbers all seem to still have a ‘hotness’ and relevance and relevance about them. While Lady Gaga’s “Applause” is lukewarm compared to her more risqué “Do What U Want” featuring R. Kelly, you can still see the logic of its inclusion. “Roar” has truly been a beast (no pun intended), while all things Luke Bryan seem to be in.
Among more questionable inclusions on Now 48 are “Blurred Lines” (Robin Thicke), “Get Lucky” (Daft Punk), “We Can’t Stop” (Miley Cyrus), “Slow Down” (Selena Gomez), “Sail” (AWOLNATION), and “Brave” (Sara Bareilles). Yes, there a some big name songs that were big time hits included within that list. The problem is, many of these should’ve and could’ve been included on earlier compilations. “Blurred Lines”, “Get Lucky”, “We Can’t Stop” and “Sail” all seem too late. Sara Bareilles’ “Brave” is definitely late, but also an questionable inclusion when you look at the company it resides alongside. Similarly, “Slow Down” by Selena Gomez seems out of place, particularly given that “Come & Get It” was the notable hit from a cooling off Stars Dance.
Other arguments could be made for and against Now 48 as well as the franchise as a whole. I appreciate the fact that it does offer listeners with a slice of popular music. However, as shown by my nitpicking, I think that the assembling of such a ‘slice’ could be even better executed. No compilation will ever be perfect or tailor-made for every music listener, but couldn’t Now 48 come just a wee bit closer?
I’ll admit that during the month of October I missed out on a couple of albums (Pearl Jam, Scotty McCreery, Korn, Paul McCartney, etc.). Alas, that is the life of a music journalist and music critic – you can’t listen to ‘em all. Despite this, from the albums I did partake of, I’ve assembled a list of ‘gems’ to start out November 2013 just right!
Panic! At the Disco, “Nicotine”
Too Weird to Live, Too Rare to Die
(Fueled by Ramen)
Too Weird to Live, Too Rare to Die is filled with standouts. Rather than revolve towards “This Is Gospel”, “Miss Jackson”, or “Girls/ Girls/ Boys”, I selected “Nicotine”. Excerpted from my review of the album, I wrote this of “Nicotine”:
“Nicotine” is nowhere near “f*cking drag” Urie speaks of throughout the song referencing addictive alkaloid […] “Cross my heart and hope to die / burn my lungs and curse my eyes”, Urie poetically sings on the first verse. “I’ve lost control and I don’t want it back / I’m going numb, I’ve been hijacked.” The allusion of love and smoke is flawlessly executed, best evidenced during the refrain: “I taste your lips and I can’t rid of you / so I say damn your kiss and the awful things you do / you’re worse than nicotine.” Ultimately, “Nicotine” proves to be as addictive a listen as it is the “f*cking drag…I need it so bad” which the frontman conveys.
Katy Perry featuring Juicy J, “Dark Horse”
“Dark Horse” provides a spark to Perry’s PRISM once it appears. Juicy J is a perfect fit on this hip-hop oriented pop cut which sports one sick beat. The chorus definitely latches: “So you wanna play with magic? / boy, you should know what you’re falling for / baby, do you dare to do this? / cause I’m coming at you like a dark horse…” Second verse vocal harmonizations make the deal sweeter while Juicy J’s lines such as “Uh, she’s a beast / I call her Karma / she eat your heart out / like Jeffrey Dahmer…” seal the deal. “Dark Horse” ‘roars’ equally if not more so than the ubiquitous “Roar” itself.
Danny Brown, ”Dip”
From my Playlist: Bangers That Get It Poppin’ At The Club… (Part 2) I commentated on “Dip”:
“Dip” has so many one-liners that an entire essay could be written examining each and everyone. The premise of the song? Well Danny Brown is pretty to’ up, period. The Forrest Gump reference definitely captures attention early on (“Like Lieutenant Dan, I’m rolling back to back / I keep on smoking…”). My favorite moment involves you guessed it, ‘molly’: “Now all these rappers talking ‘bout that molly / bet a million dollars these n***as ain’t dipping / pure MDMA, put it in a shot we talking ‘bout crystals / been thizzin’ hard up all day, rest in peace to Mac Dre…” Banger? Yes…also seems like Brown is way past the need for rehab… just sayin’
Arcade Fire, “Reflektor”
Excerpted from my Review: Arcade Fire, ‘Reflektor’:
“Reflektor” initiates things shockingly given its percussive, danceable groove. Thankfully, this cut does danceability conservatively and tastefully, eschewing today’s EDM bass drops and pointed synths in favor of something that sounds both neo-disco and Arcade Fire-like simultaneously. The songwriting is accessible, well perhaps save for Régine’ Chassagne’s pre-chorus French, LOL (“Entre la nuit, la nuit et l’aurore / entre le royaume des vivants es des morts”). The chorus is incredibly catchy and simple though: “I thought I found a way to enter / it’s just a reflector…”
Pusha T featuring Kendrick Lamar, “Nosetalgia”
My Name is My Name
On “Nosetalgia”, rap IQ goes off the charts, between Pusha T and guest collaborator Kendrick Lamar. Among Pusha’s best lines is his proclamation that he was the “Black Ferris Bueller, cutting school with his jewels on…what I sell for pain in the hood, I’m a doctor…” while Kendrick Lamar’s slaughtering verse is capped off with “Go figure motherf*cker, every verse is a brick.” Rap musicianship at his best, two of the best in the game rock it out here, no questions asked.
Miley Cyrus featuring Nelly, “4X4″
I still ask myself why do I like the song “4X4” from Bangerz. I was in the same sort of situation back in early October when I penned a review for the album:
“4X4” would normally be the sort of cut I would tar and feather because of its stupidity. And it is really dumb, mind you. But, the country-pop-rap cut is sort of hypnotizing. Maybe it’s because of Pharrell Williams’s odd-ball production or even Nelly’s midwest touting rap, but for whatever reason, it sticks with you. Still, I’m not to keen on Cyrus’s line about “driving so fast ‘bout to piss on myself…” Please girl! Have some dignity!
I guess things ain’t changed. I’m still listening to it and Miley still seems about ready to piss on herself. SMH.
Mary J. Blige featuring Barbra Streisand & Chris Botti, “When You Wish Upon A Star”
A Mary Christmas
“When You Wish Upon A Star” finds Mary J. Blige and Barbra Streisand duetting beautifully with Chris Botti accentuating things with his warm, lush trumpet sound. “When You Wish Upon A Star” really isn’t a Christmas song, originally serving as the main theme from Disney’s 1940 animated feature Pinocchio, but it definitely fits the vibe of A Mary Christmas. Additionally, “When You Wish Upon A Star” has been transformed several times; it’s quite a flexible song you might say.
Eminem, “Rap God”
The Marshall Mathers LP 2
An excerpt from my upcoming The Marshall Mathers LP 2:
“Rap God” is freaking epic. The hook varies slightly, but the beginning’s the same: “I’m beginning to feel like a rap god, rap god / all my people from the front to the back nod, back nod…” Across three verses Eminem ‘schools’ us. On verse one he touts his flow (“Made a living and a killing off it / ever since Bill Clinton was still in office / With Monica Lewinsky feeling on his nut-sack / I’m an MC still as honest / but as rude and as indecent as all hell”) while on verse two he talks influences and disses sucky MC’s (“Everybody want the key and the secret to rap immortality like I have got / well, to be truthful the blueprint’s simply rage and youthful exuberance … hit the earth like an asteroid, did nothing but shoot for the moon since”). On verse three, he goes “H*A*M*”, ripping critics, skeptics, and some fans (“Innovative and I’m made of rubber / so that anything you say is ricocheting off of me and it’ll glue to you / I’m devastating, more than ever demonstrating / how to give a motherf**kin’ audience a feeling like it’s levitating)”. Lady Gaga said it best… “Eh, there’s nothing else I can say.”
See my previous post How Eminem Devastates the Competition on “Rap God” for full, in depth analysis. You can literally write a book about this one song!
Arcade Fire, “Porno”
So yeah, I included a second song from the same album… but this one deserves to be here, it’s definitely interesting!
Excerpted from my Review: Arcade Fire, ‘Reflektor’:
“Porno” definitely had my attention given the title. The song itself is no disappointment with it’s dark, sort creepy vibe. The ultimate take away seems to be that young guys are selfish when it comes to sexual desires and how they expect their girlfriends to fulfill their selfishness. “Yeah, something’s wrong / little boys with their porno / and boys they learn / some selfish sh*t / until the girl / won’t put up with it…”
There it is!
Kelly Clarkson, ”Every Christmas”
Wrapped in Red
The horn-filled six-eight balladry of “Every Christmas” serves as yet another instance of confirmation of Clarkson’s artistry and prowess on Wrapped in Red. Having organ and a backing gospel choir doesn’t hurt her cause either.
DJ Khaled featuring 2 Chainz, Ace Hood, Big Sean, French Montana, Meek Mill, Rick Ross & Timbaland, “You Don’t Want These Problems”
Suffering from Success
Excerpted from Playlist: Bangers That Get It Poppin’ At The Club… (Part 1)
“You Don’t Want No Problems” is one of the shining moments from DJ Khaled’s recent album, Suffering From Success. On this juggernaut, Khaled is assisted by Big Sean, Rick Ross, French Montana, 2 Chainz, Meek Mill, Ace Hood, and Timbaland. Highlights include memorable lyrical moments from Rick Ross (“On the phone at the light, Kelly Rowland’s a friend / Catfish in the Benz, Manti Teo’s a sucker…”), 2 Chainz (“They slept on me, I stopped sellin’ work and started sellin’ coffee…”), and Ace Hood (“My sanctuary’s that cemetery / my choppa, named it obituary…”). I mean, I kinda enjoy the “problems” personally…
Robert Glasper Experiment featuring Jill Scott, “Calls”
Black Radio 2
“Calls” is nothing short of a stunner. Jill Scott is at her best as is Robert Glasper and company. Lush, sensual, and jazz, “Calls” epitomizes the urban sound at its best. The chorus, though simplistic it is, is a perfect representation of jazz and soul styles: “You always answer my calls / when I call, you come…” The best moment is the bridge, where Jill Scott gets in done in a big way. “Calls” is ‘big time’ for sure.
- Playlist: Bangers That Get It Poppin’ At The Club… (Part 1) (brentmusicreviews.com)
- Playlist: Bangers That Get It Poppin’ At The Club… (Part 2) (brentmusicreviews.com)
- Review: Danny Brown, ‘Old’ (brentmusicreviews.com)
I believe that it was last week I suggested to readers to ‘take your pick’ at which album would debut at no. 1. Somehow when formulating such a statement, I must have forgot about a certain veteran band who would manage to sell six figures – oops! Pearl Jam debuts atop the Billboard Albums Chart with 166,000 copies of Lightning Bolt sold. Pearl Jam definitely aren’t strangers to debuting at no. 1 as several of their sets have landed there. 166,000 copies is a solid start in this day and age, though not exactly ‘breathtaking’. Still, it leads one to believe that the ceiling is wider than it would be had the vets sold under 100,000 copies. By the way, Lighting Bolt is the sole album to sell over 100,000 copies. Ew!
The second largest debut comes from Paul McCartney, whose latest album New bows at no. 3 with 67,000 copies. While that number is respectable, it’s not incredibly ‘sexy’. It only gets worst for those not named ‘Pearl Jam’. The Avett Brothers sell almost 58,000 copies of Magpie and the Dandelion (no. 5). Sure, Billboard references this as “their second-largest week”, but 58,000 copies definitely doesn’t seem to leave much room for ‘growth’ you might say. Scotty McCreery does much worse, particularly considering the platinum success of debut album Clear As Day, which debuted at no. 1 with 197,000 copies. See You Tonight settles for no. 6 with an unimpressive 52,000 copies sold. Can you say big time sophomore slump (excluding that Christmas album of course). Country veteran Willie Nelson bows at no. 9 with 43,000 copies sold of To All The Girls while The Head and the Heart debut at no. 10 with 42,000 copies of Let’s Be Still.
Holdovers? Miley Cyrus (no. 2), Drake (no. 4), and Lorde (no. 7). Cher re-enters the top 10 at no. 8. Oh and that Lorde song “Royals” – yeah, it’s still no. 1 on the Billboard Hot 100.
Who’s Got Next? All indications would seem to suggest Katy Perry’s highly anticipated PRISM to me, which was preceded by a very successful, former no. 1 single in “Roar”. That said, when Teenage Dream bowed back in 2010, the numbers were a bit underwhelming during its debut week considering the success of the promo singles (it still debuted at no. 1). Also released this week: DJ Khaled (Suffering From Success), AFI (Burials), Il Volo (Buon Natale: The Christmas Album), Andrea Bocelli (Love in Portofino), The Piano Guys (A Family Christmas), Motörhead (Aftershock), Fifth Harmony (Better Together (EP)), Najee (Morning After), and Wynton Marsalis (The Spiritual Side of Wynton Marsalis).
- On the charts: Pearl Jam land on top, Paul McCartney and Avett Brothers have strong showings (music-mix.ew.com)
- Pearl Jam Scores Fifth No. 1 Album (variety.com)
- Paul McCartney’s ‘NEW’ will hit top 5 in U.S. Billboard debut (examiner.com)
- Chart Moves, Oct. 16, 2013: Miley Is Unstoppable at no. 1 (brentmusicreviews.com)
- On the Charts: Pearl Jam Bolt to Number One (rollingstone.com)
Justin Bieber⎪ “All That Matters” ⎪Island⎪⎪ Single Release Date: October 14, 2013
I know that girls swoon every Monday when Justin Bieber drops a new joint, but so do us music journalists, bloggers, and pop cultural buffs. Yep! Sure, maybe we don’t ‘swoon’ because of Bieber’s voice or constant shirtlessness, but we do swoon because we get the opportunity to once again publicize the teen star who himself seems to love the press, positive or negative. Yes, we’re most excited when we can scrutinize and gnaw apart the teen pop star who has certainly had his fair share of growing pains (Miley Cyrus helped a brotha out), but we’ll take accomplishments too. LOL.
If “Heartbreaker” wasn’t evidence enough, it’s clear that Justin Bieber wants to be a contemporary R&B artist, or at least he has went into that direction for his Music Mondays as of yet. Sure, the lines of pop and R&B these days are quite ‘blurred’ (seemed appropriate), but this slick little cut “All That Matters” is again more urban-leaning than much of JB’s previous work. Is there anything wrong with that? Nope! But then again, you think back to My World (all the way back in 2009 if you can believe it) and didn’t “One Time” lean sorta R&B? Yeah, sorta, but of course JB hadn’t developed his deeper voice back then… or his ‘swaggy’ supposedly.
Here’s my quick thoughts. Positively, I like the sound and vibe of this cut, perhaps even more than “Heartbreaker”. Sure, I’m a sucker for contemporary R&B, but I’m onboard with the ‘concept’ if nothing more. That said, I think that this cut could use some a bit more variation to keep it interesting; it feels a bit too comfortable. Sure, the hip-hop cues are there vocally for the Biebz with the rhythmic vocals, but in some ways, perhaps it also trends too similarly to “Heartbreaker” – yet another slow jam, etc. Vocally, I think Bieber sounds better here than he did on “Heartbreaker” and certainly more optimistic given the chivalrousness. “Heartbreaker” had a few vocal issues from my perspective (yes I’m a nitpicker, not a hater – don’t stone me). That said, I still ‘belieb’ that Bieber has room for more vocal development and improvement overall. But don’t a lot of artists have a higher ceiling or plane that they can reach or hope to?
Ultimately, “All That Matters” is pleasant enough, though I wouldn’t say it’s a home run. Plus, we the media don’t want to give JB too big of a head; wouldn’t want it to explode. I would like to see the next music Monday offer something with more tempo perhaps and ‘swaggy’. Yep, I said it for a second time. Beliebers should keep on beliebing though… I guess.
- Justin Bieber’s “Heartbreaker”: Hit or Miss? (brentmusicreviews.com)
- Fan Friday: Why Justin Beiber’s “Heartbreaker” Is Unlike Anything He’s Ever Done (popdust.com)
- Who Are Beliebers, What Do They Have to Say & Why Do We Care? (business2community.com)
- Zendaya Reveals: ‘I Am Obsessed’ With Justin Bieber (hollywoodlife.com)
- Justin Bieber’s Song ‘All That Matters’ Leaks – About Selena Gomez? (hollywoodlife.com)
- Justin Bieber Debuts ‘All That Matters’ (celebuzz.com)
Miley Cyrus’s rebelliousness seems to have paid her dividends (sings “…we can’t stop and we won’t stop…”) as Bangerz debuts at no. 1 with an impressive 270,000 copies. Bangerz definitely puts that album Can’t Be Tamed to shame as far as debut sales… it only moved 102,000 copies and has failed to be certified gold. No wonder Miley decided she better ‘twerk’ her way to the top. Just sayin’!
Panic! At The Disco had a decent week bowing at no. 2 with Too Weird to Live, Too Rare to Die, which didn’t even come close to giving the teddy bear loving chanteuse a challenge (84,000 copies sold). Pusha T was only a couple of thousand off from PATD, as My Name Is My Name bows at no. 4 with 75,000 copies. Honestly, which such a tame promotional campaign surrounding Pusha’s album, My Name Is My Name truly impresses with those numbers. Also reaching the top of the charts: The Quarterback EP (Glee) at no. 7 with 47,000; Korn’s The Paradigm Shift at no. 8 with 46,000; Cassadee Pope’s Frame by Frame at no. 9 with 43,000 copies; Mayday Parade’s Monsters in the Closet, at no. 10 with 30,000 copies.
Who remained in the new top ten? That would be Drake (no. 3), Justin Timberlake (no. 5 with huge losses according to Billboard), and Lorde (no. 6). Speaking of Lorde, “Royals” spends a third week at no. 1 on the Billboard Hot 100 Chart.
Who’s Got Next?
October 15th delivered several new albums, though none of them seem to have the punch that the past three weeks have delivered from Drake, Justin Timberlake, or Miley Cyrus. Among new releases are Paul McCartney’s New, Pearl Jam’s Lightening Bolt, Willie Nelson’s To All The Girls…, The Avett Brothers’ Magpie and the Dandelion, The Head & The Heart’s Let’s Be Still, Mary J. Blige’s A Mary Christmas, Scotty McCreery’s See You Tonight, Glenn Lewis‘s sophomore album Moment of Truth and Gavin DeGraw’s Make A Move. Take your pick who might land at no. 1.
Bieber’s first ‘Music Mondays’ release is a slow jam
Justin Bieber⎪“Heartbreaker”⎪Island⎪⎪ Single Release Date: October 7, 2013
Is it safe to say that Justin Bieber truly wants to be on the ‘urban’ side of music? I think the aforementioned question is quite the understatement, judging by the company Bieber keeps and his most recent music. On his first single from his new ‘Music Monday’ series (has he been talking to Kanye West who previously did ‘Good music Fridays?), Bieber certainly seems to be more contemporary R&B than dance-pop. The slow jam “Heartbreaker” definitely seems like another step towards a more mature sound, regardless what one opines of the single. Unlike Miley Cyrus though, Bieber eschews shock value… no f-bombs or references to irresponsible partying and most of all, no teddy bears or tongue action. It’s the little victories.
My thoughts on the song? Well, it is soundly produced and the vibe itself is respectable, so there are some lofty pros for sure. It’s certainly more substantive than the desperate, trashy “Lolly”, a track Bieber should’ve definitely dissociated with rather than collaborated. I mean it’s so tasteless… and it’s not about a literal lollipop… I’m not sure that Maejor Ali (formerly Bae Major) and Juicy J are the best company for JB to keep… particularly if his contributions involve rapping and I quote: “Throwing up a G note, like I’m at a casino / I’m all fancy, yeah I’m popping Pellegrino / I’m in the El Camino when I pull up on the scene though / you know I’m a real OG and baby I ain’t from the T.O.” I mean I guess it’s admirable Bieber kept it clean when he probably didn’t want to as if he’d been referencing drinking or smoking, he’d stir more controversy. Just saying!
But alas, this isn’t about “Lolly” but rather “Heartbreaker”. As previously stated, production and vibe are among the strongest points. Also the use of backing vocals and vocal dubs throughout accentuate the cut, so props there. The chorus is simple, but effective ultimately: “Don’t tell me you’re my heartbreaker / hey girl my heart is breakin’…” But with pros there are also cons. While I believe Bieber’s vocals are maturing, I still think there is room for growth and development. I do respect the vocal growth with his deepening pipes, but I don’t think Bieber is completely there yet. While I think the grinding tempo of this cut shows his potential, I also think it exposes some weaknesses. That said, Bieber is still 19, even if he’s trying to live it up as if he’s grown.
Ultimately, “Heartbreaker” is a step in the right direction for the troubled youngster, but I wouldn’t say that it’s incredibly innovative and definitely NOT the ‘second coming’. A victory? Maybe, but I’m interested to see what the next couple of Mondays reveal before making that determination.
- Justin Bieber Kicks Off ‘Music Mondays’ With Debut of ‘Heartbreaker’ (aceshowbiz.com)
- Justin Bieber is a “Heartbreaker,” Releases New Single (thehollywoodgossip.com)
- Justin Bieber Kicks Off ‘Music Mondays’ with ‘Heartbreaker’ (rollingstone.com)
- Justin Bieber unveils new single Heartbreaker: I hope it gives some insight into my heart (metro.co.uk)
- Justin Bieber releases ‘Heartbreaker,’ his first #MusicMonday single: Hear it here (music-mix.ew.com)
- Justin Bieber Want To Mend Hearts With New Song ‘Heartbreaker’ (contactmusic.com)
- Justin Bieber Might Be Channeling Usher In His Sexy New Slow Jam, ‘Heartbreaker’ (buzzworthy.mtv.com)
Justin Timberlake Gets It Done, Again!
Justin Timberlake scores his second no. 1 album of 2013 as The 20/20 Experience 2 of 2 sold a respectable 350,000 copies, easily ascending to the penthouse. Compared to The 20/20 Experience though, the numbers are off significantly, as that effort (arriving after a seven year hiatus mind you), sold 968,000 copies. Still think about this, JT has had two albums move gargantuan numbers their first week. Even with 350,000 copies sold of the second installment, Timberlake still has onof the larger debuts of 2013 behind The 20/20 Experience (968,000), Drake’s Nothing Was The Same (658,000), Jay-Z’s Magna Carta…Holy Grail (528,000) and Luke Bryan’s Crash My Party (528,000 copies). To further put it into perspective, Timberlake’s second album of 2013 outsold strong debuts from Daft Punk (Random Access Memories, 339,000 copies), Kanye West (Yeezus, 327,000 copies), and J. Cole (Born Sinner, 297,000 copies) amongst them. Impressive right?
As For The Rest of the Top 10…
After a spectacular first week, Drake comes back to earth with Nothing Was The Same dropping to no. 2 with 148,000 copies sold. Sure that’s a far cry from 658,000 copies, but add it up and Drizzy has sold 806,000 copies in two weeks. He’s going for another platinum plaque, something that’s more of a rarity in today’s music climate. Lorde comes in at no. 3 as predicted, selling an impressive 129,000 copies of Pure Heroine, which I happened to review this week. Compared to another newbie’s debut, Ariana Grande, the numbers are right inline (Grande sold 138,000 copies of her fine Yours Truly, good for a no. 1 bow). After the top three, let’s just say that the numbers get ugly…
Tyler Farr makes his country debut at no. 5 with Redneck Crazy moving 29,0000 copies. Personally, I’m unfamiliar with Farr, but if the musical enthusiast that I am is unfamiliar, I’m sure there’s a whole lot of people who are unaware of him as well. I’m also unfamiliar with HAIM, who debut at no. 6 with 26,000 copies of Days Are Gone, a second debuting act/album. The rest of the top ten are holdovers with the tenth album, Elton John’s The Diving Board selling a smallish 19,000 copies. Yuck (rhymes with every college students favorite profanity which is probably what these artists are saying to themselves as they see these number roll in).
Hot 100 Update
After stealing Miley Cyrus’ thunder with “Royals”, Lorde remains atop the Billboard Hot 100 for a second week. The question is, will somebody steal her thunder next week? Since “Blurred Lines” was dethroned, there hasn’t been a track to have much staying power. Only time will tell if “Royals” truly has a king-sized touch.
Who’s Got Next?
Miley Cyrus (Bangerz)is sure to be the huge attraction for the October 8th bunch of albums. Panic! At The Disco exhaustively titled Too Weird To Live, To Rare To Die should also get some love, as should Korn’s Paradigm Shift. Even so, there are a host of other releases. These other releases include Cage The Elephant’s Melaphobia, Alter Bridge’s Fortress, Danny Brown’s Old, Pusha T’s official debut My Name Is My Name, Kenny Rogers’ You Can’t Make Old Friends, Sleigh Bells’ Bitter Rivals, Lyfe Jennings’ Lucid, Amos Lee’s Mountains of Sorrow, Rivers of Spring, and Of Montreal’s Lousy With Slyvianbriar. Not to be negative, but I don’t see the longevity for most of the aforementioned albums.
- Lorde Outsells Haim, Hunters And Timberlake Combined (noise11.com)
- Chart Moves, October 2, 2013: Drake 3Peats (brentmusicreviews.com)
- Justin Timberlake Tops Charts Again, Drake Follows (muzicupdate.wordpress.com)
- Justin Timberlake To Hit #1 On Album Chart; Drake’s Sales Fall 78% (allhiphop.com)