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Madonna reaches the summit again as “MDNA” will be a lock to debut at No. 1 on the Billboard 200 next week.
The dance thumper will sell up to 350,000 copies, according to Hits Daily Double. (read our review here). That means it would have a stronger opening week than her last studio album, 2008's "Hard Candy," not an easy feat in this age of declining sales. That title sold 280,000 in its first frame. Madge's first No. 1 album was "Like a Virgin," 27 (gasp!!) years ago, according to Billboard.
She’s not the only veteran making big noise on the charts: Lionel Richie scores his first top 2 album in more than 20 years with “Tuskegee,” a collection of his songs reimagined as duets with some of country’s biggest names. The title will sell around 175,000. (read our review here).
The two are among the four debuts in the Top 10. Joining them will be Shinedown’s “Amaryllis,” most likely at No. 4 with sales of 95,000, and The Used’s “Vulnerable,” which looks good for No. 9 with up to 30,000 copies.
Of course, Adele’s “21” continues to sell strongly more than a year after its release: “21” will drop one spot to No. 3, but still handily sell more than 100,000 copies. This week’s No. 1 title, “The Hunger Games” soundtrack, will slide to No. 5, with sales of 75,000.
Several other recent No. 1 albums slip, but stay in the Top 10: One Direction’s “Up All Night” falls from No. 4 to No 6; Bruce Springsteen’s “Wrecking Ball” slips from No. 6-8.
Katy Perry’s former No. 1, “Teenage Dream,” bounces back into the Top 10 in the reconstituted deluxe version, “Teenage Dream: The Complete Confection,” which includes the former No. 1 single, “Part of Me.” The set will likely sell 35,000, enough for No. 7.
Rounding out the top 10, “Now That’s What I Call Music 41” hangs on at the bottom spot with sales of around 28,000 copies.
Bjork and the DPs collaborated on "Mount Wittenberg Orca" and now, more than ever, the Icelandic star's influence on frontman Dave Longstreth's voice is heard like never before on new track "Gun Has No Trigger." I enjoy the boldness of his biggest notes here, and that cold, surreal phrasing. I also continue to applaud the return of his backing singers Amber Coffman, Haley Dekle and Angel Deradoorian who sing like the women that they are (as opposed to sounding like little girls).
But don't look for the hooky, boppy arrangement like those that were all over 2009's "Bitte Orca." This is a much sadder, simpler track.Longstreth told SPIN to expect as much.
The Flaming Lips tapped into some seriously weird talent for their forthcoming collaborative album “The Flaming Lips and Heady Fwends” -- weird, not just in type, but the breadth. The Oklahoma-based rock band put their heads together with noise rockers Lightning Bolt for something called “ I'm Working At NASA On Acid,” but then flipped a cover of “The First Time Ever I Saw Your Face” with Erykah Badu. Other big names like Coldplay’s Chris Martin, Jim James of My Morning Jacket, Yoko Ono and Nick Cave grace the track list of “Fwends,” but it was Ke$ha that surprised Lips frontman Wayne Coyne the most.
Usher will release his seventh studio album, “Looking For Myself,” on June 12.
The album, which will be available in standard and deluxe versions, was preceded by first single, “Climax,” a smooth R&B, sexy jam that sits at No. 40 this week on the Billboard Hot 100. Producers on the album include Swedish mastermind and Britney Spears' collaborator Max Martin, Diplo, who produced "Climax"; Salaam Remi, Rico Love and Jim Jonsin.
[More after the jump...]
We’ve been getting snippets of Jennifer Lopez’s “Dance Again” featuring Pitbull all week and today we get the full song. And it lives up to its title: You'll want to put on your dancing shoes and dance again.
The song isn’t as interesting musically as the pair’s previous hit collaboration, “On the Floor” but it is more consistent in its commitment to being a full-on dance twirler—it percolates in a pleasing pop way, as opposed to throbs —It’s totally charming, especially the "woo..ooh" background singing.
Both Pitbull and Lopez want the same things: to dance and love because if this were the perfect world they long for, we would all be able to go straight from the dance floor to the bedroom— and look as awesome as she does doing it without our mascara running.
[More after the jump...]
A review of last night's "30 Rock" coming up just as soon as I pants Deepak Chopra while Craig T. Nelson tapes it...
"I bet you think you know this story. You don't -- the real one's much more gory." With this crisp opening couplet, Roald Dahl announced his imminent desanctification of the Grimm Brothers' "Snow White and the Seven Dwarves," one of six done-to-death fairytales given a black-comic makeover in his 1982 bestseller "Revolting Rhymes."
Dahl's book was itself a tangy kid-lit response to Angela Carter's ingenious adult sexualization of that dusty literary canon in her essential 1979 volume "The Bloody Chamber"; working at opposite ends of the scale, both writers were making a concerted effort to reclaim these darkly symbolic stories, originally targeted to grown-ups, from their sweetened, child-oriented colonization by Disney. Bar the occasional valiant but underseen effort, however -- Neil Jordan's Carter adaptation "The Company of Wolves" among them -- it was a while before Hollywood arrived at a similarly subversive memo, particularly as Disney revived their commercial fortunes at the end of the 1980s by returning to the pages of Andersen and Perrault, their traditionalist approach interrupted only by happier endings.