Thursday, June 30, 2011

Billboard Hot 100, July 9, 2011

1. Give Me Everything - Pitbull feat. Ne-Yo, AfroJack & Nayer

After 7 weeks at the top, Adele's "Rolling In the Deep" has finally been dethroned--not by Katy Perry's "Last Friday Night (T.G.I.F.)" as I ruthlessly expected--but by what was just as strong of a contender, Cuban rapper Pitbull's "Give Me Everything" which climbs a notch up to #1, scoring the rapper his first chart topper, besting his previous chart-high with "I Know You Want Me (Calle Ocho)" which peaked at #2 in 2009. This is also R&B singer Ne-Yo's 2nd #1 following his breakout single "So Sick" in 2006 (still a mystery why "Sexy Love," "Because of You," and "Miss Independent" didn't top the chart also). This also AfroJack & Nayer's first chart toppers.

4. Last Friday Night (T.G.I.F.) - Katy Perry

A little weird how this didn't move up, not even a notch. Katy Perry's "Last Friday Night" remains bulleted at #4 as this weeks airplay gainer. I'm hoping this will ascend to the top in the oncoming weeks--it'll be interesting (if not slightly amusing) to see Perry's second album Teenage Dream tying King of Pop Michael Jackson's Bad for the album to spawn the most #1's. Whether she is worthy or not is another question, however this is a record I feel needs to be broken sooner or later.

5. Super Bass - Nicki Minaj

Go Nicki! Rapper Nicki Minaj lands her first ever top 5 single with "Super Bass" rising 3 spots up to #5 and hopefully with more to follow. I hear her soaring collaboration with Rihanna, "Fly" is being geared up to follow-up. A sure fire top 3, if I've ever heard one!

8. Moves Like Jagger - Maroon 5 feat. Christina Aguilera

American pop/rock band Maroon 5 land their fourth top 10 with "Moves Like Jagger" performed on American singing contest The Voice, featuring fellow judge Christina Aguilera who lands her first top 10 since 2008's "Keeps Getting Better." Quite a nice rebound for the singer following the chart devastation that was her last singles "Not Myself Tonight" and "You Lost Me."

10. How to Love - Lil Wayne

This is indeed the crossover pop hit that American rapper Lil Wayne needed to launch his forthcoming Tha Carter IV album (ala "Lollipop"). "How to Love" climbs 3 spots up to #10, scoring the rapper his sixth top 10.

29. I Wanna Go - Britney Spears

This weeks digital gainer is Britney Spears' who new single "I Wanna Go" climbs an awesome 60 spots up to #29, scoring the pop singer her 20th top 40 single.

Monday, June 27, 2011

Best Albums of 2011 So Far

It's nearly the end of the first half of the year and there aren't any key albums left to review (except for The Civil Wars debut, but I'll get to that later), so what better time to put up my list of my favorite albums of the year so far, split into genres:


Lady Gaga's sophomore album Born This Way is probably my favorite pop album of the year so far. Perhaps, my favorite album of the year. Such thrilling and invigorating pop.

Honorable mentions: Adele's monstrously successful second album 21, which could also be my favorite album of the year, Britney Spears' seventh album Femme Fatale and Simon Curtis' RA.


The Foo Fighters' awesome seventh album Wasting Light is my favorite rock album of the year so far. It's possibly their best album yet, rocking out just as hard as 2002's One By One.

Honourable mentions: Radiohead's eighth album The King of Limbs, another solid entry into their consistent discography. The Strokes' Angles, the joyous pop/rock of The Wombat's second album The Modern Glitch and White Lies' slightly more experimental second album Rituals.


British indie/rock band Elbow's second album Build a Rocket Boys! was a fantastic follow-up to 2008's critically acclaimed fourth album The Seldom Seen Kid.

Honorable mentions: The People's Key, the seventh album from American rockers Bright Eyes was a great rock album flourished with great fluorescent poppy undertones. Fleet Foxes' slightly more experimental second album' Helplessness Blues, Noah & The Whale's Last Night on Earth, Foster the People's Torches and although I haven't reviewed it yet, indie/folk duo The Civil Wars brilliant debut Baton Hallow.


What a depressing year it's been for R&B so far (or maybe I haven't been looking hard enough), however Jill Scott's seductive fourth album The Light of the Sun rises above the weak bunch of releases.

Honorable mentions: I'm stretching a little with these, but Jamie Woon's enticingly downbeat debut Mirrorwriting and American singer/song-writer Amos Lee's Mission Bell.

Sunday, June 26, 2011

Songs of My Lifetime: Radiohead "No Surprises" (1998)

No Surprises (1998)
Written By Radiohead

I was tempted to do a quick round up of new singles I've been listening to, but truth be told, I haven't really been listening to any. In fact I have been on a heavy Radiohead kick lately--listening to all their albums--from Pablo Honey to The King of Limbs and back again. I had a discernible appreciation for them before, but I am in love with them now. Whittle past the apparent layer of pretentiousness and there's so much to love and indulge in. In particular, I adore how their sound increasingly strays away from conventional rock and reflects an electronic lens on the genre--the transition highlighted between 1997's landmark OK Computer and its follow-up Kid A, mainly because the trend with many bands is to become increasingly mainstream and more accessible as they garner more success--Kings of Leon is a great example. However, it's the exact opposite here. In that alone, the ideas of rebellion and conformity scream pretty loud, they're also a lyrical focal point for the band.

The same focal point that fronts my favorite song from the band (at the moment). "No Surprises" the third single released from OK Computer early 1998, peaking at #4 in the UK, scoring the band their fourth top 5 hit. A slow burning ballad with gentle guitar strings over a prominent hush-hush lullaby-like melody, atmospheric soundscapes, brewing a fragile build up to its harmonious climax. Lyrically channelling the monotonous and routines of life ("A heart that's full up like a landfill, a job that slowly kills you"). The song's mellow semblance highlighting a distinctive sense of sensitivity in Thom Yorke's vocal. It's brilliant.

It's accompanying video is pretty interesting too. Thom Yorke's head in a glass dome, or an astronaut's helmet--showcasing his dis-contempt as it begins to fill with water. I'm sure it's a metaphor for something rather. The oppressive force that the comformity of life has over us, maybe? I've never been good at untaggling underlying messages anyway.

Thursday, June 23, 2011

Personal Airplay, June 23, 2011

Billboard Hot 100, July 2, 2011

1. Rolling In the Deep - Adele

Adele's "Rolling In the Deep" extends its lengthy run at the top to a 7th week. Officially the longest run at #1 so far this year, beating out Lady Gaga's 6 week stay with "Born This Way" by a week. The last song to spend 7 weeks at #1 was Eminem's "Love the Way You Lie" featuring Rihanna last year. "Deep" also becomes the first single since Jason Mraz to top four different radio format tally's--it rises to #1 on Adult Contemporary this week and it has previously topped the Triple A, Adult Pop Songs and Pop Songs airplay charts.

3. Party Rock Anthem - LMFAO feat. Lauren Bennett & GoonRock

This week's airplay gainer "Party Rock Anthem" by LMFAO remains bulleted at #3.

4. Last Friday Night (T.G.I.F.) - Katy Perry
5. E.T. - Katy Perry feat. Kanye West

Katy Perry's "Last Friday Night (T.G.I.F.)" climbs a staggering 27 spots up to #4, scoring Perry her 7th top 5 single, thanks to the release of its quirky '80s themed video last week. It's also rightly this week's digital gainer. It's followed by her other single "E.T." which dips a notch to #5, landing her 2 singles within the top 5--I'm a little light on information but I'm sure this is a major feat.

8. Super Bass - Nicki Minaj

Nicki Minaj's "Super Bass" climbs further into the top 10, rising 2 spots up to #8 this week.

16. Lighters - Bad Meets Evil feat. Bruno Mars
(32. Fast Lane - Bad Meets Evil)

American hip-hop duo Bad Meets Evil consisting of rappers Eminem and Royce da 5'9" debut at #16 with "Lighters" featuring Bruno Mars, which I suppose is the lead single from their new EP Bad Meets Evil: The EP which debuted at #1 this week. It's the duo's first and highest charting single on the chart--they also debut at #32 with album cut "Fast Lane."

Album Reviews: Jill Scott and Jennifer Hudson

Jill Scott - The Light of the Sun (4/5) American singer Jill Scott is a pro at conveying genuine soul and emotion through her deep soulful and bluesy tones. Her fourth album The Light of the Sun demonstrates a warm hybrid of R&B, soul and jazz, of course with an obligatory '70s influenced touch, showcased none more so than on the laid back, grooving rhythms of "So In Love" featuring fellow American R&B singer Anthony Hamilton. The beat boxing beats of "All Cried Out Redux" work real nice against Scott's soulful vocal, which is further complimented when the jaunty piano keys kick in. Nothing on here jumps right at you, much like her acclaimed single "Hate On Me" from her last album, perhaps the lovably upbeat lead single "Shame" comes close. At times, the album does highlight the fine line between sensual and free-flowing and just plain bland, like with the colourless "Quick" and plodding "When I Wake Up." However, the album more than makes up for its duds and fillers, delivering a handful of highlights. Ultimately an warm and charming set of enticing soul music. Best: So In Love, Shame, Hear My Call, Making You Wait

Jennifer Hudson - I Remember Me (3/5) Maybe I just preferred the more pop influenced edge of her eponymous debut, but I can't help but feel a little underwhelmed with American R&B singer Jennifer Hudson's second album. It sure does have its belters, particularly the heavy piano chords and heavy beats assisted production on opening track "No One Gonna Love You," the dramatic balladry of lead single "Where You At" and the more accessible pop of "Gone." However the rest of the material feels rather weak. The ballads ("I Remember Me," "Still Here" and "Believe") are decent but not as great as the ones on the last album, although I do appreciate the emotion, sensitivity and back story to "Believe." And then there is the more faux indulgence in upbeat '70s soul ("Everybody Needs Love") which doesn't seem that authentic. Not a completely dud, but not one I'd wholeheartedly recommend either. Best: No One Gonna Love You, Where You At, Gone, Believe

Thursday, June 16, 2011

Album Review: Beyoncé - 4 (3/5)

Is naming your album after numerics slowly becoming a thing now? American R&B/pop singer Beyoncé's fourth album, 4 (see what she did there? smart, huh?) finds the singer verging away from that distinctive pop element that has always played a major role in her music and into more authentic R&B territories--returning to her "roots" if you will.

Dangerously in Love
, her solo debut has always been my favorite from Beyoncé's discography. It's charming blend of R&B, soul and pop was unmissable and in my opinion the most consistent in her collection. So when I say I've never been that receptive of her work, although she has had her moments (and what awesome moments they have been) it is mainly because her material following Love has been rather hit and miss.

As successful as it was, her last album, I Am... Sasha Fierce didn't resonate with me--extract the singles and I thought you had a pretty dull album, particularly its second-half (which included the dire "Video Phone"). So how does 4 follow up? Well, it does has a handful of highlights, however it doesn't dismiss the hit and miss dilemma at all, in fact it sort of highlights it as not everything works. It's certainly an intimate and indecently ballad-heavy set, which provides enough room for Beyoncé to showcase her dazzling vocal acrobatics--which seems to work against her.

The brooding "1+1" gets the album off to a slow-burning start, as Beyoncé longs for her lover to make love to her. It's beautifully restraint and lenient in its composition--underpinning guitar strings, poignant piano keys layered over the bursts of strings and organs and ends with escalating romantic electronic guitars. It's a great opener, but seems to cop out of the climatic ending it's seeming to build up to. Nevertheless, it's a highlight. Another highlight is current single "Best Thing I Never Had" an awesome ode to moving on--a notion furthered by its deep bass lines and cold drums lines, underlined with its low-toned piano chords and violins.

The cavorting synths of "Party" featuring Andre 3000 and Kanye West is a pretty fun mid-tempo. Skittering drum beats and bursts of keyboards and synths. It rocks a nice old school flair, which is a nice touch. Following track "Rather Die Young" also sports an old school flair that wouldn't sound of place on Dangerously in Love. I love the bursts of horns during the chorus. Personal favorite, "Love On Top," is an epic ode to '70s influenced soul. It's absolutely brilliant.

The other half of songs, unfortunately, aren't so brilliant. "I Care" lacks any hint of melody and Beyoncé's tough vocal crosses the line of raw and powerful to unnecessarily over the top. That little growl that erupts when she sings "I still care" gets a little annoying. "I Miss You," begins quite nice--very subtle and restraint with disquieting pulsing synths, but doesn't quite build up to anything and its sensitivity tires out quickly.

"End of Time" sounds like an annoying barrage of horns, drums and no real melody. And what's with Beyoncé and 808 drum machines and nasty-talk? "Diva," "Video Phone" and now "Countdown" which takes the biscuit with vulgarity ("grind up on it girl, show him how you ride it"). I'm not a prude, but sometimes it just doesn't work. It's just as cringe-worthy as when she sang ("You want me naked? If you likin' this position, you can tape it"). Then of course, there's the mother of all duds, "Run the World (Girls)" tagged along at the end.

4 does deliver some excellent tracks, but as whole isn't the solid body of work I had hoped for. To say it's the least impressive set in her collection so far, seems a little harsh but that seems to be the case. I was excited when I heard she was furthering away from pop into more R&B territories, assuming it would be a throwback to the sound on Dangerously in Love, but this wasn't the case.

Best: Best Thing I Never Had, Love On Top, 1+1, Party, Rather Die Young

Personal Airplay, June 16, 2011

Billboard Hot 100, June 25, 2011

1. Rolling In the Deep - Adele

It's a sixth week at the top for British soul singer Adele's "Rolling In the Deep." I did begin to question whether this would ever be budged from the top, until some forthcoming lead single from a major artist comes along later on this year, stupidly overlooking Katy Perry's new single "Last Friday Night (T.G.I.F.)" which has just toppled "Deep" on iTunes after its lengthy 3 plus week reign at #1. It's also lost its bullet this week (hopefully not a typo)--showing signs of slowing down. Unfortunately, Perry's "Friday"s airplay isn't quite strong enough to compete with "Deep" for #1, but I'm sure it'll rack up those audience impressions soon enough.

3. Party Rock Anthem - LMFAO Featuring Lauren Bennet & GoonRock

If Katy Perry can't do it, maybe LMFAO can with "Party Rock Anthem,"? which climbs 3 spots up to #3 this week and is also this weeks airplay gainer.

9. Dirt Road Anthem - Jason Aldean
10. Super Bass - Nicki Minaj

American country singer Jason Aldean's "Dirt Road Anthem," the third single from his fourth album My Kinda Party climbs an impressive 14 spots up to #9, scoring his first ever top 10 single. A weird pairing, I know, but similarly rapper Nicki Minaj also scores her first ever solo top 10 hit with "Super Bass" which climbs a notch up to #10 this week, she'd previously only been a couple spots out with "Moment 4 Life" (#13) and "Your Love" (#14). Congrats!

14. Every Teardrop Is a Waterfall - Coldplay

British alternative rock band Coldplay new single "Every Teardrop Is a Waterfall" climbs 15 notched up to #14, scoring the band their third top 20 single, following "Viva La Vida" (which became their first chart topper) and "Speed of Sound" which became their first top 10, peaking at #8.

Wednesday, June 15, 2011

Album Review: Foster the People - Torches (4/5)

When I first heard American indie/pop band Foster the People earlier this year, I anticipated their debut album Torches very much. Lead single "Pumped Up Kicks" was a quite an enjoyable number--a tuneful minimalist production--prominent drum patterns with twangy underlining guitar chords and an excavating chorus reminiscent to MGMT or if the Kings of Leon adopted a euphonic flair to their sound. They also sound a little like another fairly new band The Naked and Famous, who also released their debut album Passive Me, Aggressive You this year. So, whilst Torches isn't particularly trailblazing, it's still quite a satisfying listen.

While the sound on here is nothing short of cohesive, there is enough change-up within its rather short 10-track set to keep it interesting. First two tracks, "Helena Beat" and "Pumped Up Kids" kick off the album with prominent drums, alleviating guitar chords and subdued synth tones re-calling a little '80s panache, whereas third track "Call It What You Want" is quite upbeat, with lenient bass lines and underpinning piano chords, drawing in elements of dance-pop. It's also quite '80s influenced too.

At just under 3 minutes long, the rocking "Don't Stop (Colour On the Walls)" is the shortest song on here. It's very quirky and jaunty. I love the straining guitar melodies on here, particularly because they remind me of "Song 2" by British rock band Blur. Such a fun little number, similarly "Waste" is another sonorous tune--a calm pairing of soft drums, piano keys and skittering synths in the backdrop.

"I Would Do Anything For You," lays in pretty effectively into the sharp piano chords, towering over the prominent bass lines. Sounds a little Maroon 5. The albums calmer moments work just as well, closing track "Warrant" is collectively mellow, with its layer of soundscape and percussion only disturbed by the progressive guitar chords which enter later.

Torches doesn't nessecarily hit any bum notes, but there is some filler such as "Miss You" a trancey, synth-drenched number which doesn't quite go anywhere. However, on the whole this a very sturdy, cohesive, enjoyable album with a handful of highlights.

Best: Pumped Up Kicks, Call It What You Want, Helena Beat, Don't Stop (Colour On the Walls), Warrant

Album Review: Owl City - All Things Bright and Beautiful (4/5)

Owl City's Ocean Eyes was a great pop album, enchantingly mellow with its dance-pop production. It landed the one-man band his first major hit, "Fireflies" which topped charts on both sides of the Atlantic--becoming one of the biggest selling singles of 2009. Unfortunately, it failed to duplicate its success with any of its following singles; the just as bewitching "Umbrella Beach" failing to garner any attention.

So how does third album All Things Bright and Beautiful follow up? Well, not a lot has changed. Things are still very subtle, mellow and tranquil demonstrated through illusive beats and enticing atmospherics. I guess, if anything was different it would be the imaginative backdrop has moved from the beach to the countryside (see cover).

Unsurprisingly, a lot of the material on here does sound as if they were cut from the same vein as the sound on Ocean Eyes, at times little like leftovers. However as that album was quite a joy to listen to, this isn't necessarily a bad thing, although a new dynamic would have been nice too. The melodious beats and underpinning keyboards of "The Real World" recalls the similar composition of "Fireflies," although this adopts a more bristling aura.

"Deer In the Headlights" is a little different--showcasing traces of pop/rock beneath the layer of tranquil dance beats and keyboard synths of course, particularly on the chorus where the guitars and drums erupt. Quickly returning to the restraint is "Angels" which soars with spacey soundscapes and cataleptic bell effects.

The female vocal in the alleviating pop of "Honey and the Bee" is quite rapturous, depicting a touching puppy-love story with its sappy but loveable lyrics ("'Cause my heart stops without you, there's something about you that makes me feel alive") similar to "Vanilla Twilight."

Aside from "Headlights," the biggest departure on here is probably "Galaxies" which highlights a raw sensibility in Adam Young's vocal, as well as laying heavily into the pounding beats. In contrast "Hospital Flowers" wades in subtlety, probably more so than on any other number on here, capitalizing nicely on sensitivity and heart.

There are some mis-steps. Oddly I'm not that fond of lead single "Alligator Sky," which in comparison to other songs just seems like all beats and no depth, for the same reason "Dreams Don't Burn to Dust" is another dud. "The Yatch Club" and "Plant Life" have nice tuneful melodies, but aren't stand outs.

As a follow up, All Things Bright and Beautiful isn't as an enjoyable of an album as Ocean Eyes but still enjoyable and a pleasant listen nontheless--there are enough highlights to make a pretty solid body of work.

Best: The Real World, Angels, Deer In the Headlights, Hospital Flowers, Galaxies, Honey and the Bee

Monday, June 13, 2011

Shania Twain Returns!

Country singer Shania Twain returns with "Today Is Your Day" her first single in 6 years. It's the lead single from her forthcoming fifth album, the follow up to 2002's Up!. What do you think? It's a quite a tame uplifting ballad, showcasing the rather cliché message of getting back up when life gets you down, not that there's anything wrong with that.

Katy Perry "Last Friday Night" Video

Check out the quirky new video to Katy Perry's latest single "Last Friday Night (T.G.I.F.)" the fifth single from Teenage Dream. It features non other than Queen of Pop, Madon... Rebecca Black.?!

Saturday, June 11, 2011

Album Reviews: Arctic Monkeys and All Time Low

Arctic Monkeys - Suck It and See (3/5). The fourth album from British indie rock band Arctic Monkeys seems to have arrived at an awkward musical crossroads for the band. The bands last album Humbug, which attempted to drift into darker, more grittier rockier territories hit a few bum notes along the way, so it's only wise to attempt to restore a sense of familiarity with its follow-up. Suck It and See attempts to nurture a balance between the articulate, infectious, fiery rock of their glory days while dabbling with a discerning unconventional consciousness--which is where it falls flat. It's quite a middling set, however it's not without it's highlights, such as the grungy single "Don't Sit Down 'Cause I've Moved Your Chair," an obvious standout that delivers on both aphotic intensity and a thrilling wall of sound--layers of antagonized disheveled guitar chords caved over disquieting drums. Upping the intesity is "Brick By Brick" which rocks the hardest on here,"Piledriver Waltz" is tamer, but another winner--sounds like a throwback to soaring '60s rock balladry. This isn't a bad album by any means, but does highlight a distinct decline in quality. Best: Don't Sit Down 'Cause I've Moved Your Chair, Piledriver, Brick By Brick

All Time Low - Dirty Work (3/5). You know a band is ready to be introduced to a whole new mainstream audience when they start dressing up like Lady Gaga and Katy Perry in their music video. American rock band All Time Low's fourth album Dirty Work is certainly their bid for mainstream success and there is no way I could do a write up and not sound like a pretencions hipster douche, but they have indeed diluted their sound on here--none more so apparent than on lead single "I Feel Like Dancing." However, while it's more pop influenced than their last three albums, it's still a pretty solid punk/rock set and doesn't deserve the dismissive reception it's gotten so far, when there's still belters like "Guts," and the rapid drum fire of "Return the Favour." Best: Guts, Return the Favour, I Feel Like Dancing, Time Bomb

Singles Reviews

Beat of My Drum - Nicola Roberts (4/5)
How to Love - Lil Wayne (4/5)
Changed the Way You Kiss Me - Example (4/5)
Smile - Avril Lavinge (3.5/5)
Monster - Paramore (2/5)
Don't Wanna Go Home - Jason DeRulo (2/5)

Thursday, June 09, 2011

Album Review: Simon Curtis - R∆ (4/5)

It's no secret that when it comes down to American pop music, the genre is often spearheaded by its female frontrunners (Lady Gaga, Katy Perry, Britney etc). Sure, Justin Beiber is a huge star and Jason DeRulo and Jesse McCartney have nabbed a couple hits in their time in the limelight--but neither represent pop in the same vein as the aforementioned women do. Beiber and DeRulo's catchy pop ditty's pale in comparison to the likes of those women and they're certainly no Justin Timberlake. So, it's nothing short of refreshing when a lad comes along and does it for real--delivering a thrilling pop album that could challenge any recent release from any of the women of pop.

American pop singer Simon Curtis' sophomore album R∆, diminishes any archetypal guitar melodies, stale girl-infatuated lyrics and powers full throttle into riveting electro-pop--excellently demonstrated on opening track "Laser Guns Up" which lays down a beefy wall of chugging electronic undertones, gritty bass lines and robotic vocal effects--comparable to what producers often do to Britney Spears' vocals. Next up is "Don't Dance" which is similar, but a little darker and louder on the electro-front, pondering with warbling electro-effects, skittering synths and skewing vocal morphing, which is quite entertaining.

Lead single "Superhero" is a little more conventional, conveying its uplifting tone through its driving bass lines, glazing synth effects that gradually build up to its thundering chorus. Those bass lines become a lot more heavier and rigid on the quite tame "Pit of Vipers," flaunting layers of electronic pulsing over quite an inexorable analogous of heavy beats and sharp piano chords but still channeling a tuneful, almost mocking playschool melody.

Crashing beats, synths and harrowing electronic soundscapes convey the anger that reaps through the boisterous "D.T.M." as Curtis repeats the lyric "you're dead to me," the same aphotic aura sueges into stuttering synth-charged "Chip In Your Head" which is a little unorthodox and bring back the robotic vocal effects on the rapped verses, which also includes the albums most creative lyric: "If you're dying I'll be the chemo to your cancer." Anger is a little bit of an excessive theme on here--"I Hate U" is another that conveys the theme well.

"How to Start a War" reigns in the electronic theatrics for a more tame aura and ricocheting dance beats and churning futuristic soundscapes. Curtis falsetto on "Joshua" sounds awesome against the abrasive layers of churning electronic synths and pounding beats.

R∆ is a fantastic pop album. It's an epic, cohesive, solid set that delivers on both thrilling electro-pop and intensity. However, if I had any gripe with the album it would be at 14 tracks, it's a little lengthy and while the majority is great--not everything sticks and there is some filler--mostly similar songs that trail the same chugging electronic sound ("Get In Line" and "Soul 4 Sale").

Best: Superhero, Don't Dance, Laser Guns Up, D.T.M, Pit of Vipers, I Hate U, Chip In Your Head

Billboard Hot 100, June 18, 2011

1. Rolling In the Deep - Adele

Adele's "Rolling in the Deep" logs in its fifth week at #1, currently the second longest frame at #1 behind Lady Gaga's "Born This Way" which occupied the pinnacle for 6 weeks earlier this year. It's more than likely to spend a few more weeks at the top as it rises to an airplay high of 150 million this week and also remains atop of the iTunes top 100. It's quite strange how "Deep" managed to achieve more success in the US than in her hometown UK, where it peaked at #2.

2. Give Me Everything - Pitbull feat. Ne-Yo, AfroJack & Nayer

Pitbull's "Give Me Everything" remains bulleted at #2 this week and is this weeks airplay gainer. I'm not quite sure why everyone has fallen in love with this song. It's not that great, or is it just me? "Grab someone sexy, tell 'em hey" is a fun lyric to sing, to give unattractive people a nice boost, though. Try it!

4. The Lazy Song - Bruno Mars

Bruno Mars' "The Lazy Song" climbs 2 spots up to #4, scoring his fifth top 5 single. I don't think this will be a hit in the same magnitude as Mars' previous 2 singles, mainly because of Adele, however a top 3 is almost certain.

7. The Edge of Glory - Lady Gaga

While "Judas" became Lady Gaga's first chart casualty, it seems its follow up single "The Edge of Glory" is more than making up for it. It climbs a notch up to #7 this week.

11. Super Bass - Nicki Minaj
12. How to Love

Nicki Minaj's "Super Bass" inches closer and closer to scoring the rapper's first solo top 10 single. Could next week be the week? It climbs 3 spots up to #11 this week. Hot on its heels is label mate and boss Lil Wayne, who's new single "How to Love" rises a staggering 57 spots up to #12 scoring his 10th top 20 single, making it this week's digital gainer.

16. Good Life - OneRepublic

American pop/rock band OneRepublic's "Good Life" rises 7 spots up to #16, scoring their third top 20 and their highest charting single from their second album Waking Up, out peaking lead single "All the Right Moves" which stalled at #18.

29. Every Teardrop is a Waterfall - Coldplay

British alternative rock band Coldplay debut at #29 with their new single "Every Teardrop is a Waterfall." It's the band's sixth top 40 single, funnily enough mirroring the peak position of their first top 40 single "Clocks" which also peaked at #29 in 2003.

Sunday, June 05, 2011

Beyoncé "Best Thing I Never Heard"

Coldplay weren't the only major release this week. Beyoncé released "Best Thing I Never Had" the second single from her upcoming fourth studio album 4 and unlike its lead single, it's quite good. A typical "I'm over you" number, its bitter undertones mimicked with its cold drums and percolate piano keys. If anything it's a nice change from the static electro-pop diffusing the pop landscape.

Coldplay "Every Teardrop is a Waterfall"

Check out the new Coldplay single! "Every Teardrop is a Waterfall," I'm presuming the lead single for their forthcoming fifth studio album, although I haven't heard any confirmation. It's great! Particuarly love the layered guitar work; acoustic and melismic electronic chords. Sounds pretty anthemic too. It wouldn't sound out of place on Viva La Vida or Death and All His Friends. Check it out below:

Personal Airplay, June 2, 2011