Top Ten Albums


Throwback to 1992 when En Vogue released their album “Funky Divas.” The albums’ first two tracks “My Lovin (You’re Never Gonna Get It) and "Giving Him Something He Can Feel” both made top ten pop and peaked at No. 1 on the R&B charts.


*all albums released in 2015

10. Tell Me I’m Pretty - Cage the Elephant

Favorites: Cry Baby, That’s Right, Mess Around, Cold Cold Cold, Punchin’ Bag

9. Beauty Behind the Madness - The Weeknd

Favorites: Acquainted, The Hills, Can’t Feel My Face, In the Night, Prisoner (feat. Lana Del Rey), Often

8. Blurryface - twenty øne piløts

Favorites: Polarize, Tear In My Heart, Stressed Out, Not Today, Ride, Lane Boy, Message Man

7. How Big, How Blue, How Beautiful - Florence + the Machine

Favorites: Queen of Peace, Ship to Wreck, Conductor, Third Eye, What Kind of Man, How Big How Blue How Beautiful

6. Revival - Selena Gomez

Favorites: Sober, Same Old Love, Hands To Myself, Good For You, Revival, Perfect, Me & the Rhythm

5. 25 - Adele

Favorites: Send My Love (To Your New Lover), Hello, Million Years Ago, Remedy, Love In the Dark, When We Were Young

4. Honeymoon - Lana Del Rey

Favorites: Freak, Salvatore, Art Deco, Terrence Loves You, High By the Beach, Music To Watch Boys To, God Knows I Tried

3. Cry Baby - Melanie Martinez

Favorites: Carousel, Tag You’re It, Cry Baby, Play Date, Soap, Pity Party

2. FROOT - Marina and the Diamonds

Favorites: Blue, Can’t Pin Me Down, I’m a Ruin, Froot, Savages, Gold, Happy

1. BADLANDS - Halsey

Favorites: Colors, Hurricane, Drive, Gasoline, Castle, Young God, Control, Coming Down 

BTS Breaks Own Record On Billboard’s World Albums Chart Ahead Of Comeback

As BTS gears up for their comeback in less than two weeks, their album “WINGS” from last October is still holding a top position on Billboard’s World Albums chart!

BTS’s “WINGS” was released on October 10 of 2016, and first made an appearance on Billboard’s weekly World Albums chart at No. 1 for the week of October 29 (as well as came in at No. 26 on the Billboard 200 chart). It held the top spot on the World Albums chart the next week as well, and has remained in the top ten for the past sixteen weeks.

This breaks BTS’s previous record for the longest time a K-Pop album has remained on the top ten of the World Albums chart, which was previously fifteen weeks for their 2015 album “The Most Beautiful Moment in Life, Pt. 2.”

Remarkably, “WINGS” sat at fifth on the chart for the week of February 4, but it has risen back up to fourth on the newly released chart for the week of February 11.

BTS is also currently No. 1 on Billboard’s Social 50 chart and No. 44 on their Artist 100 chart.

(Other info omitted)

cr: soompi

anonymous asked:

From my tumblr bubble, I thought Harry was killing it with critics & sales. But when I checked for myself, it does not seem exactly superstar level? I mean the level that would justify his marketing budget & hyperbolic launch. If you look at Metacritic, his album is well outside the top 100 best reviewed albums in the last 90 days. If you look at album sales, he's dropped 80%. Both of those things are fine, but I was just shocked at the difference between SM & hype vs actual numbers.



Thank you for the question.

My answer is going to break the question down into several parts, and will include some conjecture on my part.

First, by any metric, Harry’s album has done very well. To debut as a solo artist in the #1 album position (in the U.S., with immense competition), and with a #1 single, is a PR victory in and of itself. I don’t mean “PR victory” as in the album was not deserving, just that there is so much great music out there, that one has to have a huge PR push to be noticed. And Harry did. Was the PR overhyped? Was it worth the outcome in sales and critical reception?

Columbia/Sony is counting on Harry as a sure thing. Harry’s PR has been well-strategize and meticulous; he has played the U.K. and American shows with the largest audience numbers, and the timing couldn’t have been better. It’s the envy of any artist to have his management devote 90% of their time to him, especially when they are arguably one of the most powerful in the music business. It’s not a matter of overhype– there’s no such thing for an artist that has a huge fanbase and who wants to launch as a solo artist into the ranks of A-list musicians.

Now, the longevity of the album’s sales, and the ultimate numbers, will have to wait a few months. Selling over 200,000 units over the first week in the U.S. is a very respectable start. I fully expect the album to go platinum.

As for the drop in sales after the initial push, I think it’s not unexpected, with promo ending, the large number and quality of new artists releasing music, and the fact that Harry’s music is very different from the trend at the moment. The only single released so far is SOTT. It isn’t the most radio-friendly, although it has been included in multiple media playlists as a “song of summer.” I think Harry will release another single within the month, either Carolina or Kiwi, which are much more in tune with summer hits. Singles and music videos help drive sales.

I also think the SOTT music video was a misstep. Despite the flight gimmickry, it was bland and incoherent, and didn’t draw many more listeners to the song. At two weeks after release, it has 31 million views, compared to Kendrick Lamar’s DNA, released a month ago, with 85 million views.

As for critical acclaim… sigh… if I had a nickel for every time I read, “despite his boyband beginnings.”

I see several reasons for Harry’s album to have mixed critical reception, and some of these are contradictory, so I’ll just list them.

1. The album’s sound was unexpected. Critics have always used the words “generic” and “bland” to describe One Direction’s sound– pop aimed at unsophisticated ears. I feel like this is the genre that Harry was expected to fall into– pop but a bit slicker, shinier, sexier and more adult (like Justin Timberlake). The range and confessional quality of the songs on the album were unexpected; critics could not use the history of One Direction (not that they bothered) to evaluate the songs… but still tried. It will take a while to think of Harry other than as the frontman for One Direction, and even his virtues– the beauty of his voice, for instance– will be viewed negatively, as something “cultivated on a reality television competition.” Unclench your anal sphincters already, critics. His voice is unlike any other, and a bad voice/ edgy sound isn’t the sign of creative originality. Get over yourselves.

2. His audiences is still predominantly female. The fact that Harry would not repudiate his audience, when presented with a chance to, immediately lowered his cool quotient.

3. The albums with higher critical ratings tend to be from independent artists with fewer reviews. These are the top ten best rated albums on Metacritic right now (the number in parenthesis is the number of professional critical reviews):

Sgt. Pepper’s Lonely Hearts Club Band– remix
Damn - Kendrick Lamar (37)
Lovely Creature, the Best of Nick Cave (12)
Kicking Child - Dion (5)
A Crow Looked at Me - Mount Eerie (18)
Black Origami - Jlin (10)
Singles, Original Motion Picture Soundtrack (7)
Eternity, In Your Arms - Creeper (8)
A Hair of Purpose - Pile (4)
The Order of Time - Valerie June (10)

Compare these with Harry’s album, with 23 critical reviews. The fact is, indie artists, reviewed by fewer professional reviewers, have a biased critical audience. The reviewers are ones who actively seek out indie music to review, & are already favorably disposed to this type of music. Statistics is not a science but an art. It can be bent multiple ways.

I don’t expect the whole world to love Harry, of course. His PR is imperfect. His lyrics can be more poetic and specific, his tropes about sex and women feel derivative (watch better movies, Harry). But compared to other artists, Harry is still young, and hasn’t really lived in the real world, either. Better songs will come.


My top ten albums this year:
Absent - Walking Home Alone
Code Orange - I Am King
Flowers Taped To Pens - s/t
Full of hell/merzbow
Homewrecker - Circle of Death
Incantation - Dirges of Elysium
Perturbator - Dangerous Days
Rings of Saturn - Lugal ki en
Tiny Moving Parts - Pleasant Living
Trap Them - Blissfucker

Guns N’ Roses at one of their first photo shoots, October, 1985

“We’d been playing shows solidly for three years before anybody knew who we were. We spent a couple of years opening up for The Cult, Alice Cooper, Iron Maiden, and Motley Crue, and then we got on a tour with Aerosmith. At the start of that tour is when Sweet Child O’ Mine came out. Appetite had been hovering in the ‘90s on the Billboard Charts for a long time, and it suddenly started moving up. We were on this tour, and there’d be 70 people showing up early to catch our show. Then the single started getting played, and the next week it was 700 people. The single then moved into the Top Ten, and the album moved into the Top Twenty, and suddenly it broke. The record and the single both went to Number One, and all 17,000 people started showing up early to see us play for the last few weeks of that tour. That’s why people think we blew up over night, but in reality we’d been at it for a long time before we broke big. People soon started dressing like us. They started wearing cowboy boots over their pants and cutting the knees of their jeans and wearing scarves and crap like that. When we got back to LA I remember seeing it. All the ads for bands in magazines would look just like us. I thought it was nice that all these people finally realized I was a really funny and engaging human being, and all the girls finally realized I was the best-looking guy around – because I already knew all this stuff. I didn’t figure out for about six months that it had something to do with my band blowing up.” - Duff McKagan

July 24, 2001 → *NSYNC’s Celebrity Album 

The fourth and final studio album by *NSYNC. It was released on July 24, 2001 by Jive Records. The album was the band’s second to debut at number one on the Billboard 200 with first-week sales of 1,879,495 copies, the second best debut-week sales in the country at the time. Which makes this NSYNC’s fourth consecutive top ten album and fourth multi-platinum selling album in the USA following No Strings Attached in 2000. As of 2015, the album has the third best-debut week sales in the US of all time. Upon release, the album received generally positive reviews from music critics.


Top Ten Favorite Albums of All Time. Basically every track on all of these is gold and I never get sick of listening to any of them. (Click images or bands/titles)

If you wanna make one of these you can, I tag you. I specifically also tag danithedoommagnet, dextroamino and hillsidewitch (because you introduced me to Igorrr so I wanna know what other treasures you’re hiding up your sleeve)


On this day in music history: March 22, 1965 - “Bringing It All Back Home”, the fifth album by Bob Dylan is released. Produced by Tom Wilson, it is recorded at Columbia Recording Studios in New York City from January 13-15, 1965. Recorded just four months after the release of his previous album “Another Side Of Bob Dylan”, the prolific musician shifts musical direction yet again. Moving away from the acoustic based protest songs that have established him as a leader of the folk music movement, Dylan cuts half of the new album with a band using electric guitars and bass for the first time. The very act of a folk musician using electric instruments is considered a highly controversial act, with many of his peers having a bias against rock & roll. Dylan’s lyrics also begin to change dramatically, becoming more personal and adopting an abstract “stream of consciousness” prose in many of them. This is most evident on the albums classic single “Subterranean Homesick Blues” (#39 Pop), drawing inspiration from disparate sources including beat poet Jack Kerouac, folk musicians Woody Guthrie and Pete Seeger, and rock & roll pioneer Chuck Berry. The song becomes Bob Dylan’s first chart single in the US, and one of his best known compositions. The album contains a number of other classics including “Maggie’s Farm”, which Dylan performs to a hostile crowd at the Newport Folk Festival, jeering him for feeling that he has betrayed his core folk music audience by going electric. “Gates Of Eden”, “It’s All Over Now, Baby Blue” and “It’s Alright Ma (I’m Only Bleeding)” also become among Dylan’s best known, widely covered songs. Also on the second side of the album is his recording of “Mr. Tambourine Man”, originally cut during the “Another Side” sessions, but the first version is left unreleased. Bob re-records it again on the final day of recording for “Bringing It All Back Home on January 15, 1965. Only five days later, The Byrds record their electric version of "Mr. Tambourine Man” in Los Angeles with producer Terry Melcher. Their version hits number one on the pop singles chart late June of 1965. Once released, “Bringing It All Back Home” becomes Bob Dylan’s most successful release to date, topping the UK album chart and his first top ten album in the US. First released on CD in the late 80’s, it is remastered and reissued in 2003, as a hybrid SACD, featuring the original stereo mix, and a newly remixed 5.1 surround mix. Reissue label Sundazed Records reissues the original mono mix as a 180 gram vinyl LP in 2001, making it available for the first time since going out of print in the late 60’s. Mobile Fidelity Sound Lab also reissues the title as a double vinyl set, mastered at 45 RPM in 2012, followed by a hybrid SACD featuring only the stereo mix in 2013. “Bringing It All Back Home” peaks at number six on the Billboard Top 200, and is certified Platinum in the US by the RIAA.


Top 10 Albums of 2015
10. That’s The Spirit - Bring Me The Horizon
9. Death Of A Bachelor - Panic! At The Disco
8. Gallery - Zico
7. Exodus - Exo
6. The Red - Red Velvet
5. Cry Baby - Melanie Martinez
4. The Most Beautiful Moment In Life P.T 1 - BTS
3. Badlands - Halsey
2. MADE - Bigbang
1. Blue Neighbourhood - Troye Sivan



1. Lemonade - Beyonce

I think this album should be atop of everyone’s 2016 list. Lemonade has quickly become not only my favorite Beyoncé album, but one of my favorite albums of all time. Beyoncé successfully moves across genres, most notably reclaiming rock & roll and country to their black origins.

2. My Woman - Angel Olsen

To be honest, before the release of My Woman, I had no idea who Angel was. But, this album has most definitely put her on my radar in the future. Angel provides a sort of psychedelic rock sound reminiscent of the ‘60s, and covers the topic of love with such emotion that it is tear-jerking.

3. Puberty 2 - Mitski

Mitski is another artist that I have just discovered this year, and I’m so glad I did. Appropriately titled Puberty 2 for its hormonal nature, the album covers topics such as love, mental health, and societal norms. Another definite tear-jerker.

4. A Seat at the Table - Solange

With this album, Solange further proves her creativity as an Alt/R&B artist. She asserts black pride and describes her struggles with depression on “Cranes in the Sky”. A Seat at the Table solidifies Solange’s place as an individual in the music industry, not to be compared with her older sister.

5. Dangerous Woman - Ariana Grande

Dangerous Woman is Ariana’s most daring release to date and definitely my personal favorite. Permanently shedding her image as “the girl from Victorious”, Ariana delivers a cohesive, sexy, and feel-good dance/pop album with emotional moments such as “Thinking Bout You”.

6. Emotion: Side-B - Carly Rae Jepsen

Who else could release a nearly flawless pop album full of B-sides? The queen of modern ‘80s pop sound really outdoes herself with this one and proves that her critically acclaimed 2015 release “Emotion” was no fluke.

7. Lady Wood - Tove Lo

With Lady Wood, Tove Lo once again provides honest lyricism about sex and love accompanied by atmospheric production. Tove keeps it simple (no pun intended) while still remaining effortlessly edgy. It definitely deserves more recognition than it has gotten.

8. Glory - Britney Spears

The princess of pop has provided her loyal fans with her best release since “Circus”. Britney stays true to herself while delivering an album that keeps up with the times in its production and lyrics.

9. Nightride - Tinashe

While this is just a mixtape for the fans to listen to while they wait for the release of her sophomore album, it is still one of my favorite releases of the year. Tinashe pairs a soft hip/hop sound with thoughtful lyrics that makes for great music to relax to. 

10. Anti - Rihanna

The final spot was the hardest to choose, but Rihanna definitely deserves it. Delivering her best album to date, Rihanna transcends genres from Alt/R&B (“Same Ol’ Mistakes” & “Yeah I Said It”) to Pop (“Kiss it Better” & “Work”)

Honorable Mentions:

Blonde - Frank Ocean, The Altar - Banks, The Colour In Anything - James Blake, Joanne - Lady Gaga, Vroom Vroom (EP) - Charli XCX, For All We Know - NAO, Glory Days - Little Mix, Starboy - The Weeknd, and Tkay - Tkay Maidza


On this day in music history: June 8, 1991 - “More Than Words” by Extreme hits #1 on the Billboard Hot 100 for 1 week. Written by Nuno Bettencourt and Gary Cherone, it is the biggest hit for the hard rock band from Boston, MA. Forming in 1985, Extreme consists of band members Nuno Bettencourt (guitars), Paul Geary (drums), Pat Badger (bass) and Gary Cherone (lead vocals). Led by Bettencourt’s excellent fretwork and Cherone’s high soaring vocals, Extreme build a solid fan base. Signed to A&M Records in 1988, Extreme’s self-titled debut album is a modest success. Their sophomore release “Extreme II: Pornografitti (A Funked Up Fairy Tale)” is a concept album centering around a boy named Francis, growing up surrounded by sex, violence, money and excess. Consisting of mostly heavy rocking songs, though there are a couple of exceptions. The acoustic ballad “More Than Words” is written by Bettencourt with the concept of the song being that simply telling someone “I love you” is meaningless, unless you really show that person that you’re sincere. Playing it to Cherone, the singer pens most of the lyrics. The band test the song out live while on their first tour, then decide to put it on the new album. Originally intended to be a big power ballad, Nuno decides to keep it as it was originally written. When “Pornograffitti” is released in August of 1990, the first two singles “Decadence Dance” and “Get The Funk Out” receive only a fair response. By early 1991, the album has fallen off the chart, and looks to be dead in the water when A&M tries a new strategy. Testing the song on select stations to gauge listener response, it clicks with listeners. “Words” is released in early March of 1991. Accompanied by a simple black & white performance clip, it quickly becomes an MTV staple. Entering the Hot 100 at #81 on March 23, 1991, it climbs to the top of the chart eleven weeks later. The huge success of “More Than Words” propels the album past the 2x Platinum mark in the US. However, it proves to be a both a blessing and a curse. Having a huge hit with a song that differs greatly compared to their other material, makes it a hard act to follow. They score another hit with the follow up “Hole Hearted” (#4 Pop), but it is the last time Extreme land in the top ten. Though their third album “III Sides To Every Story” receives good critical notices and stays true to their original sound, it is viewed as a commercial disappointment, though reaches Gold status in the US. “More Than Words” has a long life after its original run on the charts. “Weird Al” Yankovic parodies the song as “You Don’t Love Me Anymore”, with actor Mike Myers also parodying it in the film “The Love Guru”. In May of 2015, Tonight Show host Jimmy Fallon and actor Jack Black film a shot by shot recreation of the original video that is aired on the late night talk show, also going viral on the internet. “More Than Words” is certified Gold in the US by the RIAA.

Stories album by album of Alice in Chains

The Devil Put Dinoaurs Here (2013)

It was released on May 28, 2013. It is the band’s second reunion album. Following a worldwide tour in support of its previous album, Black Gives Way to Blue (2009), Alice in Chains began work on a new album. The making of The Devil Put Dinosaurs Here lasted for more than a year and the release of the album was delayed numerous times. The band entered the studio in July 2011 to start work on their fifth album. During the writing and recording sessions, guitarist Jerry Cantrell underwent shoulder surgery, which resulted in the delay of the album. The recording sessions of The Devil Put Dinosaurs Here were completed in December 2012.

Peaking at number two on the Billboard 200, The Devil Put Dinosaurs Here was well received by music critics and “Hollow”, “Stone” and “Voices” were released as singles to promote the album. In April 2013, the band released music videos for the songs “Hollow”, and “Stone”, and in September 2013, music videos for “Voices” and the title track were released on YouTube to further promote the album. The album also reached the top ten in the national albums charts of Australia, Finland and Norway.

About music and lyrics

Jerry Cantrell stated in an interview with Rolling Stone, “We made a unique record that’s completely different from anything we ever did. It encapsulates a period of time, like all records do. You see growth and that the band is moving ahead in new territory that we haven’t been to before, but we haven’t lost our identity.”

Cantrell also stated “There’s some real filth in there. That’s intentional, and that’s also just how we sound together. We’re trying to make a record that we dig and we’re trying to keep the bar high for ourselves and see if we can get past it, and I think that we did again. And of course you want people to dig it too and to respond to it, and to have that start happening is satisfying.”

For the lyrics, Jerry Cantrell stated: “The devil put dinosaurs here / Jesus don’t like a queer / No problem with faith / Just fear,” which appear in the title track. “What’s the old joke?” Cantrell said. “There are two things you never want to get into a conversation or argument about: politics and religion. But fuck, I guess we’re going to be talking about this for awhile.”

On the making the album, Cantrell said to Revolver magazine: “I don’t think you’ll be surprised by anything you hear. … It’s us. But it’s also really unique. It’s got all the elements of any record we’ve put out, but it’s unlike any record we’ve put out. Basically, it’s the next chapter in the Alice in Chains book, and it’s going to be a big one.” Cantrell also said to Guitar World: “In my opinion, Black Gives Way to Blue stood up to anything else we’ve put out in our career. Hopefully, the new album will connect with people in the same way.”