I'm Feeling Ghoul-d

For those of you who aren't so familiar with the holiday extravaganza that is Halloween, I'm attempting to help bridge the gap. Considering this crazy holiday is just days away (Saturday, October 31st), and I just so happen to work in the web department of one of NYC's most well-established stores that carry Halloween garb, it's kind of obvious that this sort of thing would be on my mind.

It would take too long to fully divulge just how much I adored this holiday growing up, dressing up in various costumes and begging for candy door-to-door. My personal favorite costume has to be from when I was about seven or so, and was going through my Nick at Night phase. I dressed up as Barbara Eden in "I Dream of Jeannie", complete with harem outfit, veil adorned cap and even my own jewel-encrused genie bottle (which was actually a bottle of finished dish soap covered in tin foil and some cleverly placed glue-on gemstones. My mother was and is so smart!). But, I grew up in Upstate New York, where we usually already had a layer of snow on the ground by October's end, so my gorgeous costume ideas were forced into shroud by a large and bulky winter coat and boots. ::hurmph:: I'm still bitter.

Now, of course, I'm a bit too old to go begging for sweets, but I don't think anyone is too old to enjoy the holiday overall. The main difference is now I can spend my Saturday handing out the candy to the kids while watching various horror/slasher films that I so ardently adore, before putting on a fun costume and heading out to the clubs to dance with girlfriends. However, the difference is I intend to be home at a reasonable hour. As my aunt recently told me, New York is full of monsters, and not all of them wear masks.

On a lighter note, it's a night of frights, candy, barely-there outfits and, most importantly, fun (and occasionally campy) music. I've seen plenty of good Halloween music playlists and countdowns to help get you in the creepy mood, but here are the few songs that define Halloween to yours truly. Happy Haunting, everybody!

08. Sweeney Todd (The Broadway Musical) - Prelude/The Ballad of Sweeney Todd
Okay, so it's not exactly Halloween. But I'm a sucker for all things Sondheim, and of all of his incredible works, 'Sweeney' was intended to be played out as a live horror film on stage. The film was alright, but didn't quite do it for me the way the Broadway version did. The deadened eyes, the creepy bass voices, and that shrill whistle...it's scary Broadway at its best.

07. Hocus Pocus - I Put A Spell On You
Halloween movies don't come more classic than Hocus Pocus, a little Disney gem from back in 1993 (when I was the ripe old age of 6!) starring Bette Midler and Sarah Jessica Parker among others. It features three witches who are brought back from the dead, and attempt to concoct everlasting life by sucking the souls out of little children. Despite that dark description, the film is ridiculously good fun for the whole family, and is an absolute Halloween must in terms of traditions. The following video is one of the many highlights from this film, and while the original (by Screamin' Jay Hawkin's) is frightfully awesome, too, this one just takes the cake.



06. Halloween - Halloween (Theme Song)
Horror movies for this holiday begin with the iconic "Halloween", first released back in the early '70's, and starring Jamie Lee Curtis in one of her first roles. The film has become a tradition for me since around age 13, when I first watched it with my mother after buying the DVD release. My mother was in college when the film first opened in theatres, and told me how she didn't want to drive back home alone in her car after watching the movie, afraid Michael Myers was going to snatch her from the shadows of the backseat.



05. Boris Pickett - The Monster Mash
This song absolute exemplifies Halloween, simply because it's fun whether you're 9 years old, or 90. It's also great background music for a haunted house. I vividly remember fearfully walking through the local haunted house situated in my hometown's firehouse as this song blared at 11 in my ears.



04. Sheb Wooley - Purple People Eater
This one has to be on everyone's Halloween playlists. I first heared it when I was a wee little thing, as it was my favorite part of a 'Halloween For Kids' cassette tape (yes, cassette tape) my mother bought for me.



03. Ray Parker JR - Ghostbusters (Theme Song)
Considering my favorite television show on television is "Supernatural" and I'm an ardent nerd considering all things 'Saturday Night Live', is should come as no surprise to you that I have a very soft spot in my heart for the Ghostbuster boys. If you haven't seen the films, for shameeeee!



02. (While Marilyn Manson's cover isn't shabby, I gotta give it to) Danny Elfman/The Nightmare Before Christmas - This Is Halloween
The stop-motion animated film brought to us from the creepy mind of Tim Burton also premiered in 1993. I vividly remember being completely creeped out by so much of it, but at the same time, totally fixated. It's basically a scary musical with a heart, as Jack Skellington, a popular fixture in HalloweenTown, stumbles upon ChristmasTown and is bemused and intrigued. It works well as both a Halloween and a Christmas tradition. And with a soundtrack by Danny Elfman, you really can't go wrong.



01. (You knew this was coming, right?) Michael Jackson - Thriller
His sad passing this past year aside, MJ's "Thriller" is the ultimate of scary music videos, and set the tone and raised the bar for all 'Halloween' videos since then. Watch and learn from the master. May you rest in peace, sir.

[WGO] Nuggets of News & More

As I stated yesterday, I was away for a week and it feels like a year in terms of pertinent music musings. Here is the Cliff Notes version. Things I wish to expand on more will see their own posts throughout the rest of the week.

+ The "Halloween" Hot 100 Top 10:
1. Jay Sean - Down (feat. Lil Wayne)
2. Jason DeRulo - Whatcha Say
3. Miley Cyrus - Party In the USA
4. Jay-Z - Run This Town (feat. Rihanna & Kanye West)
5. Britney Spears - 3
6. Lady Gaga - Paparazzi (AIRPLAY GAINER)
7. Owl City - Fireflies
8. Black Eyed Peas - I Gotta Feeling
9. Black Eyed Peas - Meet Me Halfway (DIGITAL GAINER)
10. Taylor Swift - You Belong With Me

+ While Jay Sean's "Down" has recaptured the #1 on spot away from Ms. Britney's "3" this past week, the Black Eyed Peas are aiming to have a third #1 off of The E.N.D. "Meet Me Halfway" bounced into the Top 10 this past week at #9, back to back with former ruler of the #1 spot with an iron fist, "I Gotta Feeling" at #8. And if you're like me, and have been watching Major League Baseball over the past few days, you've probably seen their DirectTV whoring to the tune of the song a down-right irritating amount of times. It's not that I'm suddenly against the fact that 2009 is clearly the Year of the Peas, it's just that whenever an artist/album completely dominates, the media tends to forget about all the other great records that come out. The weird thing is, it's not like the BEP are all over the television or concert stages. Which is why the chart provalence leaves me kind of scratching my head. Plus, I'm bitter that "Rock That Body" or "Missing You" wasn't chosen over the (IMO) somewhat snooze-y "Halfway." ::sigh:: In my opinion, it's only a matter of time before Miley or Jason DeRulo also rule the top spot.

+ Many tracks from many major artists have seen some leakage as of late, but I gotta throw it to Lady Gaga. Her The Fame re-release, slated for release in late November, is clearly going to be monster in-deed. "Bad Romance" may be "Poker Face," (Part 2), and the "muh muh" bits may be a bit like beating a dead horse in terms of Gaga-isms, but I think it will not surprise you that this has seen a ridiculous amount of plays on my iPod since word of it's leak was announced. Ditto that to fellow new track (and potential single) "Alejandro (Don't Call My Name)". The song has sparked an Ace of Base revival within me that makes me nostaglic for my single digit years when pop was completely guilt-less. I saw the sign, indeed.

+ Gagaliciousness aside, the other big release this past week was the world premiere of Rihanna's 'comeback' single "Russian Roulette", the dark, haunting debut single from her upcoming album Rated R, due for release the same date as Gaga's re-release. From go, it's very apparent it's one of those songs that you either love or loathe upon first listen, but I'm kind of in the middle. Sure, it's gorgeous in it's eagerness to prove Rihanna is more than a pretty face (which seems a bit strange to me, considering the fact she didn't write the thing, Ne-Yo did), but the lyrics seem a bit callous considering her February fallout with Chris Brown. I suppose that was the intended perception, so this is to prove Rihanna is still healing, but still capable of hitting her viewers between the eyes. Should this be the case, I say touche to her and Def Jam, but speaking from a music critic's perspective, I'm more than a little disappointing. After the incredibleness that was "Disturbia" (the song was #2 on my list of Top 28 Songs of 2008, so I'm rather partial to it), and the general epicness that was Good Girl Gone Bad, I'm starting to find "Russian Roulette" a supreme gamble in itself. It doesn't sound like a first single, especially not from someone who is known for her upbeat material. I'm not ruling her out by any means, and given the current industry custom of spinning "buzz singles" first, we may all be thrown for a loop by how Rated R will turn out. But as for "Roulette", let's just say I'm bemused. That's a good way to put it. I'm sure it will be a "grower" and all that, but...::sigh::

+ On a Side Note: a sad part of me likes to hold grudges against celebrities that I don't even know, so I really didn't want to even listen to Chris Brown's new buzz single, "I Can Transform Ya" (featuring the ridiculously ubiquitous and now the potentially soon-to-be-incarcarated Lil Wayne). But I did, and I have to admit I'm hooked. So perhaps, I can get over myself and listen to him again. I've been a fan since "Run It", but I doubt I'll ever truly forgive what he's done, not necessarily because I'm a Rihanna fan, but because I'm a woman. Still, the song is hot. It's nothing new, but it's certainly more fun to listen to than "Russian Roulette".

+ My new absolute favorite UK trio, Red Blooded Women, have unleashed upon the world a brand new single in addition to their lovely spruced up MySpace page. It's called "Halo", and if you're expecting some kind of Ryan Tedder mid-tempo ballad anthem, you can sit the eff down. "Halo" is absolutely everything that I love about the UK electro market right now, and if this doesn't lead to the big things that these sweethearts deserve, I don't really know what does. Fingers crossed this will lead to a full album release very soon. ::stamps foot::

+ Speaking of albums that are long overdue, Simon Curtis has taken to his Twitter to announce he's hard at work with longtime collaborator (and former producer extraordinaire for my lovelies in the former Candy Coated Chaos) Jadion to whip up a brand new album's worth of tracks that should see imminent release. In fact, he's feeling so generous that once his Twitter reaches 6,000 followers, he will release his new single, "Delusional", for free. So spread the word, Melismatic-ites...

+ I'm really starting to get into lil miss Livvi Franc. Enough said.

+ 'Glee' has become so omnipresent, it's starting to scare me. As Paul so elocuently put it, it's kind of becoming the Lady Gaga of new American television. Billboard recently announced it has tied the juggarnaut that is 'Hannah Montana' in terms of Hot 100 chart entries this past year, the cast is slated to sing the National Anthem during one of the World Series games, a soundtrack album will be dropping before year's end, and word is starting to circulate that the cast may be featured on a major venue, multi-city tour in 2010. My head is starting to spin at the possibilities.

+ I've listened to Shakira and Dragonette's new records, and adore what I hear. I've also listened to most to Selena Gomez & The Scene's album and am surprisingly semi-impressed by the material. I've yet to listen to Alexandra Burke or Cheryl Cole's records, but I promise to do so...at some point. Word seems to be quite mixed regarding those two depending on who I talk to, so...we will see.

Playing Ketchup

::sigh:: This is what happens when you take an unexpected and unwanted hiatus. Quite literally, everything happens. Work has got me running crazy and made me slightly insomniatic, but considering the end of October is in my sights, it may end up easing up a bit...and by a bit, I mean my job may end up ending entirely. Which I suppose is good for my blogging career, but not so great income-wise. I digress, however. Keep your fingers crossed and me in your thoughts -- the next few weeks will be make-or-break, and I really hope will lead to good things.

As for what's been up since my last post...

+ I spent my two days off throwing myself at my two favorite tourist attraction options here in New York City: talk show tapings and Broadway. I indulged myself with friends, attending the Wednesday (the 21st) taping of "The View" (which featured Glenn Close and two fellas from that new show "Modern Family") as guests, and this past Friday's show of "The Wendy Williams" program, whose main attraction featured a performance by Mario. I'm not really much of a fan of his beyond "Let Me Love You", but however, after meeting him in person, I'm here to tell you he's much more than an Usher-wannabe that I sort of pegged him as (although, his ears are really rather large...). He was very sweet, and since the taping was not live, he spent his downtime in between the two takes of his one performance interacting with the audience. I was in the front row, and he came over to me and I mentioned how I liked "Love You", and he smiled and sang a little bit of the chorus while holding my hand. I have to admit it made me swoon a little bit, and then I was back to my senses. Even though I could care less about that "Break Up" song, he gained some of my respect that day...

+ As for my foray in to the Great White Way, we went and saw Oleanna, an intermission-less drama starring Bill Pullman and Julia Stiles. I must admit, I was more than a little disappointed, and completely bewildered by most of the production, but it was worth admission to see Ms. Stiles up close. While waiting to get in to the theatre, my dear friend and I saw Marcia Gay Harden and James Gandolfini (of the show Gods of Carnage) and Hugh Jackman (of A Steady Rain) walking in through the cast door, as both of the shows are housed in theatres adjacent to that of Oleanna's. I didn't score any pictures or autographs, but I am here to tell you that Mr. Jackman didn't get that "Sexiest Man Alive" title for nothing. Just saying.

+ To punctuate how ridiculously busy my two days off were, I also attended the Paramore concert at the Hammerstein Ballroom this past Wednesday, a part of their 'brand new eyes' tour in support of their new album of the same name. The show was opened by Fueled By Ramen labelmate The Swellers and friends Paper Route, both of which were enjoyable in their own way. I would have enjoyed Paper Route more, but their bass was far too loud, and considering I was on the floor level, the body-shuddering rumble was a bit much to handle.

When Paramore finally came on stage after a series of issues with their backdrop curtain and various mic tests, the crowd intensity was phenomenal, and completely unlike anything I've experienced since my *NSYNC days of yore. The screaming was fever pitch, and the pushing was just more than I could take. Considering everyone was around my height (around 5' to 5'4), the air became stale quickly, and the constant and careless pushing of tweenage girls by you to get air by the side grate got old almost instantly. By the time Paramore got to their fourth song, my friends and I had decided we were too old for this ridiculousness, and pushed back several feet so we could have some free and lusious oxygen.

Other than that, the concert was very enjoyable. "That What's You Get" included some guitar wailing by Mr. Kirk Hammett, formerly of Metallica glory. Paramore frontwoman Hayley Williams sounded incredible, despite her much touted voice issues over the past few weeks (which has resulted in MTV alleging their tour is "cursed" -- silly them). I was particularly struck during their performance of my favorite track from brand new eyes, "Looking Up". All of Paramore are clearly natural-born performers and put on a great show. If they come to your town, you should definitely make the trek. My only complaint was my overall favorite Paramore song, "CrushCrushCrush" (or as I like to affectionately refer to it: "Crush 3X"), came and went with little fanfare and a fairly strange and foriegn-sounding arrangement that is much sharper and brighter than the album cut. Weird. ::shrugs::

+ And finally, my interview conducted with the lovely Pop+Nation and the incredible (and criminally underrepresented on Melismatic) Monet Monico is now available for your reading pleasure here. I think you'll find her highly enjoyable. A post more detailed with musical ramblings will go live soon. But in the case that I disappear from the blog for more than a few days again (and yes, I know it will happen), keep an eye to my Twitter.

Janet Prepares A New Hits Package

...and I am beyond psyched.

Yes, I suppose as a Janet Jackson fan, a "greatest hits" package shouldn't make me that excited, considering I am already familiar with all of the tracks, but I can't help but be reminded of just how much Ms. Jackson has achieved in her many years in the pop market. Her brother may be the quintessential King of Pop, and perhaps Madonna is the official Queen, but to call Janet anything less than the worthy Dutchess of Pop would be a great misnomer.

Simply reading the tracklisting of this upcoming hits package, appropriately dubbed Number Ones when it will be released in the US this November (a nod to Michael's hits package of the same name), is both a walk down memory lane and a firm reminder of just how talented and versatile a musician she really is.

It is also a firm reminder of just how lovely her latest track, "Make Me", produced by the legendary Rodney "Darkchild" Jerkins himself, is to the ear: as it's a great sum-up of what makes Janet incredible. She's soft, she's hard, she's rough, she's sensative, she's electro, she's r&B, she's midtempo, she's uptempo, she's everything in between. And no one can do it like Ms. Nasty can.

The two disc set will include all of my Janet faves, and I urge all of you who are even a little bit unfamiliar with her material to take some time to digest this set when it is released. I'm sure you'll find at the very least at least five songs you find enjoyable, as Janet has a little bit for everyone.

Tracklisting as reported by Billboard Magazine is set to be:

DISC ONE:
1. What Have You Done For Me Lately*
2. Nasty*
3. When I Think Of You
4. Control*
5. Let's Wait Awhile [Single Remix Version]
6. The Pleasure Principle
7. Diamonds - HERB ALPERT with JANET JACKSON
8. Miss You Much*
9. Rhythm Nation*
10. Escapade
11. Alright [7" Video Version w/Rap]
12. Come Back To Me
13. Black Cat [Video Mix/Short Solo Single Version]
14. Love Will Never Do (Without You)
15. The Best Things In Life Are Free- LUTHER VANDROSS and JANET JACKSON with special guests BBD and RALPH TRESVANT
16. That's The Way Love Goes*

DISC TWO:
1. If
2. Again*
3. Because Of Love
4. Any Time, Any Place
5. Scream* - MICHAEL JACKSON & JANET JACKSON
6. Runaway*
7. Got 'Til It's Gone - Featuring Q-TIP and JONI MITCHELL
8. Together Again
9. I Get Lonely - JANET featuring BLACKSTREET
10. Go Deep*
11. What's It Gonna Be?! - BUSTA RHYMES featuring JANET
12. Doesn't Really Matter
13. All For You Video [Single Mix]
14. Someone To Call My Lover
15. All Nite (Don't Stop)*
16. Call On Me - JANET with NELLY
17. Feedback*
18. Make Me

Songs marked with an * are among Mel's absolute favorites.

Mmmm...WHAT, You Say?

I'm kind of at a loss. I'm annoyed, but somehow, I'm also oddly intrigued.

20-year-old Jason DeRulo is the latest of the annual list of left-fielders which somehow score a sneak attack Top 20 hit with their debut single. His hit has him currently sitting at #4 on the latest Billboard chart (just below Britney's new #1 "3", Jay Sean's former #1 "Down" and Miley Cyrus' "Party In the USA"), and not unlike Mr. Sean, it's one of those songs that kind of crept up on you, and before you even knew which way was up, he was all over your radio.

His success, in my mind at the very least, stems from the fact that his single, "Whatcha Say", features a heavy sample of Imogen Heap's arguably most mainstream song, 2005 single "Hide And Seek", during the chorus. I'm unsure if it's a direct lift from Heap's track, or if it's a re-recording, as it does sound a bit higher in pitch and sped-up than the original.

For those of you who are a bit unfamiliar with Ms. Heap's work, the song seems to be best associated with a wayward (and more than little ridiculous) "Saturday Night Live" digital short featuring Andy Samberg, Bill Hader and Shia LaBeouf, randomly shooting each other to the tune of the song, in an apparant mockery of an episode of "The OC." The sketch became a viral sensation almost immediately after its airing in 2007, and helped propel Samberg and his writing group The Lonely Island to new levels of comedic notoriety.

What leaves me scratching my head regarding "Whatcha Say" is the fact that Heap was vehemently against "Hide and Seek" being used in the 'Saturday Night Live' sketch, so much so that the show didn't end up getting proper clearing, so the sketch had to be eliminated from future broadcasts, yet has agreed to have it be used by this sort of nameless up and comer. It's arguable to state this young gun has a formidable list of songwriting credits to his name in the urban/hip hop community, but the only one I'm particularly familiar with was the only decent song recorded by "Making the Band" product Donnie Klang (the lyrically perverse, but ridiculously catchy "Dr. Love").

Apparently, DeRulo originally wrote the song with the intention to give it to fellow JR Rotem protege Sean Kingston, and once you hear that, the sonic connection becomes almost blatantly obvious. Given the fact that I'm such a fan of that Imogen Heap song itself, I feel kind of cheated with this new rehashing, which takes such an original and haunting track and turns it into the urban staple of the week. However, "Whatcha Say"s success is somewhat solidified at this point -- it even has a fairly solid chance of hitting #1 on the Hot 100 given it's upswing in radio spins and its steady climb in downloads. It debuted on the chart just inside the Top 60 at the end of August, and is already charttopper bound.

I suppose it's the music snob in me, but I find the public appeal of "Whatcha Say" fascinating, considering "Hide & Seek" itself saw such a lacking in terms of a mainstream embrace. What's worse in my eyes is the fact that so many people now don't even know it's a sample at all, and that is the ultimate of insults, considering the chorus is the only really interesting and unique part of "Whatcha Say" anyhow.

Don't get me wrong -- I'm all for a clever sampling of a good song that didn't get the respect it deserved in the pop market. However, completely cutting and pasting the entire chorus into your song, and then passing the final product off as your own, without any formal acknowledgment is not just lazy, it's disrespectful.

As turned off as I am by the use of "Hide and Seek", I've decided to play Devil's Advocate with myself in the fact that at least Jason has a wide and surprising taste in music. Billboard Magazine has reported that his album, due out in early 2010, will feature co-writes with Claude Kelly (who most recently brought us Miley Cyrus' "Party In the USA") and more samples, including The Verve's "Bittersweet Symphony."

Touche, Jason DeRulo. You have my interest peaked. For now.

Such A 'WordShaker'

Oh, my Saturdays. The internal buildup and self-made hype I've created for The Saturdays sophomore disc, Wordshaker, was downright extraordinary, to the point that if I was even a little let down, I would be terribly depressed. Considering we have no Girls Aloud album to look forward to for quite some time, the Sugababes have all but disintegrated in my eyes, and my beloved Candy Coated Chaos have gone their separate ways, my Satz are all I have to look forward to in terms of girlicious electro-pop. And I'm here to tell you, in my humble opinion, Wordshaker doesn't disappoint.

While Chasing Lights had downright classic moments ("Up!", "If This Is Love", "Work", "Lies"), Wordshaker's track lineup is literally like the Yankees: it's a complete set of allstars.

So many blogger friends of mine, whose opinion I very much respect, have found this record someone lackluster, and my response to this is: give it time. Let it take you over. It may not be the instant gratification that was Chasing Lights, it's true, but overall, Wordshaker proves itself to be much more sonically cohesive. The more time I spend with it, the more I feel that this new, more mature version of the Satz is the direction they wanted to be at go -- away from their relation to Fascination Records/Girls Aloud and their color-coded outfits -- to be taken seriously as legitimate pop stars.

It's hard to review a record that you are so over-the-top in love with. The only track I'm having a bit of trouble fully embracing is "Here Standing", because if I wanted to hear "No Air", I'd play it myself. That note aside, the rest of the set is completely killer. So, in an attempt to save time, here's some superlatives:

Most Unexpected: The lyrical content for "Open Up" is downright comical (in a good way) and puts a fresh spin on the girl group cliche of kicking your man out for staying out too late.

Most Familiar: Does "Denial" sound very similar to "Lies" from Chasing Lights to anyone else or is it just me?

Most Repetative: "One Shot". Perhaps that's why it's so catchy? A sick part of me wants to see it be remixed together with electro swirliness with the Danity Kane track of the same name.

Most Relatable: "Lose Control." I don't really buy that any of the beautiful Satz were not "the hot girl"[s], "the not your type girl"[s]. But when I hear this song, I truly feel like my dream of being the sixth Saturday isn't so silly. In a nutshell: the lyrics represent yours truly. To a T.

Most Improved: Miss Mollie in "Deeper". Go on, girl. Rock your yellow outfit and sing.

Mel's Fave From Go: "Not Good Enough". It was on my list of the Best Songs of 2008 when it was leaked as b-side material from Chasing Lights last year. I realize this may make people feel like it's a "waste" or "filler" track, but if you think that, you have some re-organizing to do in your life. Either that, or just don't bring it up to me. You will lose that debate. Period.

Mel's Current Fave: "Wordshaker". I just can't get that effing chorus out of my head, no matter how hard I try, and when it's coupled with that gritty, fuzzy synth, I'm so far hooked, it's not even funny. I'm totally going to add 'wordshaker' to my regular vocabulary. I feel this is probably a better transition track from old era Satz to new era Satz than "Forever Is Over", but...maybe that's the reason they named the album that? Hmmm. I'm guessing that it will probably beat out the lovely first single (a track for which my love has already been documented), however, to be on my 'Best of 2009' list. Single, please?

While the entire disc is full of potential singles for different territories, my ultimate hopes for singles are: "Wordshaker", "Ego", "Lose Control" and "No One." ::crosses fingers:: I got my wish with Chasing Lights's "Work" (despite the fact that it totally didn't do for the girls what it should have chartwise). In fact, I personally feel "Wordshaker" would make an excellent transition track for the American markets. Who's with me?

Blake Lewis: Be It Love Or Torture, Please Don't Stop

Since I don't like to review things without truly digesting them first, I'm trying to take my time with the plethora of new albums currently on the market. Of course, this doesn't bode well for my column, but given this job climate, beggars can't be choosers, and my real life must take precedence over my virtual one (sadly). With that said, I hope to complete more of these sort-of album reviews throughout the week given this week I actually have semi-normal hours and am not turning nocturnal like I was last week.

First on the chopping block: Blake Lewis and his sophomore effort, Heartbreak On Vinyl. (And can I just say, I've been less than enthused by cover artwork for most releases for the past few months, but this one really hit the hammer on the head. Gorgeous.)

My unexpected love affair with Blake Lewis has been well documented on this blog. I've also made no secret of the fact that during Season Six of "American Idol", I was more rooting for Chris Richardson and Melinda Doolittle than for Mr. Lewis. However, of all of the contestants in the running from Season Six (Jordin Sparks included), Blake has emerged as my personal favorite as of late. (Personal Note: I wish Chris Rich would hurry up with his tracks and just put out an album already, independently if he has to, before people forget he even exists more than they already have...)

While Blake's debut foray into pop, A.D.D. (Audio Day Dream), had so many stand out tracks ("End of the World", "She's Makin' Me Lose It", "Gots to Get Her", "Surrender", immediately come to mind) that never became singles (even though they could/should have), I personally feel that Heartbreak lacks that initial excitement.

It's for this reason that upon my first few spins, I've found Heartbreak on the whole a bit of a ridiculous let-down. With time, I've warmed up to it a bit, but even now, much of it starts to blend together (which, arguably, means its cohesive as an album set, something that is somewhat rare of the genre these days, but in Blake's case, that isn't something I'm pleased about). All of it is ear-arresting and fun to listen to, sure (given you like dancey music, of course), but few of the songs stand out to me as potential singles/favorites, beside "Sad Song", "Heartbreak", and my strategical third single guess, the final track (and rather saucy) "Love Or Torture (Please Don't Stop)".

"Love And Torture" is currently fighting the album's title track for my favorite from the set. It's so punchy and synthy and grandiose and swirly. Imagine my surprise (read: one of those situations where you really love a song upon first listen, and when you find out who wrote it, you immediately respond, "Well, that explains it.") when I realized it was co-written by OneRepublic's Ryan Tedder (who also contributed a few tracks to A.D.D.). Hence my gut feeling it may end up being spun out as a single. Tedder did co-write the underwhelming "Break Anotha" after all, but then again, he also co-wrote "Surrender" and "End of the World" which didn't get the attention they deserved.

So much of the middle of the set doesn't exactly have me sitting on the edge of my seat. This isn't to say it's an awful album -- quite the contrary. I do feel that this is the type of music Blake probably should have done all along, and given that he now no longer has major label/Simon Cowell album constraints, his free reign is quite noticeable. The lyrics featured throughout are all imaginative and praise-worthy. My main complaint that while virtually all of A.D.D. was so instantly exciting, singable and standout (like the mixtape concept idea he was going for) so much of Heartbreak runs together a little too well.

To put it plainly, this record does not carry many tracks that immediately require singular search-and-find on a lonely day. It's more of a listen to all-of-the-album-at-once kind of thing. Blake Lewis is still a creative genius, and will continue to be underrated.

With all that said, my love for "Heartbreak on Vinyl", the song, will never ever be compromised, and "Sad Song" still sounds amazing blaring out yo' speakers. "The Remedy" is fun, and "Rhythm of My Heart" is too. I could do without the obligatory beatbox vignette, but he is kind of known as "the beat box guy" to so many AI fans, so who am I to judge on that? Overall, the set is a grower. While initial spins had me more than a little dissapointed, I've come to appreciate it for what it is: a strong dance album. If you're looking to cherry pick tracks, however, this one might not be for you (and in that case, I suggest A.D.D.).

[WGO] This I Not A Drill: BEP Goes "Down".

My dear friends in American Hot 100 chart watching, it's time to wake up. We have a new number one in the United States.

No, I'm not joking.

After 14 weeks of the Black Eyed Peas' David Guetta-produced "I Gotta Feeling" (and 12 more of BEP's "Boom Boom Pow" before that), we finally have a major change-up in the Hot 100 Top Ten.

So who's the lucky duck who finally managed to push "I Gotta Feeling" to not #2, not #3, but #5? Miley Cyrus? Jay-Z? Lady Gaga?

Nope. It's all thanks to Jay Sean, and his Lil Wayne aided "Down". If you're surprised, you're not alone in that camp. As much as I find Jay Sean endearing, and his success in America overdue, I'm surprised that it was "Down" that took...err, down the Black Eyed Peas. And my Spidey-Senses are tingling that it probably won't last at the #1 position for very long...

Jay Sean is another protege of the Cash Money label collective, which also plays house to Drake, Lil Wayne, Birdman and my beloved T Lopez, as well as (as of August this past year) Bow Wow. "Down" is his first real foray into the American market, and is the lead single from his third overall album, the forthcoming All Or Nothing (Anyone else channeling an O-Town nostaglia when hearing that title? No? Just me...okay.). I was quite partial to "Tonight" and all of its various remixes, and for that reason, I find the choice of "Down" as debut American single a bit anticlimatic. But I suppose that's just me...

Somewhere, Colby O'Donis is supremely pissed off. Anywho...

Still, I think we can all agree that the Black Eyed Peas take-over lasted a bit too long. I'm only now letting "Boom Boom Pow" actually play out when it comes up on my iTunes when I put it on Party Shuffle. I fear I may have lost my appettite for "Feeling" for a very long time...

But, in other news, this opens back up the excitement of who might actually capture the #1 spot, and give us a few fresh #1's to put in the record books before 2009 closes on us. (Refresher -- our list of 2009 #1s includes: "Single Ladies (Put A Ring On It)", "Just Dance", "My Life Would Suck Without You", "Crack A Bottle", "Right Round", "Poker Face" and the aforementioned BEP singles.)

In other surprise news, Babs Streisand and her new record Love Is the Answer managed to best the new Paramore and Mariah Carey records, which landed at #2 and #3 respectively on this week's Billboard Top 200 Album Chart.

Guess this week is chock full of surprises, eh?

INTERVIEW: Lorelei Carlson

Thanks to my lovely gig working as an interviewer at Pop-Nation, I got the chance to ask an incredible up-and-comer, Lorelei Carlson, some questions. The girl is tremendously talented, but what I like most about her is her real and frank personality. There are no smoke and mirrors with her -- she tells it how it is, and writes lyrics that are both popalicious but still introspective. I may have found my new not-so-guilty pleasure! Thanks to Lorelei for her time, and as always, thanks to Ms. beE! :) Check out Lorelei online for yourself, via her Myspace, Official site, or Twitter.

You have lived a very international lifestyle growing up, and have stated that your exposure to various cultures has had supreme influence on you musically. Where you have you lived growing up?
I've lived in Mexico, Australia, Peru, The United States (Northern Virginia + Philadelphia), Colombia, Switzerland and Chile.

Your music runs the gamut in terms of style from uptempo pop to raw emotional ballads. What song that you've written so far means the most to you personally?
Honestly, I think my most personal songs haven't been recorded yet. I plan to hopefully release them in the near future when I have the funds! :)

You have a very versatile and multifaceted sound that lends itself to songs of all kinds of genres, and you clearly enjoy experimenting. Would you say your spectrum of genres is showing off the different sides of your personality?
Of course. I'm glad you pointed that out. Everyone has multiple personalities or "alter-egos", if you will. It all has to do with emotions and mental states. Each song I've written was created with a different state of mind...different periods in my life. I have an array of influences as well and that takes a big toll on my artistry, but it facilitates my expression. It would be awfully boring if all my music sounded the same.

Your songwriting is very honest and deep, something that is incredibly lacking for the most part in commercial pop -- striving for catchiness AND lyrical meaning. What is your writing process like? Do you create lyrics first and then melody or vice-versa?
It can go both ways. It happens pretty organically, but I think my thought process relies on having a melody first and foremost. From then on I can usually construct lyrics to fit around it. I usually have to be motivated by the chords of the song and mood it transpires.

Do you write mostly from personal experiences?
Yes and no. Sometimes I will write from other people's experience or a concocted story.

Your song "Unsigned" puts out a very bold statement about the current music scene. Would you call this an overall mantra for your career, or a reaction to personal experiences?
Well...It's both. I mainly just wanted to create awarness about what the independant artist goes through sometimes. Of course it's drawn from my own personal experience, but also for my desire and need for success. That is something everyone can relate to, regardless of whether you're a musician or not. Above all, this song (although passionate and sympathetic) was meant to be sarcastic and funny at the same time. Kind of like dark comedy.

Are you in pursuit of a major/indie record deal or do you feel you are best suited as an unsigned musician? What are your thoughts on the unsigned vs. signed artist debate?
Being unsigned is a joke. Unless you have the funds to finance an entire album, marketing campaign, promotion, tour, etc. then I'd say you're better off that way. But 90% of unsigned artists do not have this fortune. It's a battle between ramen noodle soup for lunch or studio money. Nonetheless, everything has it's pro's and con's. You get to keep the rights to all your songs and royalties....BUT there are no royalties if you're not selling. Which brings us back to funding and hence...the label. It's all quite political. As for me, I'd LOVE to ultimately be signed by a major label.

As an unsigned artist, do you feel now (as in 2009) it is easier or harder to "break in"?
I think it will always be hard regardless of the decade, especially because pop music is so commercialized. But with the internet boom, every band, singer and rapper has a Myspace, so it's almost become mediocre to be an "artist." Now you're competing with every person on your block, not just the ones on the radio. Heck, back in the nineties, Britney Spears' demo tape could consist of a Whitney Houston karaoke cassette and get her signed to Jive Records. Now a days, you have to have the entire package cut and dry before you can at all consider shopping it. There's no such thing as "development" anymore, since record labels don't want to spend the money on that.

What do you feel is the biggest problem with the music industry as is today?
The biggest problem with the music industry today is that I'm not signed yet.

You list an incredibly varied array of musical influences, from Christina Aguilera to Marilyn Manson to John Lennon. If you could cover any song by these three artists and give it your own flair, what would it be?
Gosh, any Christina song would make me happy. Although I'm afraid I couldn't do her voice justice. I'd love to cover "Working Class Hero" or "Imagine" by John Lennon. And as for Marilyn, probably "The nobodies".

Given the fact that you are fluent, do you have any plans to record in Spanish?
I've recorded a bilingual track that includes an English verse and a Spanish verse, but the project was put on an indefinite hiatus. I'd love to record a Spanish album in the future though.

Your 2007 demo release, "Without You", was produced by Phil Nicolo. How did you meet him, and what was the process like?
I was introduced to him through my then-manager. It was a new and interesting process from which I learned a lot!

What's one random tidbit about your personality that most of your fans wouldn't know?
I'm absolutely paranoid about everything imaginable. I'll leave it at that, as I don't want to freak anybody out.

Thank you POP Nation for your support -- Lorelei

Gettin' Down With Brit's "3"

I've said it before. I have such a love/hate relationship for Ms. Britney Spears and her virgin/whore marketing ploys (yes, it's a real scheme, and if you haven't heard of it, I suggest you look it up. We actually studied it in my Music Publicity and Commerce class in college, using Ms. Spears as a case subject. No joke.) To put it simply: "Baby One More Time, "Oops I Did It Again", "Stronger", "Toxic", "Everytime", "Circus" and "Toxic" (and now "3") are featured in my iTunes...but other than that....

But there's just something about a sweet beat and some risque and ridiculous lyrics written by the pop God that is Max Martin that just leads to a good time, no matter who sings it, and there is no denying that Brit is truly the Queen of this type of thing. For our generation, anyway.

If you thought "If U Seek Amy" was too hot to handle, I've got news: Brit (or at least the people who help her choose material/write the actual material/etc.) and her lesbian one-night-stand exploits are so 2009. Err, early 2009, anyway.

Now, it's all about the oft-referred-but-hardly-ever-in-pop-music ménage à trois, also known as a sexual exploit with not one other person but two other people, as cleverly (read: not really) hidden in the lyrics to her new single, "3", off of her upcoming "Greatest Hits" package.

(NOTE: As Paul stated, didn't she just release a "Greatest Hits" like...two years ago? Hmm. Some people at Jive Records must be hurting for X-Mas bonuses or something, considering Chris Brown is struggling to return to his sweet kid next door act and Justin Timberlake hasn't released a proper record since '06.)

The lyrical content is not the reason why I like "3". In fact, its the lyrics that make me kind of want to crawl into a corner and listen to the song on blast in my headphones rather than rock out in the open, because they are borderline ridiculous and at times completely bewildering. Case in point:

• "3P" --> What the kids call a three-some. Apparently? (Insert Mel's confused face here. I clearly don't go to the right parties...or something.)
  
  
• "Twister on the Floor" --> Yeah, I can never play that game ever again. Thanks.
  
  
• "Living in Sin is the New Thing" --> I don't really think it's that new, to be honest.
  
  
• And of course, "Peter, Paul & Mary" --> (or, as I first heard it, "Peter, Paul & McGhee"...haha) problem referring to it being two chicos with her in her "3". I'm guessing it's also a tongue-in-cheek reference to the Biblical characters, seeing as this is the epitome of "not that innocent" behavior. Or, as Poster Girl suggested to me, perhaps it's a reference to the folk singing group Peter Paul and Mary, which in that case is probably some kind of drug reference ("Puff the Magic Dragon", anyone?) or some dirty take on "If I Had A Hammer" (I would hammer in the mornin', I would hammer in the evening...okay...this is just wrong that I'm twisting this song. Wow.) Anyway you look at it, that Max Martin is an interesting creature that likes to confuse us (and I tend to completely overanalyze things). I think we can all agree on that one.

It's the beat, the melody and the pure catchiness of the chorus that got me from go, to the point that a song I wasn't even that psyched to hear suddenly became my most played song of the week so far. Especially that stop-go bit before the chorus launches. Rawr, indeed. As the Los Angeles Times put it, it's pure "production seduction" (Is that not the catchiest description of a pop song you've ever heard? Well maybe not ever, but...Screw 'Melismatic', I wanna rename my blog that. Dang.)