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Archive for May, 2008

Saturday, May 31, 2008

Radiohead to Prince: Hey, that’s OUR song

WASHINGTON (AP) — After word spread that Prince covered Radiohead’s “Creep” at Coachella, the tens of thousands who couldn’t be there ran to YouTube for a peek. Everyone was quickly denied — even Radiohead.

 All videos of Prince’s unique rendition of Radiohead’s early hit were quickly taken down, leaving only a message that his label, NPG Records, had removed the clips, claiming a copyright violation. But the posted videos were shot by fans and, obviously, the song isn’t Prince’s.

In a recent interview, Thom Yorke said he heard about Prince’s performance from a text message and thought it was “hilarious.” Yorke laughed when his bandmate, guitarist Ed O’Brien, said the blocking had prevented him from seeing Prince’s version of their song.

“Really? He’s blocked it?” asked Yorke, who figured it was their song to block or not. “Surely we should block it. Hang on a moment.”

Yorke added: “Well, tell him to unblock it. It’s our … song.”

YouTube prohibits the posting of copyrighted material. If the site receives a complaint from a copyright owner, it will in most cases remove the video(s). Whether the same could be done for a company not holding a copyright is less clear, but Yorke’s argument would seem to bear some credence according to YouTube’s policies. YouTube, which is owned by Google, declined to comment.

Minnesota-grown rock star Prince also did not respond to a request for comment Thursday.

The dispute was an interesting twist in debates over digital ownership, held between two major acts with differing views on music and the Internet. Radiohead famously released their most recent album, “In Rainbows,” as a digital download with optional pricing. They also have a channel on YouTube.

When Prince performed at the Coachella Valley Music and Arts Festival in Indio, California, on April 26, he prohibited the standard arrangement of allowing photographers to shoot near the stage during the first three songs of his set. Instead, he had a camera crew filming his performance.

Prince, who founded NPG Records in 1993, has been innovative when it comes to music distribution, too. He released his 1997 album, “Crystal Ball,” on the Internet and in 2006 was awarded a lifetime achievement award by the Webbys. In 2007, he gave away copies of his disc “Planet Earth” in a British Sunday newspaper.

But the Purple One has also shut down his official Web site and in September of last year said he would sue YouTube and eBay for not filtering unauthorized content.

Prince fans have organized to urge him to relent in his legal fights to control images and photographs of himself. As of Thursday, the most popular YouTube clip about Prince playing “Creep” is an expletive-laden rant from Sam Conti Jr., who describes himself as a “former Prince fan.”

Here is the video of the Coachella performance:

Thursday, May 29, 2008

Kingblind Downloads

Firewater – Electric City

Pretty Good Dance Moves – P.G.D.M.

Butcher the Bar – Leave This Town

The Lodger – The Good Old Days

Steinski – Lesson Three (The History of Hip Hop)

Port O’Brien – Woke Up Today

The Silver Jews – Strange Victory, Strange Defeat

Thee Silver Mt. Zion Memorial Orchestra & Tra-La-La Band: 13 Blues for 13 moons (Album Review)

13 Blues for Thirteen Moons, the fifth full length release from Canada’s favorite post rockers, has “pretentious” written all over it. First of all, the post-Godspeed You! Black Emperor collective have elected to call themselves “Thee Silver Mt. Zion Memorial Orchestra & Tra-La-La Band” this time round, instead of just sticking to “A Silver Mount Zion”, for the sole purpose of pissing the media off. Secondly, the band clutters the start of their album with twelve 5-second tracks of stray noise and sounds that grate the ear rather than welcome. In addition to that, lead singer Efrim Menuck’s increasingly bombastic lyrics lead him into arrogant one-liners such as “YOUR BAND IS BLAND!” and “THE HANGMAN’S GOT A HARD ON!” Every real song stretches to around fifteen minutes, with in your face vocals, repetitive arrangements, and strings that at times sound like they’re included just to boast how “deep” A Silver Mount Zion is.

But 13 Blues For Thirteen Moons makes one thing certain: A Silver Mount Zion can make some pretty kickin’ tunes.

The beginning of 13 Blues suggests a brand new sound for A Silver Mount Zion, one that eschews the vast soundscapes created on their previous records in favor of structure and grit, thus forming a sound light on effect-heavy wanking and strong on actual rock. At the starting gun, A Silver Mount Zion attack with explosive riffs and intricate vocal arrangements. “1,000,000 Died To Make This Sound” kicks off the album with tension filled string plucking and the eerily robotic chanting of the song’s title by the group’s choir before letting all hell break loose with a dynamic cello phrase that, when accompanied with sneering guitar and crash-heavy beats courtesy of new drummer Eric Craven, gives the band some legitimate swagger. The track rages on without stopping, providing fifteen minutes of an unabashed strut. “1,000,000 Died To Make This Sound” hints that 13 Blues for Thirteen Moons won’t be a typical post rock record- that finally, a band with that unfortunate label will make an album with some ***ing attitude. And A Silver Mount Zion delivers. Kinda.

After the consistently climactic- yet never boring- “1,000,000 Died To Make This Sound”, the group, like a man and his comfort lover, starts flirting with their standard noodly, “arty” music. And like that ill-fated relationship, the results are clumsy and awkward at best. This falls largely on the shoulders of leader Efrim Menuck’s increasing confidence (cockiness?) in his vocal talents, which have begun to fall on the irritating side of the unprofessional fence. Both “13 Blues for Thirteen Moons” and “Black Waters Blown/Engine Broke Blues” have Menuck shouting almost tunelessly, the first half of the former containing repeated chants of senseless lyrics like “There’s ravens in the gun trees!” and “I just want some action!” Menuck’s never been shy about his anarchistic political beliefs, weaving his ideals into Silver Mount Zion lyrics since he began writing them, but on “13 Blues For Thirteen Moons”, his attempts at emotion come off sounding contrived and predictable. It’s the right attitude- just the incorrect execution. Menuck rants are impassioned enough, but the bare bones instrumentation leaves him sounding completely alone, leaving one of the few weaknesses of A Silver Mount Zion completely naked, and it’s an ugly sight.

Menuck’s voice, for whatever reason inheriting a more and more Scottish inflection with time, isn’t nearly strong enough to carry a track by itself, a fact made clear when Thee Silver Mount Zion Memorial Orchestra & Tra-La-La Band utilize the reasons for the ridiculous addendums to their name. The group oozes talent, and tracks that take advantage of each of the member’s assets rather than let Menuck bark away prove the best tracks on the album. Moments such as the chaotic, avant garde opening to “Black Waters Blown” or the gorgeous strings/choral apex of “Blindblindblind” highlight the group’s choral and orchestral talents, so obvious on previous albums like This Is Our Punk Rock and He Has Left Us Alone (respectively). When “Black Water Blown” picks up after its flailing introduction minus a Jonny Rotten-esque Menuck, the band lets loose with an anguished, almost bluesy kind of feel before transitioning into the refreshingly pretty “Engine Broke Blues”. Menuck misses the mark again lyrically (”Feathers In your spokes/ Mother*** these weathered yokes”), but the unreserved, genuine passion of his tone makes his stream-of-consciousness writings immaterial. Menuck’s voice is uncomfortably hit or miss on 13 Blues for Thirteen Moons, but when he hits, he can directly cause the most powerful moments on the album.

Before the album’s final piece, 13 Blues For Thirteen Moons comes off angry, bleak, and tense. “Blindblindblind” closes the record with completely different adjectives, however, starting with a sweet delayed guitar riff that wouldn’t sound out of place on a Gregor Samsa record and Menuck coming as close to a croon as he can, saving his voice for the lung stretching climax to come later. The phrase repeats steadily as the orchestration slowly swells, the violins swooning and sighing to match the dejectedness of the lyrics (”Entire fleets of staggering ships/ Now our ships lie in the floors of the ocean And the oceans bleach on the rich”). The song’s key vocal theme begins to enter, the chorus singing “Some hearts are true…” before dropping out completely for a strictly plucked reprise of the chords. Menuck is left alone and delivers this time round, singing, “Sometimes there’s an abandoned baby who claims to help. Powers the province of impotent pricks. There ain’t no arguing. But sometimes there are policemen in parallel lines.” Slowly, the track begins to grow, the crash cymbals coming, the strings hitting their loudest, and the chorus repeating “Some Hearts Are True!” so beautifully, it’s heart-wrenching. It leaves 13 Blues For Thirteen Moons on an optimistic, powerful note, completely contrasting the tension of the album’s prior material. Overall, 13 Blues for Thirteen Moons shows A Silver Mount Zion at their hardest rocking, their most powerful, and their most irritating. Inconsistent? Yeah, a little bit. Yet as the instruments die out, leaving Menuck and the Silver Mount Zion chorus alone to sing the refrain with an ethereal reverence, it’s not implausible to look back on 13 Blues for Thirteen Moons and see it as Silver Mount Zion at their most enjoyable.

Simple Minds’ Original Lineup hit the studio

Simple Minds’ original line-up are to hit the studio this summer for the first time in 27 years.

The group have reformed for live dates to mark the group’s 30-year anniversary, but are now set to record new material from mid-June.

The original members – Brian McGee, Derek Forbes, Mick McNeil, Jim Kerr and Charlie Burchill – are planning to record two new tracks during the sessions.

Further studio work will apparently happen on a ‘Let’s see what happens’ basis.

Referring to the decision to record new material, frontman Jim Kerrsaid: “Of course I am excited with the prospect of working with the original line-up once more.

“The last time we worked together was on our ‘Sons And Fascination/Sister Feelings Call’ album, featuring songs like ‘The American’, ‘Themes For Great Cities’ and ‘Love Song’, and it is still considered by many as among our best ever
work. We have a lot to live up to, but we intend to have some fun
attempting to do just that.”

Simple Minds play:

Manchester MEN Arena (November 27)
Birmingham NEC (28)
London Wembley Arena (29)
Sheffield Arena Tuesday (December 1)
Cardiff International Arena (2)
Glasgow SECC (4)

Wednesday, May 28, 2008

Mudhoney: The Lucky Ones (Album Review)

Public demand be damned, Mudhoney is still here. With The Lucky Ones, the band release their eighth studio album, coming a full two decades after the classic Superfuzz Bigmuff. The Lucky Ones is a lean, punchy affair with almost nary a digression into the sort of dirge-blues nod-offs that have appeared on more recent releases. Instead, the eleven tracks here are tight, raw, and marked by insistent thumping rhythms and taught chunky riffs, laying the groundwork for one of the band’s most straight-ahead rock albums in years.

Indeed, the differences between Lucky Ones and its predecessor, Under a Billion Suns, are palpable. While neither record is particularly upbeat, Lucky Ones isn’t as sprawling (although “We Are Rising” does have its fare share of sprawling ragged glory meanderings); it has a liveliness that adds a nice subtle counterpoint to the band’s trademark spit-and-bile style. “And the Shimmering Light” moves along on a bright melody and bouncy rhythm that cave in to a psych-lite breakdown; all the while Mark Arm delivers an almost life-affirming, believe it or not, lyrical refrain in his cries of “when the sun comes up / there’s no word for how you feel!” That song segues nicely into the rumbling bass and up-and-down rhythms of “The Open Mind,” which, lyrically, hearkens back to the more political moments of Billion Suns (“Here comes another line / with a hook for you to swallow / here comes another lie / designed to get you to follow”); but at under two-and-a-half minutes it’s a pipe bomb rather than a revolutionary mission statement.

Yet, for better or worse (I’d argue better, personally) even when Mudhoney makes distinct aesthetic choices that separate one album from another, they are still the same band through and through. More direct though this album may be compared to other Mudhoney releases, it’s still built on heavy, down-tuned rock riffs, snarling punk vocals, and an overall air of disappointment and dissatisfaction (“The past made no sense / the future looks tense,” shouts Arm on the albums lead-off track “I’m Now”), with knowing winks and nudge-nudge glances still being shot to the astute listener.

Continuing to make records long after an audience writ-large stopped caring, Mudhoney have nestled into a comfortable groove that satisfies long-time fans–maybe picking up the stray younger fan learning about that whole Seattle thing for the first time – and seemingly themselves. What’s truly amazing, though, is that Mudhoney have been doing this for over 20 years, yet so few bands have seen fit to take up the mantel. To a generation of kids coming up, Mudhoney is a classic rock band; one of those groups that was friends with Nirvana. It’s odd to think of them in that light, but if the band’s continued existence is good for one thing it’s that they are proof that an entirely new rock template has emerged, withstood the test of time (almost a quarter of a century in fact), and there for the ripping off. Meet the new boss: he hates his job, he didn’t want the promotion, and he’s out back right now getting stoned.

By Nate Knaebel

‘Banned’ Be Your Own Pet Tracks To See Release

A trio of tracks banned from the domestic edition of Be Your Own Pet’s sophomore album will make their way to U.S. shores next month.

XL plans to release the songs on a mini-EP, “Get Damaged” — a play on the album’s title, “Get Awkward” — due out digitally on June 3 and in stores on June 24 in both CD and 7-inch configurations. The legal department at Universal, which distributes BYOP’s albums, deemed the tunes “Becky,” “Black Hole” and “Blow Yr Mind” too violent for consumption in the U.S., trimming “Get Awkward” from 15 to 12 tracks in the Nashville punk quartet’s homeland.

“The whole thing was just a huge mistake on Universal’s part,” guitarist Jonas Stein said, contending that the lyrics, written by singer Jemina Pearl Abegg, are “tongue in cheek.” “It seems pretty hypocritical for them to not let us put these songs out because our ‘demographic’ is supposedly suburban young teenage girls — who I guess don’t listen to all the vulgar rap Universal releases.

“Unfortunately, this makes the relationship kind of sticky between the band and label,” he continues. “We kinda feel like we got screwed. Every band’s fear of signing with a major label is not getting to release something you recorded because of somebody’s so-called ethical standards.”

BYOP is swallowing its pride in another area, too. The group, which is currently playing with She Wants Revenge on the NYLON tour, has signed on to the Vans Warped Tour from July 9 to Aug. 2, even though Stein says “we usually don’t like to support events like this.” But despite discomfort with the level of sponsorship and some of the bands that have been part of Warped, Stein says he and his bandmates understand the benefits of being part of the tour.

“We were feeling a lot of pressure from people we work with at our label,” Stein acknowledges. “But after hearing some pretty wise words and mentally growing a little bit, we’ve learned that any show is beneficial to a band. It’s not the show that shapes the band, it’s the band that shapes the show.

“So regardless of the big, corporate companies sponsoring (Warped), you’ve got to work within the system to change things for the good,” he continues. “We were very hesitant to be part of it, but regardless of if we’re hated or loved we’re just gonna go out and try to melt some faces when we play.”

Manzarek Eyes Doors Documentary, Other Projects

Marking the 41st anniversary of the release of the Doors’ classic self-titled album are several band-related projects already in shops and on the horizon. Tops on the list is an as-yet-untitled documentary that will chronicle the group’s entire career.

“We have plans for a big Doors documentary film in the works,” Doors keyboardist Ray Manzarek said. “I saw the first cut of it yesterday, and it’s looking real good. But that won’t be out ’til another six months.”

Although Manzarek is keeping a tight lip at the moment on specifics about the documentary, he did confirm that it would feature a large amount of rare footage. “Absolutely — that’s the whole point of it. Never before seen! This is the anti-Oliver Stone [referring to Stone’s 1991 film, ‘The Doors’]. This will be the true story of the Doors.”

Already out is a “Classic Albums” DVD from Eagle Rock that focuses on the Doors’ aforementioned 1967 debut. “Everybody’s there — Densmore, Manzarek, Krieger, Bill Siddons, Bruce Botnick. It’s very insightful,” Manzarek says. Also interviewed for the DVD are longtime Doors fans Henry Rollins and Perry Farrell.

Another just-issued Doors release is the 16-track live CD, “Live in Pittsburgh 1970,” via Rhino. Recorded on May 7, 1970, the album captures the group during its final U.S. tour with late singer Jim Morrison.

Manzarek is getting ready to hit the road for a European tour in July as part of Riders On The Storm, a group that also features ex-Doors guitarist Robbie Krieger (and former Fuel singer Brett Scallions).

The keyboardist also recently issued a collaborative CD with guitarist Roy Rogers, “Ballads Before the Rain,” via Friday Music. “It’s all-instrumental — me playing the piano, and Roy playing some absolutely beautiful guitar. It’s lovemaking music. It’s ‘a glass of white wine as the sun is setting’ kind of music.”

And lastly, Manzarek is working on several movie scripts. “I’ve got four scripts. So what, who doesn’t have four scripts,” he says with a laugh. “I’ve got a film script based on ‘L.A. Woman,’ and another one in which three UCLA film school guys go to the desert to take peyote with the Native Americans at the Native American Church.”

“And they run into the people from the Native American Church — the peyote church,” he continues. “And all the sh*t that happens to them, you can imagine. Out in the desert, rednecks, psychic visions and reincarnation visions. Raymond White Eagle Daniels is the old wise man running the peyote ceremony. And that will of course never be made into a film, because it’s about peyote [laughs]. It’s a journey into manhood.”

Tuesday, May 27, 2008

Grand Archives – A Setting Sun (Live on Late Late Show Video)

New Sigur Ros Album Due In Late June

On the heels of their 2007 live release “Heima,” Icelandic group Sigur Rós is preparing to release its next studio album, “Með suð í eyrum við spilum endalaust.” The album, which translated into English from Icelandic means “With a Buzz in Our Ears We Play Endlessly,” is due June 24 via XL. Fans, however, will have several opportunities to hear the set even earlier.

Opening track “Gobbledigook” will be premiered tonight (May 27) on BBC Radio 1 and will be available for free download on the band’s Web site this afternoon. Customers who pre-order the album beginning June 2 can download it a week ahead of release; the Web site will be streaming the album beginning June 9.

“With a Buzz” was produced by the band and Flood. It marks the first Sigur Ros band has recorded an album outside of Iceland, as the combo rolled tape in New York, London, Havana and its own facilities in Reykjavik.

While the majority of the album features vocalist Jón Thor Birgisson singing in Icelandic, one song includes English lyrics for the first time. The London Oratory Boy’s Choir, string quartet Amiina and a five-piece brass section also contribute.

Here are Sigur Ros’ tour dates:

June 5: Guadalajara, Mexico (Teatro Degollado)
June 7: Tepoztlan, Mexico (Festival La Colmena)
June 8: Tijuana, Mexico (Planeta Tijuana)
Jun 11: Omaha, Neb. (Orpheum Theater)
June 12: Kansas City, Mo. (Uptown Theater)
June 14: Manchester, Tenn. (Bonnaroo Music and Arts Festival)
June 16: New York (Grand Ballroom)
June 20: Neuhausen ob Eck, Germany (Southside Festival)
June 22: Scheesel, Germany (Hurricane Festival)

Friday, May 23, 2008

Radiohead’s ‘eco-friendly’ tour secrets revealed

Liars, who recently supported Radiohead on the first leg of their US tour, have praised the band for taking measures to reduce their carbon footprint as they tour.

The band revealed the lengths to which the band go to minimise emissions and waste created by the process of touring.

Writing on the Liars MySpace blog, the band revealed that they were given tour water flasks to drink from, rather than use disposable cups which are bad for the environment.

They also explained that all the tour buses and trucks used on the tour run on biofuel, and that air freight is banned.

In a gushing blog the band wrote: “In a world full of fear and ripe with insincerity it’s such a relief to have met Radiohead. They are purveyors of truth, beauty and a moral responsibility to the planet.

“We’ve been welcomed with literal open ams and thoroughly schooled on how to function as a band – not just musically, but ethically, too.

“The important thing for us to make clear is just how awe inspiring this production is. We’re not sure if there’s any information made public about the efforts Radiohead go to to reduce their environmental impact, but there should be.”

Phil Spector To Be Re-Tried For Murder

A Los Angeles judge today (May 22) set a September date for pioneering rock producer Phil Spector’s second trial on charges that he murdered actress Lana Clarkson in the foyer of his mock castle in 2003.

Los Angeles Superior Court Judge Larry Fidler ordered Spector to stand trial beginning on Sept. 29 in the high-profile case.

The jury in Spector’s first trial deadlocked 10-2 in favor of a guilty verdict in September 2007, forcing Fidler to declare a mistrial, but prosecutors immediately said they would bring the case again.

Most of Spector’s defense team quit in October, causing delays in the retrial. The new defense team is seeking to have Fidler removed from the case, claiming he is biased against the 68-year-old rock producer.

Clarkson, 40, was found dead of a gunshot to the mouth early on the morning of February 3, 2003, after Spector’s driver called police to say that the record producer had killed someone.

Prosecutors say Spector shot Clarkson while trying to prevent her from leaving. They called a series of witnesses to testify that Spector had a history of brandishing guns at women when he was drunk and said forensic evidence indicated that the Colt Cobra .38 special revolver went off accidentally after he jammed it in Clarkson’s face.

Defense attorneys countered that Clarkson, best known as the star of such B-movies as “Amazon Women on the Moon” and “Barbarian Queen,” had been depressed and may have killed herself.

Spector did not take the witness stand in his own defense. He told a magazine interviewer early on in the case that Clarkson committed suicide for reasons he could not grasp.

After a five-month trial in 2007, the jury deliberated for 12 days before telling the judge that they were hopelessly deadlocked and could not reach a unanimous verdict.
(Dan Whitcomb, Reuters)

Thursday, May 22, 2008

Flaming Lips, Foo’s to salute The Who

NEW YORK (Billboard) – Pearl Jam, the Foo Fighters and the Flaming Lips will pay tribute to the Who during VH1’s “Rock Honors” charity concert in Los Angeles on July 12.

The event, now in its third year, will be held at UCLA’s Pauley Pavilion. Highlights will air on the lifestyle cable network five days later.

The Who, led by sole surviving members guitarist Pete Townshend and singer Roger Daltrey, will also perform during the taping.

Red Hot Chili Peppers disband

Red Hot Chili Peppers have disbanded for at least a year.

Singer Anthony Kiedis has revealed that the band members will step away from music to concentrate on their individual lives.

The singer told Rolling Stone that the band have decided to have no involvement in the band for 12 months after becoming exhausted with their hectic schedule.

The star went on to explain that he will spend more time with his family, while bassist Flea and guitarist John Frusciante are set to work on individual musical projects.

“We’re disbanded for the moment,” he said. “We took a very long time to make the ‘Stadium Arcadium’ record (released in 2006). It was a gruelling, long haul and it followed two other very long hauls, ‘Californication’ (1999) and ‘By the Way’ (2002).

“So we didn’t really stop until the tour ended last year. We were all emotionally and mentally zapped at the end of that run. The discussion was, ‘Let’s not do anything Red Hot Chili Peppers-related for a minimum of one year, and just live and breathe and eat and learn new things.'”

He added: “I’m just home, hanging out with this really cool little kid, learning how to surf. But I’m starting to get just a little bit of a tingle that it would be nice to start thinking about songs and pieces of music. But just pieces.”

Death Cab For Cutie Scores First No. 1 Album

Death Cab For Cutie claims its first No. 1 album as “Narrow Stairs” starts at the top slot on the Billboard 200. The Atlantic set moved 144,000 copies in the U.S., according to Nielsen Soundscan. Death Cab’s prior album, 2005’s “Plans,” debuted at No. 4 with 90,000 and spent 50 weeks on the chart.

Reprise’s retrospective Frank Sinatra collection “Nothing But the Best” bows at No. 2 with 99,000. It’s been nearly 15 years since Old Blue Eyes was this high on the chart. In December 1993, his “Duets” album spent three weeks at No. 2. This new hits collection, which chronicles the legend’s tenure on Reprise Records, also commemorates the tenth anniversary of Sinatra’s passing on May 14, 1998.

Jason Mraz’s Atlantic album “We Sing, We Dance, We Steal Things” enters at No. 3 with 73,000, giving the Warner Music Group and WEA Distribution the top three on the chart for the first time in more than 16 years. “We Sing…” is the singer/songwriter’s new high-water mark on the chart; “Mr. A-Z” topped out at No. 5 in 2005.

Welsh singer Duffy’s A&M/Polydor debut “Rockferry” enters at No. 4 with 71,000. That makes her the third female British newcomer to earn a top 10 debut since the beginning of 2007, joining Amy Winehouse and Leona Lewis. The album’s single “Mercy” has risen to No. 20 thus far on the Adult Top 40 radio chart.

Speaking of Lewis, her Syco/J set “Spirit” climbs 6-5 with 62,000, an 18% slip in sales. Mariah Carey’s Island Def Jam album “E=MC2” flip-flops with it, falling 5-6 with 59,000 (-33%). After becoming his first No. 1 last week, Neil Diamond’s “Home Before Dark” (Columbia) slips to No. 7 with a 63% sales hit at 53,000.

Madonna’s “Hard Candy” (Warner Bros.) continues its decline 3-8 with 53,000 (-43%) and Toby Keith’s double-disc collection “35 Biggest Hits” (Show Dog Nashville) descends 2-9 with 41,000, a 60% sales tumble.

Keith Sweat’s “Just Me” rounds out the top tier, debuting at No. 10 with 37,000. The Keia/Atco/Rhino is Sweat’s first studio album since 2002’s “Rebirth,” which peaked at No. 14 in its opening week.

Rock act 10 Years’ “Division” (Universal Republic) lands at No. 12 with 28,000. Its last set, “The Autumn Effect,” topped out at No. 72 in 2005. Other debuts on The Billboard 200 this week include the Disney soundtrack to “The Chronicles of Narnia: Prince Caspian” at No. 26 with 16,000, Cherish’s “The Truth” (Capitol) at No. 40 with 13,000, Filter’s “Anthems for the Damned” (Pulse) at No. 42, also with 13,000 and Starbucks’ Hear Music compilation “The Second Wave” at No. 43 with 13,000.

Wednesday, May 21, 2008

AUSTIN CITY LIMITS | R.E.M. “Supernatural Superserious”