Some of you might’ve noticed that it has been weeks since my last post. As much as I’d like to blame the Chezzanator for spending my last steam for blogging, it has really come down to much deeper and personal reasons.

I’ve had multiple posts drafted and lined up in the last two weeks but I couldn’t bring myself to finish them.

So it is with great sadness that I finally face the facts and announce a break from Feed Limmy.

Much love to the subscribers, commenters and friends on Twitter/Facebook, and my comrades in the pop music blogosphere who have supported me and embraced me at any point along the way.

It was a pleasure being considered part of the game.

Who knows, I might fire this up again with renewed passion after my holiday in July.

But if there’s one thing I can share, it’s that, if you’ve been so committed to a particular passion for so many years – there comes a time where you need to force yourself to explore other options.

For instance, I’ve been pursuing pop music bloggestry (as Feed Limmy) for over two years, been making radio for five years, and stood firm as a J.Lo apologiser for over 10 years.

My writing has evolved for the better throughout the life span of Feed Limmy thus far and I’ll always be proud to call this my shit.

So here’s to the future. Love and kisses like the Dannii single!

Limoncé

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Update: I do feel rather rude stepping off without leaving a little gift, so here’s an interview I did with Marina and the Diamonds two weeks ago for my radio show Diff’rent Strokes.

Here Marina talks to us about her stunning new album Electra Heart and the ridiculously infectious single ‘Primadonna’.

She also elaborates on the album’s raw and intensely personal content, and opens up about why she struggled to initially express what Electra Heart was really about.

The bubbly pop siren also talks about the glossier pop sound she has embraced and what she has learned about taking such a creative risk.

Enjoy!

Seriously, though. If the cosmetically-bestowed mole was the only subject of your fixation throughout this 4:29 production then I suggest you reassess your life choices.

Cheryl Cole serves an endless reel of fashion editorial realness in her brand new video ‘Call My Name’ that really could have doubled as a commercial for a number of top-end designer labels. What’s up, D&G?

Lady of the concrete jungle.

Director Anthony Mandler, who has hemmed quality videos for Rihanna and Jennifer Hudson, made such a sensible juxtaposition of Cheryl‘s alluring feminine movements with these cold, urban and structured streetscapes.

I really enjoyed Cheryl‘s visual presentation here – the full voluminous hair giving us movement in the wind, those stunning display of legs and womanly silhouette? Excuse her beauty but it truly was the main attraction of every scene in this video.

Hard and soft.

The well-groomed contrast I mentioned didn’t just start and end with the visual make-up of the outdoor shots, but also extends to the kind of energies mixed throughout the whole ‘Call My Name’ video.

You see some seriously on-point choreography delivered with slick precision mixed in with these really glamorous and almost ethereal movements in the mirror scenes, where it’s just Cheryl giving face to the camera.

It’s just the kind of pace this video needs to reflect – especially for a song like ‘Call My Name’, where there are massive fairground synths pounding the chorus, offset by a pair of very sensual, alluring verses.

You almost can’t go too hard by heavily featuring dance moves in every single shot for the entire video.

“You got me confused by the way I changed…”

‘Call My Name’ – concocted by pop’s it producer of the moment Calvin Harris – isn’t a defining smash by any stretch of the imagination. But just like a lot of the music Cheryl has handed me before, however heavily soaked in mediocrity, I’m gonna eat this shit up like it’s the last goddamn box of KFC Wicked Wings on earth. I am full-blown obsessed and am in dire need of help when it comes to weaning myself off this basic pop event.

Watch Cheryl‘s ‘Call My Name’ video:

Footnotes:

Cheryl Cole will release ‘Call My Name’ on 11 June in the UK. Her third solo album A Million Lights hits shelves the following week.

Nods all around to chart debuts by Reece Mastin, Missy Higgins, Jason Mraz and Jack White. Maroon 5 smash through with ‘Payphone’, making some monumental weekly digital sales figures not seen by a group before in America.

Plus, a quick forecast predicts Norah Jones might make it rain on the charts next Monday with a patchy chance of Jack Vidgen, Marina and The Diamonds and Tulisa in some areas.

- AUSTRALIA -

Carly Rae Jepsen continues to cock block your faves from mounting the top. ‘Call Me Maybe’ clocks its fifth consecutive week at #1 in Australia, preventing another Aussie artist from a winning debut placement.

Reece Mastin‘s second single ‘Shut Up and Kiss Me’ (above) enters at #2 this week, suffering the exact same fate as label mate Delta Goodrem who was also unable to knock Carly from #1 with her comeback single ‘Sitting On Top of The World’ last week. Delta‘s ‘Sitting’ slides a little to #3 this week but is fighting well enough to beat off other two new releases in our Top 10.

Maroon 5 rings in another hit with ‘Payphone’ (featuring Wiz Khalifa) flying all the way up the charts to #7. The delightful radio-friendly single is the American band’s sixth Top 10 hit in Australia. See below for how it fared in the US.

Flo Rida‘s vile new single ‘Whistle’ debuts at #8 this week, making this his third consecutive Top 10 single in Australia in the last six months. ‘Whistle’ made #2 on iTunes within the first day so this doesn’t really surprise me. It is also the most added new song to Australian radios this week.

Lakyn Heperi might be the one to watch for now on The Voice if his second week sales are anything to go by. Following last Sunday’s respectable debut outside the Top 50 with his blind audition performance of ‘Kids’, the future teen indie star managed to see the song rise to #33 on the ARIA charts this week. This really is saying something especially when all other Voice contestants’ tracks are sinking faster than MDNA.

Show favourite Rachael Leahcar might’ve led the pack last week with a history-making debut at #18 but the song sinks to #41 in its second week. Soul sister Karise Eden‘s ‘It’s A Man’s World’ falls from #41 to #63, Casey Withoos‘ cover of ‘Samson’ drops from #59 to #73, and Kelsie Rimmer‘s rendition of ‘Teenage Dream’ sinks from #89 to #100.

Missy Higgins‘ long awaited comeback single ‘Unashamed Desire’ creeps in at #58 this week. Look, with this one I don’t feel that same fire in my groins as  I normally feel for Missy Higgins‘ music.

There’s something rather B-grade Megan Washington about this and it’s not really the look. Basically, if anything, Melissa darling should’ve gone more bonkers a la ‘Holy Moses’ or at least something adjacent to it? I know this bitch can rattle some empty Milo tins for real in the studio and really let us have it. Missy‘s third album The Ol’ Razzle Dazzle hits stores on 1 June.

Jack White‘s new album Blunderbuss debuts at #2 in Australia, making it the biggest new release on our charts this week. Just like Kate Miller-Heidke last week with Nightflight‘s arrival, Jack couldn’t budge the teen buying power fuelling One Direction‘s Up All Night as it celebrates one month on top of the charts. Jack‘s album is also the biggest newbie on the UK chart, debuting straight at #1.

Watch Jack White‘s ‘Sixteen Saltines’:

Kate Miller-Heidke‘s Nightflight dips a little to #5 in its second week on the ARIA charts. Her breakthrough single ‘The Last Night On Earth’ makes a return thanks to a placement in the Beaconsfield movie promos. It seems like a pretty natural calling card whenever Australian networks need to soundtrack an emotional scene involving death.

Of Monsters and Men‘s album My Head Is An Animal debuts at #89 in Australia this week. I actually quite like these guys. I know you wouldn’t normally put indie music past me (some friends keep sharing to a minimal like it was vagina or something I vehemently oppose) but really, I’m cool with this.

- UK -

Calvin Harris and Ne-Yo‘s ‘Let’s Go’ busts into the UK charts at #2 this week, making this the Scottish DJ/producer’s third consecutive #2 hit in the country. Meanwhile here in Australia, ‘Let’s Go’ has staggeringly tumbled out of the Top 20 in its second week, sinking 10 places to #27.

Rufus Wainwright‘s Out of The Game debuts at #5 in the UK this week, making this the acclaimed queer artist’s best chart placement since 2007′s Release The Stars peaked at #2. Out of The Game comes in at #38 in Australia this week. It is said to be RuRu‘s most “danceable” album to date, which doesn’t really indicate that he’s sold his soul to the discotheque but maybe think more finger snapping, Mark Ronson productions?

Watch ‘Out of The Game’:

Santigold‘s new album Master of My Make Believe debuts at #33 in the UK this week. The American electro dub artist collaborated with the likes of Karen O, Switch, Diplo and Greg Kurstin on this record.

Grimes‘ breakthrough album Visions cracks the UK Top 100 at #86 this week. The Canadian artist has definitely been the rave of Pitchfork and the blogosphere for a bit now – but y’all can probably expect for Australia to be all over this when Channel [V] starts flogging her hard as their Buzz Artist of the month (May). See what happens.

- US -

How is Lionel Richie‘s Tuskegee the first album released in 2012 to spend more than one week on top of the charts? Let’s check the roster: seasoned music veterans Madonna (MDNA) and Bruce Springsteen (Wrecking Ball), mega rulers of the youth dollar One Direction (Up All Night) and Nicki Minaj (Pink Friday: Roman Reloaded) – all only did one week at #1. The Billboard 200 has never been so fickle, not in the last few years anyway.

Jason Mraz‘s Love Is A Four Letter Word debuts at #2 in the US, making this his third consecutive album to peak in the Top 5. Love managed to sell 103,000 opening week copies, which is the most amount of albums Mraz has ever sold in one week in the States. The album’s front running single ‘I Won’t Give Up’ crosses a million sales in America in the same week, which is why the next time Jase and I rendez vous it’ll be somewhere more deluxe like the Maldives.

Maroon 5 and Wiz Khalifa‘s ‘Payphone’ debuts on top of the US Hot Digital Song chart with 493,000 opening week downloads. Holy Floptina, y’guys. Basically, ’Payphone”s first week sales is now the best digital sales frame set by a group ever – bettering Black Eyed Peas‘ ‘Boom Boom Pow’ which pulled 465,000 copies almost exactly three years ago in America.

Needless to say, this instant connection with ‘Payphone’ trumps the lengthy rise Maroon 5 had with their last hit ‘Moves Like Jagger’ – which debuted at #8 last July and took nine weeks to ascend to the top of the Hot 100. ‘Payphone’ also debuts at #36 on the Hot 100 Airplay, making it the most popular new song on airwaves that week.

Toni Braxton‘s flawless, top-shelf dance single ‘I Heart You’ is finally on the muhfuggin’ charts. Thank, Jehovah. ‘Heart’ debuts at #41 on the US Billboard Dance/Club play charts and if there’s any justice, it’ll go all the way into the Top 10.

- FUTURE CHART FODDER -

Look out for these brand new and forthcoming releases on your future Chart Feed.

Norah Jones cool new album Little Broken Hearts will probably be snatching wigs this time next week on the ARIA charts. I’ve been staring at that album artwork all week on iTunes, thinking to myself, ‘who’s that gurl?’ See above for her performance of ‘Say Goodbye’ on Jools Holland. I know Michael Bolton and Jack Vidgen‘s got it covered this year but would Norah still be an assured, default Mothers Day purchase in 2012?

Jack Vidgen, winner of Australia’s Got Talent, just dropped his second album Inspire but who’s buying? Have Carol Minogue and Julie Goodwin both reached for their coin purses?  This collection features covers of ‘Man In The Mirror’, ‘True Colours’ and a disturbing cover of Beyonce‘s defining ‘I Was Here’. Bitch, you only got here 15 minutes ago – what do you mean, you was here?

Marina and The Diamonds‘ corker of a new album Electra Heart is out in the UK today while here in Australia, we still have to wait two more weeks or some bullshit. I haven’t had time to download it yet to have a sneaky listen but at the rate I’m swishing, I might as well wait til’ the deluxe version is unleashed locally to experience it.

Watch Marina performing album track ‘Lies’ acoustic style:

Tulisa‘s pretty much forgotten debut solo single ‘Young’ is finally coming out today in the UK, even though hype probably blew over like a month ago. I see she still has to talk about that sex tape to keep some form of press coverage. I suppose this is what basic bitches with no star quality have to do to earn a buck around here.

Mark Ronson and Katy B‘s Coca Cola London Olympics theme song ‘Anywhere In The World’ is slated to drop on 14 May in the UK. It’s one of those collabos that probably looks better on paper than it does sounding out of your speakers.

The Noisettes are back with a new single ‘Winner’, which is the first single from their third studio album. Listen to a snippet of the track, which will hit stores on 9 July in the UK:

I’m making a conscious effort to be “more involved” with this new Alexandra Burke single after leaving ‘Elephant’ waiting by the post. For one, I immediately enjoyed ‘Let It Go’ from the moment I heard it so there was no awkward waiting period where I decide to whether ignore it and head to the bar, or politely nod along until Cheryl Cole comes on.

‘Let It Go’ is produced by Cutfather (who has carved workable singles like Kylie‘s ‘Get Outta My Way’ and Eric Saade‘s ‘Backseat’) so really – as far as the children are concerned – this is probably as close as Alexandra can get to “sounding relevant” in the dance/pop circuit without the aid of current MVPs like Calvin Harris and David Guetta.

But you know what? Fuck that shit. For me, the track’s real selling point is the emancipatory hook and that 90s house/pop kinda mentality where the melody and diva vocals take the lead, as opposed to the beat – which is very much the driving force behind a lot of hits on the radio these days.

‘Let It Go’ is enjoyable in a way that uplifting dance pop should be. It taps into that natural, intrinsic good feeling you get when you hear proper melodies taken to a new level by a right combination of supportive beats and the right vocal delivery. It is a song-driven single not a producer-driven single, if you catch my drift.

This is an express service, running directly to Hitsville.

The video for ‘Let It Go’ picks up where the ‘Elephant’ video left us, with this nocturnal, urban city chic theme. However, just like it was with the song – I’m pleased to find that ‘Let It Go’ (the video) is a clearer hit to the system than Alex‘s last effort.

It’s such a straight-forward, no-brainer of a concept, y’all. Alexandra gets dropped off at the station looking all pensive and shit, then she gets on the train and comes alive as she is transported to another destination, leaving behind the burden of her past as she strips off her jacket and dances wildly in her gold bra.

The liberating energy she carries with her as she purposefully catwalks through the carriage obviously inspires commuters to “let it go” and dance along with her. Conclusion: they all leave together, rising from the Underground to take up proper dancing under the bridge somewhere after.

I could dance all nite.

While Alexandra now joins the ranks of the fiercest to have served head-turning performances on a train, including Pussycat Dolls circa ‘Wait A Minute’ and Lady Gaga in ‘LoveGame’, I think the real popstarly excellence in ‘Let It Go’ was in the way she worked the dance breakdown.

This is definitely my kind of pop music video. We’re talking proper scene stealers where all the energy and spark peaks at the dance breakdown, showing the artist in complete control of the shot while she masters choreography like a boss with her pack of dancers. Lord knows this is something Alexandra has committed to ever since she broke out with ‘Bad Boys’, so y’all need to give props where props are due.

Watch the music video for Alexandra Burke‘s ‘Let It Go’:

Footnotes:

Alexandra Burke‘s ‘Let It Go’ comes out on 27 May in the UK with her eagerly anticipated second album Heartbreak on Hold following it on 4 June. Hopefully I’ll be able to catch the girl at a gig somewhere in LDN when I’m there during the month.

Misha B was without question the most bright and promising young talent to emerge out of last year’s UK X Factor series. However, after a series of ill-advised song choices, the fierce child lost her way and voters kinda stopped believing.

The most important thing for Misha to get right now is that original British hip hop and soul swag she was dealing from the start – that’s where her fan base is at, patiently waiting. I’m pleased to say, children, that our prayers have been answered and the heavens damn well parted when we heard the girl’s debut mixtape Why Hello World.

“Why Hello World’ has become a catchphrase synonymous with the teen star ever since she used it to open her rap in ‘Rolling In The Deep’. The mixtape features cuts and covers of some artists that have inspired Misha, including her winning take on said Adele hit, and some originals she’s been cooking up in the studio.

The 15-minute mixtape menu reads:

1 – Why Hello World Misha B Intro
2 – Misha B – Big Dreaming
3 – Weeknd feat. Drake – Crew Love (Can’t You See Refix)
4 – TLC – Unpretty Original / Misha B Cover (Cut)
5 – Beyoncé – Run the World (Stylus Refix)
6 – Misha B – Last Forever
7 – Misha B – Home Run
8 – Adele – Rolling in the Deep (Classic Hip Hop Blend)/Misha B Cover
9 – Usher – Climax
10 – Lil Wayne feat. Bruno Mars – Mirror Original / Misha B Cover
11 – Outro

As much as we enjoy swerving and grooving to the familiar hits, what y’all really came for is to inspect Misha‘s originals and check where she’s headed musically.

‘Big Dreaming’ really needs to be her first single or, at least, a buzz single. The earnest and autobiographical hip hop track gives the world a proper introduction to Misha Bryan and her musical influences. The style is so remarkably reminiscent of early Estelle at her finest. I can sleep sound tonight knowing that this child is gonna do great things if this is the kind of music she’ll present to the world.

‘Last Forever’ is a completely different shine altogether. Here we have some summery island pop beats mixed with handclaps and house pianos, which is perfect for radios and UK music festivals in June. Following that, we got ‘Home Run’ pitching us a sassy, synth-driven dance pop with finger snaps which sounds like the kinda hit Rihanna would’ve sold her soul for circa A Girl Like Me.

What an utterly satisfying introductory mixtape. Child, shine on. Shine. On.

Footnotes:

Misha B‘s Why Hello World mixtape is up for free download. Go ahead and treat yo’ self.

Brandy is one of those artists that I hold very close to my heart and stan wildly for without much feedback and mutual excitement shared in my friendship group. It is hard. However, I’m hoping this new and evidently more current R&B direction B-Rocka‘s rockin’ will get more folks fangurling in my corner.

‘Put It Down’ (featuring Chris Brown) is a straight up declaration of war on the American urban charts. Every from its superstar collabo to the airtight production and flow screams “Brandy means business”. Our gurl is gunning for a hit and she’s got the #1 spot well within the firing range right now.

For the first time since her Afrodisiac era, Bran is actually presenting herself with a song fit to compete with the young, cool crowd and better yet, she’s doing it in a way that is still indistinguishably Brandy. She may be commandeering a harder hip hop flow but it is still executed with smooth vocals and harmonies that she’s known for – thankfully, not a thorough Auto-Tune fit out like it was going on Glee or some shit.

The bass heavy urban beats courtesy of Bangladesh (producer behind Rihanna‘s ‘Cockiness’ and Ke$ha‘s ‘Sleazy’) may not be entirely game changing by the industry’s current standards but it is for Brandy. It’s just a thrill to hear her beat them soulful vocal tones into submission and deliver a sharper flow often required for hip hop beats.

There was even a moment in verse two where Bran skillfully serves up a few rap lines, which shouldn’t surprise anyone who has heard her firey rap delivery on Timbaland‘s last album.

The term, “put it down” definitely sounds like an expression Bran had borrowed from her gal pal Kelendria Trene Rowland, who was flogging that expression hard during her term as X Factor judge in the UK. While we’re on the subject, I reckon this project’s gonna land itself in very close proximity to Kelly Rowland‘s flawless Here I Am album.

The sexual confidence Bran is putting down on ‘Put It Down’ is already a nod to the kind of bossbitch anthems Kelendria‘s used to delivering. It is gonna be a whole new era and a whole new dimension of hits for Brandy – and thank fuck it is finally happening for the girl.

Listen to ‘Put It Down’ featuring Chris Brown:

Footnotes:

Brandy will release ‘Put It Down’ in the States on 8 May. I don’t understand why this smash isn’t already out on iTunes – within 24 hours of it hitting Brandy‘s Soundcloud account, the track was already played some 100,000 times.

‘Put It Down’ is the first taste of the diva’s forthcoming comeback album Two Eleven which is slated for a June release in the US.

Little Boots‘ latest piece ‘Every Night I Say A Prayer’ takes the children back to a time where dance pop was elegant, effortlessly stylish, and need not rely on throbbing, aggressive Guetta club beats to make an impact.

The prevalent 90s house pianos and soft “oooh” in the verses sounds like something you’d clock in a present day Bananarama single, if it was written and produced by Alphabeat.

‘Every Night I Say A Prayer’ is categorically more of a pop single than Victoria‘s last single ‘Shake’, a slick six minute-long nouveau disco jam. There’s a punchy hook that takes root with repeated listens, but only because it is so well supported in the song’s structure. Basically, the chorus stands out well because the milder, more innocuous verses aren’t desperately trying to flag your attention from every corner.

It’s a whole different discipline in pop songwriting, y’guys. And it’s not necessarily something that’s observed – or appreciated – very much these days. Nowadays, hit makers for Rihanna, Jessie J et al know that the average listening span is, like, seven seconds or something ridiculous. You gotta hit them upfront and fast before they change the station or hit skip on the iTunes store.

‘Every Night I Say A Prayer’ clearly gives not a fuck if you got better shit to do after seven seconds. Victoria is busy in verse one, setting the scene and getting you in the mood for the chorus.

Listen to ‘Every Night I Say A Prayer’:

I guess over 15,800 plays on Soundcloud and over 5,700 downloads in one day isn’t such a poor response after all.

Footnotes:

Little Boots is being oh so generous to offer a free download of ‘Every Night I Say A Prayer’.

‘Chasing The Sun’ is a brand new recording pulled out of the hat to sensibly sustain the TGIF-party energy these boys are starting to be known for around the world.

The song is co-written by British rapper Example and producer Alex Smith, who hemmed Olly Murs‘ UK #1 hit ‘Heart Skips A Beat’.

Sun smart.

The music video for ‘Chasing The Sun’ sees The Wanted resume work with Director X, who was responsible for their ‘Glad You Came’ and ‘Warzone’ clips. Conceptually, it has thankfully got more going for it than just endless reels of the lads schmoozing females at a bar.

The whole “contagious transference of that sun tattoo” could’ve been snatched and re-tooled from a safe sex ad campaign? I don’t know. You tell me. I thought it was a good, working concept to execute visually and it fit very well with the theme.

Wanted: new stylist.

There is still something plain uninspiring about the way these fellas are portrayed on film. It’s them same tired ass, Roger David casual wear we’ve clocked before – leather jacket, tee and jeans.

There’s a fine line with dressing popstars that attract the young females’ gaze. Pop music videos are always built on the premise of fantasy – it’s about wishing you looked that good, wishing you could sexually assault one of the band members in a nightclub toilet cubicle, and wishing you could take their nice clothes after you’re done.

Sure, ladies want The Wanted to look relatable – like they’re regular guys you’d date or flirt with at a bar. Teenage boys wanting to impress their girlfriends want to be able to copy these looks within their means (whatever is available at their local mall/affordable on a fast food wage allowance).

That would’ve been fine for The Wanted to cater to in their first two or three music videos, perhaps. But these guys really need to raise the bar and challenge this pedestrian look they’ve rocked for far too long. Start playing with new colours, new textures, new hair styles. There is such a scope to play with in men’s fashion these days without feeling like they need to stay on one editorial page to avoid clashing with One Direction.

I mean, fuck, bitch. I feel like I’m Gok Wan running some sort of emergency tutorial right here – so help me.

Watch The Wanted go ‘Chasing The Sun’:

Footnotes:

The Wanted‘s ‘Chasing The Sun’ is out now but will impact US mainstream radios on 15 May. It’s just one of two new recordings to surface on their seven-track North American EP, The Wanted, which features five past singles.

New albums by Kate Miller-Heidke, Jason Mraz and Monica blow up the Australian, UK and US charts.

We trace the first imprints of The Voice Australia‘s impact on our ARIA Top 100 and look ahead to new releases from Reece Mastin, Maroon 5 and Alexandra Burke.

- AUSTRALIA -

Kate Miller-Heidke has the biggest selling new album in Australia this week, debuting at #2 with Nightflight. She couldn’t quite rip the rug from under One Direction but we admire anyone who tries. This is the girl’s third solo album in Australia and possibly her best opening week response to date. Kate‘s last album Curiouser also peaked at #2 but that didn’t happen until the national realisation of ‘The Last Day On Earth’, following a placement on some Neighbours promo.

Watch KMH performing ‘Sarah’ on Sunrise. It’s one of my album faves because it actually sounds like she’s melodically narrating an ABC drama:

Delta Goodrem is handling this comeback like a boss with ’Sitting On Top of The World’ successfully debuting at #2 on our ARIA charts this week. All the elements came together in her favour - The Voice Australia, which she’s a coach on, is a ratings winner and all those shopping centre appearances to sign the single worked like a charm.

I thought these kind of shopping mall appearances went out of fashion when guys stopped wearing T-shirts over their collared shirts, but I’ve clearly underestimated the genius behind this strategy.

Delta‘s got a massive fanbase here that’s been gagging for her return and it’s such an effective way to reconnect with them at such a venue that’s evidently all ages and more readily accessible than say some gig on a weeknight. ‘Sitting On Top of The World’ is Delta‘s 12th Aussie Top 10 hit. The single comes out in the UK today so let’s see where that gets her.

Watch Delta perform ‘Sitting On Top of The World’ at the 2012 Logie Awards:

Florence + The Machine scores her biggest Aussie chart placement to date with ‘Never Let Me Go’ floating up to #3 after a clever placement on Channel 7‘s ad for Titanic. This is by far her best local performer from the current album Ceremonials which has so far spawned four singles. I wish I could’ve crammed more ‘sinking’ puns into that update. Elsewhere, Flo‘s new MTV Unplugged album debuts at #17 in Australia this week.

Rihanna‘s ‘Where Have You Been’ steadily scorches up the ARIA charts, rising to #12 this week. I don’t know about y’all but this is easily the most addictive track on Talk That Talk for me. I have been stomping and strutting to this track non-stop for months now and I’m yet to get over it. Side bar: I did hear it for the first time in a club last Friday night and shit, let me tell you, I was serving it. Lesser beings needed to take a seat.

Calvin Harris featuring Ne-Yo‘s ‘Let’s Go’ storms to #17 on our ARIA charts this week. Can we just take a moment to rank the four Calvin Harris-produced jams infiltrating airwaves across the globe right now? It reads: ‘Where Have You Been’ > ‘Let’s Go’ > ‘Only The Horses’ by Scissor Sisters > ‘Call My Name’ by Cheryl Cole. Thank you for your input.

The Voice Australia‘s young sensation Rachael Leahcar (above) becomes the first contestant to turn this mother out when her rendition of ‘La Vie En Rose’ debuted at #18 on our ARIA charts this week. The pretty young thing rose out of obscurity and seized the nation’s heart when she nailed her blind audition and revealed that she was actually legally blind. Gurl, this is just the kind of gold television producers jizz over. Good on her, though. I look forward to following her journey.

Rachael leads the pack of four The Voice contestants to have tracks impact our Top 100 this week. Soul powerhouse Karise Eden‘s rendition of ‘It’s A Man’s World’ snatches wigs at #41, indie kid du jour Lakyn Heperi‘s cover of ‘Kids’ comes up at #53, and early star Casey Withoos‘ take on ‘Samson’ debuts at #59.

Speaking of The Voice, the show has turned Seal into some kind of national treasure? I think we’re all living for the unsolicited life coaching he deals with such charm and authority. The man’s classic ‘Kiss From A Rose’ re-enters our charts at #31 and ‘Crazy’ bolts up to #58 this week. Over on the album charts, Seal‘s Hits compilation returns at #24 and recent-ish album Soul 2 creeps up at #75. Adjacent Voice successes include Keith Urban‘s Greatest Hits: 18 Kids flying up the album charts to #21 this week and Delta‘s landmark album Innocent Eyes returning at #97.

Ricki-Lee‘s uber-kinetic new single ‘Do It Like That’ ascends to a new peak of #34 on our ARIA charts this week. There’s much excitement surrounding the girl’s first proper gig in years on 30 May in Sydney. She’ll be blasting some of her signature hits as well as some new material on the forthcoming album. Y’all better report back.

- UK -

Jason Mraz‘s Love Is A Four Letter Word debuts at #2 on the UK album charts this week with literally 44 copies standing between him and serial chart ruler Adele. This is Mraz‘s highest charting album in the UK. Meanwhile here Down Under, Four Letter Word debuts at #23 this week. His last effort We Sing, We Dance, We Steal Things made #3 in 2008 and remains his best chart action to date in Australia.

Conor Maynard‘s ‘Can’t Say No’ is the highest selling new single in the UK this week, debuting at #2 behind the unstoppable Carly Rae Jepsen. The 19-year old YouTube sensation is signed to Parlophone, which boasts big names like Coldplay, Kylie and Gorillaz. Keep an ear out for this kid.

B.o.B‘s ‘So Good’ comes in at #7 in the UK this week. The rapper’s had two #1 singles before in the UK (see: ‘Nothin’ on You’ feat. Bruno Mars and ‘Airplanes’ feat. Hayley Williams).

Marina and The Diamonds‘ top-shelf new single ‘Primadonna’ has painfully missed the UK Top 10 this week, crawling up to #11. The thing is, she has established herself to be quite a competent album seller with The Family Jewels - so you can bet the much-touted album’s gonna fare better when it drops next Monday in the UK. Aussies, we cop it on 18 May.

Watch Marina doing an acoustic rendition of ‘Primadonna’:

Lana Del Rey‘s ‘Blue Jeans’ pull up to #45 on the UK charts this week. The Coney Island Queen just premiered the clip for ‘Carmen’ yesterday as the final piece in her Born To Die video trilogy. The album is still faring well, rising to #4 this week. LDR is set to perform on the first results show of The Voice UK this Sunday.

Marcus Collins‘ self-titled album slides to #70 after six weeks on the shelves. I suppose he’s praying the rosary now that his second single ‘Mercy’ revitalises interest in his music? Can we just have Little Mix already?

- US -

Lionel Richie done grabbed himself his first #1 album in over 25 years, bitches. This is probably the only piece of chart news I would pass on to Papa Lim, like, ever. Tuskegee managed to ascend to #1 with 129,000 copies sold in its third week out.

Y’all remember when Madonna‘s MDNA cockblocked Lionel from the top? Well, MDNA is now heading in the wrong direction, sinking fast from #8 to #18. Mmph! Pull up a seat, here comes more tea about MDNA.

This is one of the shortest stints in the Top 10 Madonna has clocked in her three-decade career. MDNA now ties with Bedtime Stories (1994) and American Life (2003) for managing mere two-week stays in the US Billboard Top 10. Even the much-disliked Hard Candy stayed four weeks in the Top 10, thank you very much. However, all is not lost with MDNA. The pending world tour should give it the chart resurrection it deserves.

Monica‘s classy soul/R&B album New Life debuts at #4 on the US Billboard 200, selling a modest 69,000 first week copies. This is Mo‘s fifth consecutive Top 10 album in the States. Memaw’s first album charted almost 17 years ago. Damn. Sometimes I have to remind myself that she started young otherwise I’d keep wondering why she hasn’t cashed her pension cheque yet.

Watch Monica and Brandy reuniting on stage to perform their classic ‘The Boy Is Mine’. Bow down to these queens!

Gotye and Kimbra‘s ‘Somebody That I Used To Know’ crowns the US Billboard Hot 100 with record breaking digital sales of 542,000 copies, making this the biggest one-week sales so far in 2012. It’s the fourth biggest load of weekly digital sales ever recorded in American history. I don’t think you can handle it. 

Yes, it even walked all over Justin Bieber‘s ‘Boyfriend’ which clocked opening week sales of 521,000 just two weeks ago. Gotye and Kimbra have their appearance on Saturday Night Live and a certain Glee cover to thank.

The Wanted‘s ‘Glad You Came’ holds tight to #3 position on the US Billboard Hot 100 while One Direction‘s ‘What Makes You Beautiful’ clings to #4. Boring. How about y’all just strip down to your jocks and wrestle it out in the mud while I watch?

This is 1D doing ‘What Makes You Beautiful’ at our Logie Awards:

Adele‘s ‘Rumour Has It’ has now entered the US Top 20. I bet there are some basic bitches shivering right now because they didn’t download 21 and they missed that episode of Glee so therefore, weren’t aware that Adele can put it down like that. The stomping Ryan Tedder-produced song is totally not one to fuck with and I hope it reigns just as hard as Ms Adkins‘ last three singles.

Jennifer Lopez and Pitbull‘s frivolous ‘Dance Again’ blasts in at #22 on the US Billboard Dance/Club play charts, certifying ‘hot shot debut’ status. Over on the main Hot 100, it has so far peaked at #27 – making it Slaylo‘s first US Top 30 hit since ‘On The Floor’.

- FUTURE CHART FODDER -

Look out for these brand new and forthcoming releases on your future Chart Feed.

Maroon 5‘s ‘Payphone’ (featuring Wiz Khalifa) is expected to vault into the ARIA Top 20 next Monday after creeping in at #86 this week. It’s also the second most added new song to Australian radios this week. ‘Payphone’ is the first official single launched from their forthcoming album Overexposed, which features productions by Shellback, Benny Blanco and Ryan Tedder. Massive popfest ahead.

Reece Mastin‘s follow up single ‘Shut Up and Kiss Me’ should effortlessly bullet into the ARIA Top 10 next week. The perky, new generation Good Charlotte-like single was co-written by Reece and Hayley Warner (Aussie Idol runner up who penned his four-time platinum, #1 single ‘Good Night’). The song is the third most added new song to Australian radios this week. Reece‘s debut album – slated for a September release – features co-writes with Ilan from The Potbelleez and Benji Madden. Would his mentor Guy Sebastian get a look-in?

Adam Lambert‘s stomping new pop track ‘Never Close Our Eyes’ really should fare better than his soggy last effort, y’guys. But will it? I really feel like this is definitely more on the right track, even if it feels like we’ve heard it all before.

Listen to Glambert‘s ‘Never Close Our Eyes’:

Darren Hayes‘ fourth Secret Codes and Battleships single – ‘Stupid Mistake’ – hits Aussie radios this week. With any luck, our boy can pick up a bit of rotation with this stunning ballad. You really have to honour the commitment Dazza’s making here with consistent single releases, collectors editions and bonus tracks. It’s so easy to just slap out a one-track digital single these days but for him, it’s always an event – and I respect that. ‘Stupid Mistake’ will be released this Friday in Australia and 7 May in the UK.

Paloma Faith will drop her eagerly awaited new single ‘Picking Up The Pieces’ on 21 May in the UK. Thoroughly thrilled to see the flame-haired vixen back in the game after her slayfest debut Do You Want The Truth or Something Beautiful?. The new album Fall to Grace - due 28 May – will feature collaborations with Nellee Hooper (No Doubt), Eg White (Will Young) and Chris Braide (Pixie Lott).

Alexandra Burke‘s next dance pop affair ‘Let It Go’ will arrive in the UK on 28 May with the accompanying album - Heartbreak on Hold - dropping the following week. I am slightly pumped to hear this next chapter in Alex’s discography. I know ‘Elephant’ and I didn’t necessarily get off on the right foot but I reckon I can make peace with it if the rest of the album compensates with more mega vocals?

Listen to the rather decent ‘Let It Go’:

Stooshe is starting to make waves in Australia for their catchy debut single ‘Love Me’ and from what I gather, there are definitely plans hatching away for a promo tour Down Under. However, it’s probably time they issued a followed up in the UK after going Top 5 last month. Look out for their second single ‘Black Heart’ which is slated for a 11 June release in the UK.

This is a sensible follow up to the music video that had us all enchanted with Lana Del Rey in the first place. I mean, from what I gather, it seems like Team Del Rey is slowly realising that the incidental magic that occurred when ‘Video Games’ went viral really was worth harnessing.

We’ve seen her label dip the Coney Island Queen in some serious money when they shot her ‘Born To Die’ video, then scale back to something more arthouse for ‘Blue Jeans’ and now with the revelation of ‘Carmen’ – she has rightfully come full circle.

Apart from the obvious mash up fashion, there’s actually a lot of similarities between ‘Video Games’ and ‘Carmen’. There are recurring clips rehashed in the montage like that one of the “Del Rey” sign, time-lapse footage of a red rose blooming, some of the same cartoon animations, and that one with 1940s red carpet photographers flashing their cameras.

There are also familiar shots of a woman riding at the back of a motorcycle without a helmet, except this time it’s Lana Del Rey and she’s sensibly not shown actually riding off without wearing appropriate protection.

‘Carmen’ reprises the same tragic, wasted young vixen tune sung before in so many show stoppers included in the Born To Die album. The depiction on film is therefore an appropriate reflection of that.

However, unlike ‘Video Games’ where there’s really just one female protagonist featured alongside clips of Lana singing, in ‘Carmen’ we get a mix of women and girls from all ages.

It all kind of comes together when you see these moving images soundtracked by such lyrics:

“Darlin’, darlin’. Doesn’t have a problem lying to herself ’cause her liquor’s top shelf. It’s alarming, honestly, how charming she can be fooling everyone, telling them she’s having fun.”

For a song that has long been a critics fave for its stark commentary on “party girl psychosis”, you really wish they went over the top and tempted lawsuits with actual paparazzi footage of Lindsay and Paris doing what they do to make them infamous headlines.

Watch the video for Lana Del Rey‘s ‘Carmen’:

Footnotes:

‘Carmen’ has not been officially touted as the fourth single from Born To Die but from what I understand, the video’s meant to be the final of LDR‘s trilogy – which is a crying shame given that we could do with at least two more videos in this style, perhaps for ‘This Is What Makes Us Girls’ or ‘National Anthem’.