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Sara Bareilles Tops Billboard 200 Albums Chart

Eminem’s Recovery moves back up from #3 to #2. By Gil Kaufman Sara Bareilles’ Kaleidoscope Heart Photo: Epic Three months into its epic chart run, Eminem ‘s Recovery continues to provide stiff competition to chart newcomers. In one of the most modest #1 debut showings of the year, “Love Song” singer/songwriter Sara Bareilles will top the Billboard 200 next week with Kaleidoscope Heart, which moved 90,000 copies to snatch the pole position, according to figures provided by Nielsen SoundScan. That easily bested the #45 debut of her first album, 2007’s Little Voice, and it was just enough to keep Slim Shady at bay. The resurgent rapper moved up a notch to #2 as Recovery sold another 81,000 copies to push it over the 2.5 million mark. If sales continue at this pace, Em could soon surpass the year’s top-selling album to date, Lady Antebellum ‘s Need You Now, which has racked up 2.6 million in sales over the past eight months. Also debuting in the top 10 next week are the latest from Slipknot side group Stone Sour with Audio Secrecy (#6, 46,000); indie band Interpol , whose self-titled fourth album moved 38,000 copies (#7); and Florida rockers Anberlin , who hit #9 with Dark Is the Way, Light Is a Place (31,000). The rest of the top 10: Now 35 (#3, 63,000); Katy Perry , Teenage Dream (#4, 59,000); Disturbed , Asylum (#5, 57,000, down 68 percent from last week’s #1 debut); Justin Bieber , My World 2.0 (#8, 35,000); and the Camp Rock 2: The Final Jam soundtrack (#10, 31,000). Fantasia ‘s comeback, Back to Me, continued its slide down the charts. It shed six more spots in week three to land at #11 on sales of 29,000, during a slow week when most of the top 20 saw double-digit sales drop-offs. Further down the line, rock icon Jerry Lee Lewis hits #30 with Mean Old Man (11,000), Minneapolis rap crew Atmosphere land at #38 with the EP compilation To All My Friends, Blood Makes the Blade Holy (9,000), and Swedish dance machine Robyn comes in at #41 with Body Talk Pt. 2 (8,000). It was virtually the same story on the iTunes albums chart, as Bareilles took the top spot, followed by Eminem, Disturbed, Perry, Mumford & Sons’ Sigh No More, Atmosphere, Interpol, Stone Sour, Anberlin and “Camp Rock.” The iTunes singles chart was also mostly unchanged, with Bruno Mars taking the top spot with “Just the Way You Are,” followed by Perry’s “Teenage Dream,” Nelly’s “Just a Dream,” Taio Cruz’s “Dynamite,” Em’s “Lose Yourself,” Enrique Iglesias’ “I Like It” and Usher’s “DJ Got Us Fallin’ in Love.” iTunes doesn’t provide sales figures, but you can be sure Flo Rida was glad to see that his new single, “Club Can’t Handle Me,” came in at #8, followed by Ke$ha’s “Take It Off” and B.o.B’s “Magic.” Bareilles will probably have a short time in the sun, as next week brings the chart debut of Linkin Park ‘s A Thousand Suns , Trey Songz ‘s Passion, Pain & Pleasure, Killers singer Brandon Flowers ‘ debut solo album, Flamingo, and Weezer ‘s indie debut, Hurley , as well as new albums from Led Zeppelin legend Robert Plant and insurgent country star Jamey Johnson . Related Artists Sara Bareilles

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Sara Bareilles Tops Billboard 200 Albums Chart

Stone Sour’s Audio Secrecy Is ‘Loaded With Melody,’ Corey Taylor Says

‘It’s probably the best thing I’ve done in a long time,’ says the singer, who also fronts Slipknot. By James Montgomery Corey Taylor Photo: MTV News Corey Taylor isn’t mincing words when it comes to the new Stone Sour album — and yes, he realizes this might offend fans of his other band, Slipknot. “It’s so good, man. Every song has a catchy hook — even the heavy stuff — every song is loaded with melody. It’s still got the attitude, but it’s there. It’s probably the best thing I’ve done in a long time,” he told MTV News. “I mean [Slipknot’s 2008 effort] All Hope Is Gone was a great album, and I worked really hard on it, but on this album … coming in with the amount of material — we recorded 18 songs — and knowing that every tune not only has its own identity but is damn good, I’m very, very proud of that.” Yes, Taylor is willing to talk at great length about Audio Secrecy, the follow-up to Stone Sour’s breakthrough 2006 album, Come What(ever) May. Recorded at Nashville’s iconic Blackbird Studios — the first time he’s made an album outside of Los Angeles or his native Iowa — it’s a record positively brimming with ideas, one that, as he put it, represents “everything that we’ve been threatening to do,” even if that means exploring far quieter, more refined sonic territories. “I finished my last song two days ago, and it’s all killer; there’s no filler. It’s so good. I mean, there’s so many vibes and so many styles, but it’s all cohesive. The continuity is there,” he said. “It doesn’t sound like a comp album, it doesn’t sound like 12 bands coming in going, ‘We’re going to record a song!’ It sounds like a band exploring, which, to me, is [a] really old-school tradition. “You never used to go in and just kind of chop out a bunch of songs and throw it out there. The old guard would go in, and they would just record what they had. They would record the songs that they wrote, because they wrote them. It didn’t have to sound a certain way, didn’t have to be a certain way, it didn’t all have to sound the same,” he continued. “It had life, and that’s what we did with this. … We just said, ‘You know what? We wrote this. So what if this is heavier than that? So what if this is in a major key and these are in minor keys? … We feel this, so let’s go for it.’ ” The funny thing is, though he’ll seemingly never run out of good things to say about the album, there’s plenty he’s mum about. Perhaps in keeping with its title, there’s still no firm release date for Secrecy, and Taylor wouldn’t reveal if all 18 songs would make the final track list (“There’s a plan hatching … that’s all I’m gonna say”). And when asked about his favorite song on the album, he would only say, “They’re all killer,” before singling out a piano-laden track called “Miracles” as a standout. “I play piano on a bunch of songs. One of them is called ‘Miracles,’ which is really dark but kind of crescendos into this huge chorus at the end,” he said. “There’s so much more, though. We have an overabundance of writers in this band. We all write, so it’s not a case of one guy writing all the songs or no one writing the songs. It’s a complete thing.” While Taylor is playing things close to the vest with Stone Sour, things aren’t quite the same with Slipknot. After wrapping a world tour in support of All Hope Is Gone in late 2009, the band went on a rather informal break — and, from the sound of things, not much has changed since then. For the immediate future, Taylor is 100 percent focused on Stone Sour. “There’s nothing really happening [with Slipknot],” he said. “There’s a DVD coming out, apparently, that I will be informed of so I can promote it. Nobody talks to me about these things. I get a complimentary copy. I mean, I still don’t have a copy of [the band’s 2002 DVD] ‘Disasterpieces.’ What the f—?” Are you looking forward to new music from Stone Sour? Let us know in the comments. Related Artists Corey Taylor Stone Sour Slipknot

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Stone Sour’s Audio Secrecy Is ‘Loaded With Melody,’ Corey Taylor Says