It’s just, Heaps Decent… you know… (by laura)

Music can empower individuals (Dunbar-Hall & Gibson, 2004) and for Indigenous Australians, it provides the opportunity to voice opinions and challenge non-Aboriginal institutions (Dunbar-Hall & Gibson, 2004). Although Aussie Hip Hop/R’n’B is yet to be more greatly recognised by mainstream media, it combines elements of traditional Hip Hop with an Australian twist.

Heaps Decent is the Australian initiative of Diplo’s label Mad Decent who has signed artists like Brazilian Baile Funk group Bonde do Role (and they’re playing next week at We Love Sounds! Yay!). Heaps Decent (myspace) aims to bring music to Australia’s underprivileged and indigenous communities, who have limited access to musical and recording equipment. Diplo’s plans to infiltrate Australia’s Hip Hop and club music industry will surely add a fresh vibe to Australia’s musical identity. The project has already released the single ‘Smash a Kangaroo’, which is available through Itunes and the proceeds go directly back into helping fund the venture!

The Australian Hip hop culture is one generally recognised for not being labelled by multimillion dollar enterprises and brand names, although it is often associated with American gangs.

Australian Hip Hop artists have long been fighting accusation of imitating US culture. Yet with artists now rapping in Australian accents and about local issues, we can say that Hip Hop is now a legitimate Aussie subculture that represents authentic aspects of our world Down Under (Arthur, 2006). “Aboriginal music is a thread of expression that has always, and is continually changing.” (Dunbar-Hall & Gibson, 2004) and the definitions of ‘traditional’ and ‘contemporary’ are not considered important as it is the thematic and aesthetic consistencies within Aboriginal music that make it unique.

Aussie Hip Hop is fast becoming a successful and popular music medium in indigenous communities and is luckily broadcast for our enjoyment on stations like Triple J, which are pro individuality and are less likely to conform than other Australian music stations… and so manage to expose Australia and the world to music other than the commercially influenced Top 40 chart! Woo!

Resources:
Dunbar-Hall, P. & Gibson, C. (2004) Deadly Sounds, Deadly Places: Contemporary Aboriginal Music in Australia, University of New South Wales Press.

Arthur, D. (2006) Authenticity and consumption in the Australian Hip Hop culture,
Qualitative Market Research, Bradford: Vol. 9, Iss. 2; pg. 140, 17 pgs

Waltzing Matilda

“Waltzing Matilda” is Australia’s most widely know folk song, and has been referred to as ‘the unofficial national anthem of Australia . The song narrates the story of an itinerant worker making a drink of tea at a bush camp and stealing a sheep to eat. When the sheep’s owner arrives with three police officers to arrest the worker, he drowns himself in a small watering hole and goes on to haunt the site.The original lyrics were written in 1895 by the poet and nationalist Banjo Patterson, and it was first published as sheet music in 1903. Extensive folklore surrounds the song and the process of its creation, to the extent that the song has its own museum, the Waltizing Matilda Centre.

 

Some claim that Waltzing Matilda  is the unofficial Australian anthem and has never been our national anthem but we claim it as our song, with more love and pride than the official anthem and that is what makes Australians, Australian. For many years, it has been thought the song was intended as a socialist anthem in support of the demands of the emerging labour movement triggered by the Great Shearer’s Strike of 1891. Its words have often been interpreted as being loaded with political meaning, but a researcher believes poet ‘Banjo’ Paterson wrote it simply to impress a local woman, Christina Macpherson. it tells the story of a tramp who stops beside a stream to make a cup of tea. In the process, he steals a sheep and commits suicide rather than face arrest for his crime. Below, I show the original words of the song as written by Christina Macpherson on manuscripts held by the National Library of Australia. This is followed by the version recorded by Rolf Harris in the early 1960s and which you can hear at the link at the foot of the page.

 

 

The original ‘Waltzing Matilda’ lyrics:

Oh there once was a swagman camped in the billabong,
Under the shade of a coolibah tree,
And he sang as he looked at the old billy boiling,
‘Who’ll come a’ waltzing Matilda with me.’

CHORUS
Who’ll come a’ waltzing Matilda, my darling,
Who’ll come a’ waltzing Matilda with me.
Waltzing Matilda and leading a water-bag,
Who’ll come a’ waltzing Matilda with me.

Down came a jumbuck to drink at the billabong.
Up jumped the swagman and grabbed him with glee,
And he said as he put him away in the tucker bag,
‘You’ll come a’ waltzing Matilda with me!’

CHORUS
You’ll come a’ waltzing Matilda, my darling,
You’ll come a’ waltzing Matilda with me.
Waltzing Matilda and leading a water-bag,
You’ll come a’ waltzing Matilda with me.

Down came the squatter a’ riding his thoroughbred.
Down came policemen, one, two and three.
‘Whose is the jumbuck you’ve got in the tucker bag?
You’ll come a’ waltzing Matilda with we.’

CHORUS
You’ll come a’ waltzing Matilda, my darling,
You’ll come a’ waltzing Matilda with me.
Waltzing Matilda and leading a water-bag,
You’ll come a’ waltzing Matilda with me.

But the swagman he up and he jumped in the water-hole
Drowning himself by the coolibah tree.
And his ghost may be heard as it sings by the billabong,
‘Who’ll come a’ waltzing Matilda with me?’

CHORUS
You’ll come a’ waltzing Matilda, my darling,
You’ll come a’ waltzing Matilda with me.
Waltzing Matilda and leading a water-bag,
You’ll come a’ waltzing Matilda with me.

 

The Rolf Harris ‘Waltzing Matilda’ lyrics:

Once, a jolly swagman camped by a billabong,
under the shade of a coolabah tree,
and he sang as he watched and waited till his billy boiled,
‘You’ll come a-waltzing Matilda with me!’
Waltzing Matilda, waltzing Matilda,
you’ll come a-waltzing Matilda with me.
And he sang as he watched and waited till his billy boiled,
‘You’ll come a-waltzing Matilda with me!’

Then, down came a jumbuck to drink at that billabong,
up jumped the swagman and grabbed him with glee,
and he sang as he shoved that jumbuck in his tucker-bag,
‘You’ll come a-waltzing Matilda with me!’
Waltzing Matilda, waltzing Matilda,
you’ll come a-waltzing Matilda with me.
And he sang as he shoved that jumbuck in his tucker-bag,
‘You’ll come a-waltzing Matilda with me!’

Then, down came the squatter, mounted on his thoroughbred,
down came the troopers, one, two, three.
‘Right-o, where’s that jolly jumbuck that you’ve got in your tucker-bag?
You’ll come a-waltzing Matilda with me’.
Waltzing Matilda, waltzing Matilda,
you’ll come a-waltzing Matilda with me.
‘Right-o, where’s that jolly jumbuck that you’ve got in your tucker-bag?’
You’ll come a-waltzing Matilda with me.

So, up jumped the swagman and he sprang into that billabong,
‘You’ll never take me alive!’ said he.
And his ghost may be heard as you pass by that billabong,
‘You’ll come a-waltzing Matilda,
Waltzing Matilda, waltzing Matilda,
you’ll come a-waltzing Matilda with me!’
And his ghost may be heard as you pass by that billabong,
‘You’ll come a-waltzing Matilda with me!’

— ‘BANJO’ PATERSON

definitions of terms used in the song:
swagman – a tramp, carrying his ‘swag’ (possessions)
billabong – a small pool or backwater
coolibah tree – a colloquial name for the eucalyptus tree
billy – a tin can used to heat water to make tea
jumbuck – a sheep
tucker-bag – a bag used to carry ‘tucker’ (food)
squatter – a station owner or farmer
trooper – a mounted policeman
Matilda – the name given by this swagman to his swag

 

Posted by Kathryn King

 

Isolated Talent – Hannah’s Final Thoughts

Over the last few weeks, we have looked at Australian music in a sense as to ponder why this brand of music receives insuffiecient recognition and coverage in the ‘top 40’, which is what we, as popular music journalists so often focus on. Why is it that we decide to spend much of our time praising and/or criticising artists from foreign lands, and pay little attention to homegrown talent, which, believe it or not, is out there!

It was found, by looking at a number of sources (internet, TV, radio) that the ‘top 40’ (stated as being “music industry shorthand for the currently most-popular songs in a particular genre” – wikipedia) in Australia is comprised mainly of artists who are actually not from Australia. The charts seem to be dominated by U.S and U.K artists, with their demand also reflected in CD sales and radio play-time.

I have thought of a number of reasons why this is the case. To start with, it’s not because there is no talent out there. Our discussions over the last few weeks have proven that there is indeed a wide and extensive range of artists that Australia has to offer. I think the main reason is that Australia is so far away from the rest of the world market and international music industry, so it is therefore harder for Australian artists to make the big-time. As we can see on a daily basis, the top 40 is made up mostly of artists who are international sensations. So for Aussie artists to be able to reach the top 40, it seems that they need some sort of large scale recognition.

Due to Australia’s relative geographical isolation, acess to the international market is extremely difficult. The main concern for emerging artists is the issue of money. As i talked about in a previous post, Australian band Machine Gun Felatio worked out their average wage per person over 15 years was 4 cents an hour (and that was just touring Australia, not the whole world!). So it seems that if artists can somehow rustle up the money, and maybe have a few overseas contacts on hand, it makes the road to the top a lot easier.

However, it’s not doom and gloom for all Australian musicians. Over time there has been many Aussies who have achieved international success. And there are ways in which artists can get a helping hand (From competitions such as Australian Idol, to programs such as the JB Seed, and opportunitites like South By South West).

I think that because the market is harder for Australian artists to break through, dedication and true talent will show in those who do make it to the top 40. I also think that there needs to be more mainstream promotion of music that is never really destined or made for the top 40, but music that is just as qualitative, if not more, than the 40 songs that are on repeat mode on mainstram radio.

Australia has got talent!

posted by Hannah

Aussie Versus American hip-hop

The Australian accent seems fit to drawl Throw another shrimp on the barbie, mate, but not to spit sharp rhymes over fat hip-hop beats. The iconic image of an Australian bushman braving dank swamps and the desolate outback just doesn’t jibe with our pop-culture vision of gold-chained rappers flanked by buxom babes. Australia is the other side of the world, as far as rap goes. And what would an Australian rap about anyway? Wrestling crocodiles? Boomerangs? Kangaroos?

 

The development and maintenance of a hip-hop community in Australia continues to rely on the efforts of various social agents to reinscribe their own social world with logics, truths, actions, and interpretations that arrived in Australia predominantly through mass-mediated channels: television, radio, and imported fanzines and recordings (Maxwell, 2001) Australian rap is more than American rap with an Australian accent. While 50 Cent might wax glamorous about the hustler life Aussie rap is just an honest perspective on life.

The first Aussie hip-hop genre to receive an ARIA award was the Hilltop Hoods. The Hilltop Hoods are an Australian hip hop group, originating from Adelaide, South Australia. Their members (June 2006) are MCs Suffa (Matt Lambert), Pressure (Daniel Smith), DJ Debris (Barry Francis) and formerly DJ Next. They work under the Obese Records record label and are often heard on national radio, especially Triple J and Nova. Influences include American hip hop artists such as Notorious B.I.G., KRS-One, Gang Starr and Public Enemy, although the Hilltop Hoods rap with their native Australian accents.

Australian rap remains very Australian, and that local flavour might make it an acquired taste to American ears. Filled with strange accents, odd slang, and a pop culture and politics cryptic to many outsiders, the music can seem downright impenetrable.

 

 

References

 Maxwell, I. 2001. “Sydney Stylee: Hip-Hop Down Under Comin’ Up.” In Global Noise: Rap and Hip-Hop Outside the USA, ed. Tony Mitchell, 259-79. Middletown: Wesleyan University Press, 2001.

Posted by Kathryn King

Mainstream is for frogs, says ARIA winner

 Read this article below By Edmund Tadros, October 12, 2005, From the Sydney Morning Herald. The article deplicts how the Australian Music Industry has reached rock bottom when the Crazy Frog song won an award at te aias in 2005. This “frog” song is the first ever mobile ringtone to come into the ARIAS cgarts and also to win an award. It shows how mobile and the internet are transforming the way music is being produced to the public. You can also read this article from the website at http://www.smh.com.au/news/music/mainstream-is-for-frog-says-aria-winner/2005/10/11/112879652567

Mainstream is for frogs, says ARIA winner

“The future is not good” … Tom Ellard’s Severed Heads won an ARIA gong last night.
It was a blue singing frog that finally convinced Tom Ellard that the popular music industry was “insane”.

The amphibian in question is Crazy Frog – the cartoon star of the single Axel F, a mobile phone ring tone which was released as a single and topped the Australian charts in July.

“When a mobile phone single can be a number one single, that’s when we’ve reached lunatic heaven,” he said.

Ellard is the founding member of Severed Heads, which won the best original soundtrack/cast/show award for the soundtrack to The Illustrated Family Doctor at the ARIA Fine Arts Awards last night. “As a band person to be up against an animated frog, you think ‘it’s no contest man, give it to the frog’.”

For the veteran electronic musician whose first album was released in 1979, a frog singing “a ring ding ding ding ding” again confirmed that Severed Heads would never fit into the mainstream.

“The machinery of the music industry is, in its own way, insane,” he said. “It’s these systematic personality types being put in front of you … the singer-songwriter woman with unwashed hair or the black rapper with gold chains and 20 girlfriends. I’m not critical of these things, I’m fascinated by them.”

However, Severed Heads won an ARIA for a soundtrack that featured canned music. Ellard said he was interested in the form when he was approached to do the soundtrack.

“The idea that music could influence people, that was my kick [at the time],” he said. The idea fit well with the Australian movie, which starred Samuel Johnson. It is about a man who “lives in productivity hell”.

Ellard has long rejected mainstream music, even after the mid-’90s top 20 hit Dead Eyes Opened. He is the keyboardist and sometimes singer of the band, which records with various artists and then assembles the final product on computer.

He has been recording and distributing music since 1996, when it was mp2, not mp3, and opened one of the first online music stores in 1997.

Despite, or perhaps because, he is so forward-looking, Ellard is not hopeful about the future of music.

“The future of music is not good because of this whole notion of selling tracks one at a time,” he said.

Posted by Kathryn King

The Idol Tag

 

 

 

“The ‘‘Idol’’ phenomenon is a spectacle founded on the creation, perpetuation, and maintenance of specific kinds of carefully structured consumer relationships. Several of the more successful contestants are gradually formed into recognizable and familiar brands centred on varied and mostly familiar pop star personae intended to form the foundations of the relationships between the various contestants and their supporters. However ‘‘Idol’’ relationships are not limited to familiar musician-fan binaries, but grow and evolve into a series of intimate, active relationships that stretch well beyond the life of the show. By the end of each series the primary relationship is no longer confined to contestants and fans, but includes a series of relationships between the program and its audience created through a wide range of channels. The main goal of ‘‘Idol’s’’ producers is to build affective investment in contestants and gradually shift that investment to the narrative and drama of the program itself” (Fairchild, 2007, 355)

 

Australian Idol, is a tv seruious that seeks to discover the most commercial young singer in the country through a series of nationwide auditions. These auditions are cast on tv (mostly for humour) and then a competition between 12 contenstants sing, mostly out of their genre, to win the Idol phenomenon. Although dazzaling as it sounds there are some critizims from the Idol winners and the Australian music industry perspective. Australian Idol and its performers are often criticized by the Australian media and entertainers. See Bernard Zuel’s blog post Scarlet letters and Christine Sam’s article from the Sydney Morning Herald, “Noll finds fans in a pond where big fish swim’ which discusses Nols dpearture to the States and his undetachable Idol tag. In Zuel’s blog, he expresses his opnion on the Idol winners “According to Aretha Franklin, esteem and appreciation is spelt R.E.S.P.E.C.T. It is not, according to any number of singers whose careers have had their first boost through the TV show, spelt I.D.O.L”.

“ When this year’s ARIA Awards nominations are announced this month, will any Idol-related names be there? Will there be any respect? Do the Idol pack need to separate themselves from the brand if they want to earn it? Does it matter?

“I don’t think it really matters,” says Ricki-Lee Coulter, who finished seventh in the second year of Idol and has just released her surprisingly very good second album, Brand New Day. “People say you’ll never get respect with the Idol tag – it will pull you down and no one will take you seriously. But I don’t walk around thinking, ‘My God, I’ve got to get rid of this Idol tag.'”  (Bernard Zuek’s)

Some winners and runners-up from the show have failed to maintain popularity past the airing of their respective series of the show. Critics have also lamented the associated record companies claiming high record sales but instead measuring the number of copies shipped to music stores in sale or return. However, such artists as Guy, Damien Leigh and Shannon Noll for example; have defied critics and maintained their popularity.

Reference

Zuel, B. Will Idol winners ever get any respect? Retreieved on the 20th May 200, http://www.smh.com.au/news/music/will-idol-graduates-ever-get-any-respect/2007/09/05/1188783289280.html

 Fairchild, C. 2007. ‘Building the Authentic Celebrity: The ‘‘Idol’’ Phenomenon in the Attention Economy’. Music and Society Vol. 30, No. 3, July 2007, pp. 355–375

 Sams, C. ‘Noll finds fans in pond where big fish swim’. Sydney Morning Herald. Retreieved on the 20th May 2008, www.smh.com.au/news/music/noll-finds-fans-in-pond-where-big-fish-swim/2007/09/031188671801791.html

 

 

Posted by Kathryn King

blue man group, sound of the future?

I hadnt been to a ‘show’ or ‘theatrical performance’ for years…. Then i saw ‘Blue man group‘.

 

I was blown away by the logistics of creating such a show. Coordination of effects including lighting, sound and choreography, proved it to be a solid performance.

“The silly, lightly avant-garde trio of silent performers in Blue Man Group make this show visually stimulating, energizing, and an absolute blast!” – (Blue Man Group: New York City Theater Review About.com Rating  From Yvette Thompson, for About.com)

Throughout the show, the performers ‘educated’ the audience with quirky facts about contemporary issues, including global warming, music, and the social affect of the Internet. 

Paul Gillen, talking on webmasterradio.fm discusses Social Media and its Transformative Effects. He states “the traditional mainstream media used to be the key influencer, but now we are seeing the influx of blogs, podcasts, and social networks; they are even influencing mainstream network media.”

‘Blue man groups’ ability to communicate similar messages whilst maintaining a  captivated audience, essentially demonstrates their successful ability to express social / cultural views in a modern format.

Having been around for sometime now, and still getting huge audiences and receiving fantastic review, Blue Man Group may just original revolutionists/ artists that will be referenced for years to come. 

researched: Steve Jones (1993) Popular Music, Criticism, Advertising and the Music  

Posted by Adrian

dont judge a book by myspaced out music

Given the rapid use of social networking sites, such as myspace and facebook, music’s influence on cultural and social value is growing.

              

The ability to create ‘instant web pages’ on these social networking sites has allowed companies, and specifically music groups greater access to potential followers. 

 

For youth, in particular teens, perception of an individuals character value is often heavily influenced by musical taste. As cultural subgroups emerge through common interest (music),  ones opinion of social importance is often judged by the users ‘friend’ list. How does music fit in? Well, users of these sites can add a band of their choice to this list. Browsers of the individuals site, can view this list ,  and depending on how shallow they are (don’t worry, everyone is a victim of this; its related to instinctive, tribalistic nature) generally make a, faster than history has shown, judgment of character. 

The growth of these modern social sculpting sites are encouraging rapid character judgment. This reality, combined with the general consensus that “Among left-leaning intellectuals the attitude is a generalised disdain for rock’s commercialism and vulgarity coupled with a commitment to an individual artist or song or genre” (Simon Frith states, “Facing the music”.1988, p5) re-inforce music as a major part of major cultural/ social change.

Posted by Adrian

Top Live Music Venues in Australia

With so many great artists out there, only one question remains…where can we find them?

There are plenty of places to find live music around the country, and it can be a gamble choosing a live music venue. However, fear not! With a little research, I’ve compiled a list of the best places to go to find great live music in Australia. Previous research by lonelyplanet.com and an article from travelaustralia.ninmsn.com.au describe the following venues as such:

New South Wales

The Basement

Sydney

The Basement is a popular primarily jazz-oriented music venue, but does branch out into other genres of music on occasion. This medium-sized venue catches aspiring musicians on their way to the top of the music world.

Artists who have played at The Basement include: The Whitlams, Kasey Chambers, Barnesy, Herbie Hancock, Dizzy Gillespie, and Georgie Fame

The Annandale Hotel

Sydney

A popular rock-and-roll venue in Sydney, the Annandale Hotel prides itself on its focus on live music and the number of popular indie-rock artists that have, at one point, graced their stage.

Artists who have played at The Annandale Hotel include: Spiderbait, John Butler, The Cat Empire, You Am I, and Youth Group

The Cambridge Hotel

Newcastle

Famous for breaking in Silverchair, Newcastle’s Cambridge Hotel is regarded for its policy to allow new bands to perform on their stage.

Artists who have played at the Cambridge Hotel: Silverchair

The Metro

Sydney

Host to some of the best local and international performers, The Metro is an inner city independent rock venue in Sydney. Offering great music seven nights a week and a variety of local artists, the Metro is a great stop for music enthusiasts.

Victoria

The Esplanade

Melbourne

Beginning in 1878, the “Espy” is a giant bay-front drinking den that has been classified by the National Trust of Australia. The legendary venue’s reputation for its live music has saved it from turning into just another trendy bar in Melbourne. This is one venue where you can still show up holding a VB and wearing ripped jeans.

Artists who have played at the Esplanade include: Paul Kelly, The Kills, Dallas Crane, Jet, and Johnny Farnham

Prince of Wales

Melbourne

Not far from the Esplanade is the Prince of Wales pub on Fitzroy Street. The pub boasts two bars (one of which is gay-friendly) and what is known as the “Bandroom” upstairs. The Bandroom is where the live music action takes place. While usually playing host to local up-and-coming artists, the Bandroom also has a great history of bringing in aspiring international artists.

Artists who have played at the Prince of Wales include: Coldplay, Lenny Kravitz, Ben Harper, Scissor Sisters, and Jack Johnson

Queensland

The Zoo

Brisbane

Employer of many aspiring musicians in Brisbane, The Zoo offers an intimate and relaxed atmosphere where you can see great artists perform. The occasional “top band” playing at The Zoo brings it much fame and popularity in Brisbane.

Artists who have played at The Zoo include: Powderfinger, Regurgitator, Ben Harper, Mogwai, and Gomez

The Tivoli

Brisbane

Clad with art-deco design and comfy seats, along with a welcoming staff, The Tivoli is a premier live music venue in Brisbane.

Upcoming shows include: Rogue Traders, Powderfinger, Peter Murray, and many more!

Western Australia

The Fly By Night

Fremantle

Geared specifically towards finding new talent, the Fly By Night is a popular place in Fremantle – part gig venue, part musicians’ club. In addition to providing locals with great new bands to listen to, Fly By Night has helped break many new bands in to the wonderful world of music.

Artists who have played at the Fly By Night include: The John Butler Trio, The Waifs, The Panics, Eskimo Joe, Ani DiFranco, Xavier Rudd, The Go-Betweens, and Bic Runga.

The Capitol

Perth

Showcasing a variety of genres and artists, The Capitol exemplifies the diversity in Perth. With the plethora of genres being played each week, the Capitol has something for everyone. It’s the place to be in Perth!

South Australia

Thebarton Theatre

Adelaide

Host to some of the world’s best musicians, Thebarton theatre is intimate and cool – “the place to get up close and personal”.

Upcoming shows include: Kisschasy, Powderfinger, Pete Murray, and many more!

With so many choices for where to go, it’s nice to have a few places in mind that have a good reputation for their music. This list provides you with a few places you should check out if you’re ever nearby any of them. You never know – maybe the band you watch on stage will make it big someday!

posted by Cassidy

Aussies Score ARIA Number Ones

Aussie Aussie Aussie! Excuse me, but I just can’t help it. For the first time in ages Australian artists hold the top spots on the ARIAS singles and albums.

Gabriella Cilmi is still going strong with his massive debut single “Sweet about Me.” And then over on the album charts Pete Murray has debuted at number one with his third major label release, Summer at Eureka. Good work guys!

Vanessa Amorosi is keeping Gabriella company on the singles charts. Her newest single “Perfect” has climbed to number seven this week.

Gabriella pops up again in the albums charts. Her debut album Lessons to be Learned has climbed to the number two spot this week. Pete and Gabriella lead an eclectic collection of Aussie albums in our top ten.

There’s the electronic Apocalypso by The Presets at number four and Damien Leith’s walk down memory lane Catch the Wind at number five.

Pendulum’s In Silico and Kasey Chambers and Shane Nicholson’s Rattlin’ Bones round out the top ten. They’re at number nine and ten respectively.

Australian Top 10 Singles

1. “Sweet About Me” – Gabriella Cilmi
2. “4 Minutes” – Madonna feat. Justin Timberlake
3. “Low” – Flo Rida feat. T-Pain
4. “American Boy” – Estelle feat. Kanye West
5. “No Air” – Jordin Sparks and Chris Brown
6. “Dream Catch Me” – Newton Faulkner
7. “Perfect” – Vanessa Amorosi
8. “Love in this Club” – Usher feat. Young Jeezy
9. “Better in Time” – Leona Lewis
10. “Take a Bow” – Rihanna

Australian Top 10 Albums

1. Summer at Eureka – Pete Murray
2. Lessons to be Learned – Gabriella Cilmi
3. Waltzing Matilda – Andre Rieu and Mirusia
4. Apocalypso – The Presets
5. Catch the Wind: Songs of a Generation – Damien Leith
6. Narrow Stairs – Death Cab for Cutie
7. Hard Candy – Madonna
8. Spirit – Leona Lewis
9. In Silico – Pendulum
10. Rattlin’ Bones – Kasey Chambers and Shane Nicholson Posted by Kathryn King