Put your hands up and get outta her way, lesser divas: Kylie Minogue‘s just notched her FOURTH #1 US Billboard Dance/Club Play smash!

The legendary twinkle-toed beauty hit #1 this week with “Put Your Hands Up (If You Feel Love),” the fourth track from Aphrodite to climb to the top of the chart following “All The Lovers,” “Get Outta My Way” and “Better Than Today.”

From Billboard’s news article announcing the feat:

“Fantastic news that ‘Put Your Hands Up’ has gone to No. 1 on the Billboard chart,” Minogue tells Billboard exclusively. “That’s a full house for ‘Aphrodite’! I’m so grateful for all the support this album has had. Thank you, thank you, thank you!”

In fact, “Put Your Hands Up” is actually KM’s fifth consecutive #1 on the chart following the release of her smash springtime collabo with Taio Cruz, “Higher.” Go, go, go!

This is AMAZING news for the Almighty Aphrodite! As Legendtina, Empress of Flopitude might say…

BOW DOWN: GET ON YOUR KNEES!

“Put Your Hands Up (If You Feel Love)” was released in June. (iTunes)

Clinton Sparks, JoJo & and DJ Eye.

Merry Friday, Muusers!

Radio DJ/producer Clinton Sparks has teamed up with drunk-pop purveyors LMFAO and the baddest chick in the game (JoJo) for an almighty new club anthem: “Sucks To Be You.”

While the bass-blasting beat isn’t all that different from your standard fist-pumping club affair a la Taio Cruz, Usher or Enrique Iglesias, “Sucks to Be You” benefits from a few extra cutting lyrics–including a wonderfully cathartic chorus (“I bet it sucks to be YOU!”)–that ought to have middle fingers hoisted in the air at every club across the nation this summer.

And while the mere inclusion of JoJo already makes “Sucks To Be You” an instant smash, it’s her gloriously stinging verse that truly takes the song to the next level: “Boy, you’re shit out of luck / You’re gon’ be sleeping alone,” the 20-year-old songstress bitterly croons as the beat drops low. YOU DON’T. FUCK. WITH JOJO.

Don’t like it? Well then…I guess it sucks to be you.

DL: Clinton Sparks – Sucks To Be You (feat. LMFAO & JoJo)

“Sucks To Be You” is featured on Sparks’ latest mixtape (My Awesome Mixtape), which is now available for free at his official website.

Bonnie McKee just tweeted that she’s in New York shopping for record deals. Here’s why you should care:

At the age of 16, the self-described wild child’s big voice and startlingly self-assured songwriting chops ignited a fierce bidding war between Interscope and Warner Brothers. After eventually signing with Warner, Bonnie’s debut LP, Trouble, was released in 2004. It was a radio-friendly collection of provocative yet polished pop-rock, but — mismanaged and mismarketed to an oversaturated public — the album failed to make a commercial splash.

It wasn’t until Bonnie was dropped by Warner that her songwriting career really kicked into gear, after her friendship with Katy Perry (who Bonnie met in a Los Angeles thrift store) led Bonnie to begin collaborating with hitmaker Dr. Luke.

With Luke and a handful of other famous friends, Bonnie co-wrote “California Gurls,” “Teenage Dream,” and upcoming single “Last Friday Night (T.G.I.F.)” for Katy’s sophomore effort — as well as “Dynamite” by Taio Cruz and “Hold It Against Me,” “Inside Out,” and “How I Roll” for Britney’s Femme Fatale. (Reportedly, she’s also penned tracks for Kelly Clarkson’s upcoming fifth album.)

Between the confessional intimacy of her early work (especially “Somebody” and “Sensitive Subject Matter” from Trouble) and the infectious giddiness of her recent tracks with Luke, Max Martin, and Bloodshy & Avant, it’s obvious that Bonnie’s a force to be reckoned with as a writer. But she’s also a powerful vocalist entitled to far more than the limited exposure she’s received so far as a recording artist.

The most gifted songwriters can stumble on their way to the spotlight — Ester Dean’s anticlimactic solo career comes to mind — but Bonnie’s one artist whose comeback will be fully earned. As far as I’m concerned, anyone responsible for writing the hook on “Teenage Dream” deserves my full attention.

On January 24, Adele will release 21 in the UK, the highly anticipated follow-up to her Grammy Award winning debut, 19.

There’s been an outpouring of overwhelmingly positive critical praise surrounding this record from various media outlets over the past few weeks, so I’m going to caution you now: Believe the hype. It really is that good.

21 was produced and co-written by a varied cast of talented musicians, including 19 producers Jim Abbiss and UK hit-maker Eg White, as well as Rick Rubin (co-president of Columbia Records) and Paul Epworth, the British producer responsible for–amongst many achievements–Florence + The Machine‘s flawless 2009 debut, Lungs.

But despite the wealth of talented producers sitting behind the soundboard in the studio, it’s impossible to deny the true talent at the helm of this project: Adele.

Like a modern day reincarnation of Dusty Springfield, the young UK songstress is a throwback to the legendary voices of yesteryear. Her voice’s soulful quality, technique, depth and sheer power is nothing short of awe-inspiring.

But beyond being an adept vocalist, it’s Adele’s ability to emote that carries her a cut above most of today’s singers: When she’s angry, she burns. When she hurts, she bleeds. And we, as the listeners, feel it with every song. To think she was only 21 years old at the time of writing and recording this album? Well, it’s almost frightening.

“Sure, she’s got it all / But baby, is that really what you want?” Adele taunts on the wicked, sauntering Ryan Tedder-produced “Rumour Has It”–one of the many bluesy, country-tinged offerings on the new record–a sound first introduced to her by the tour bus driver during her American tour last year, which resulted in a wealth of new influences including “Wanda Jackson, Garth Brooks, early Johnny Cash, early Dolly Parton, the Carter Family…especially June Carter.”

Yet while the album is occasionally colored with flashes of bright, playful melodies as displayed on “Rumour Has It,” the bulk of the record is mired in sorrow and rage, as evidenced in the gigantic lead single, “Rolling In The Deep.” “The scars of your love, they leave me breathless / I can’t help feeling we could have had it all,” Adele achingly belts out during the song’s pounding chorus.

If “Rolling In The Deep” is 21‘s raging storm, it’s the album’s closing moment that finds the dark clouds slowly rolling away.

“Someone Like You,” is–as pop producer RedOne recently described Lady Gaga‘s upcoming single, “Born This Way”–almost too precious to talk about. “Never mind, I’ll find someone like you / I wish nothing but the best for you too,” Adele sadly assures herself above a simple, devastating piano melody. The song burns with a raw ache that we can both hear and feel. They just don’t write them like this anymore! Simply put: This song is everything.

However, it’s “Set Fire to the Rain”–apart from the two aforementioned numbers–that may well be the album’s crowning achievement.

Produced and co-penned by Fraser T Smith (Taio Cruz‘s “Break Your Heart”; James Morrison‘s “Broken Strings”), “Set Fire To The Rain” is a complete and utter triumph for the young chanteuse; an aching power ballad that packs enough of a punch to cause jaws to drop to the floor.

“I set fire to the rain, watched it pour as I touched your face,” she cries out during the song’s dramatic, chill-inducing chorus as pianos and string crash and burn beneath the surface. The song plays like an instant classic and, with any luck, may become a pop standard for years to come when released as the album’s second single.

Additional highlights include the white flag-waving surrender of “Take It All,” (“So is it over? Is this really it? / You’re giving up so easily, I thought you loved me more than this”) and the twangy “Don’t You Remember,” a simple, heartbreaking moment of mourning that finds Adele desperately searching for some sign of life from her former flame: “When was the last time you thought of me? Or have you completely erased me from your memories?” Adele woefully croons atop the song’s slow strumming guitar.

There’s also the breathtakingly romantic bossa nova swing of “Lovesong,” Adele’s acoustic take on The Cure‘s oft-covered 1989 hit single. In the end though, it’s hard to spotlight particular standouts on a record complete with so many quality offerings.

21 is a gorgeous collection of honest lyricism and winning songcraft. It’s an incredibly personal experience, complete with a genuine depth and sincerity that trumps its predecessor and proves Adele to be even more of a force to be reckoned with than most had probably imagined.

The album will undoubtedly go on to become one of the major contenders for many “Best Of ’11″ lists compiled later this year, and is nearly guaranteed as much–if not more–critical praise and recognition as her 19 received when award season comes rolling around once again.

And let’s not forget, as it’s worth repeating: She’s still only 21 years old.

21 was released on January 24 in the UK. (iTunes) (iTunes UK)

DAMN, that was fast.

Just two weeks after Kylie Minogue tweeted from the set of Taio Cruz‘s “Higher,” the video has arrived! (WATCH)

Though there’s not a whole lot going on aside from some follow-the-leader Fast and The Furious car action in a parking garage (which might explain the quick turnaround time), Mizz Minogue looks positively smoldering throughout. Therefore, AMAZING VIDEO.

Loving that saxxxy strutting to meet Taio at the 2 minute mark!

I’m really starting to love this song, but I remain completely bitter about the fact that the US won’t be getting Kylie’s version for radio.

WHY CAN’T AMERICA JUST LET KYLIE BE GREAT?

The Kylie version of “Higher” will be released on February 14 in the UK, while the Travie McCoy version will be released in the US on November 30. (iTunes)

Kylie Minogue is currently filming the video for “Higher,” Taio Cruz‘s upcoming single from his 2009 album, Rokstarr. As you can see from her most recent TwitPic from the set, she’s very busy.

I was kind of wishing she’d be TwitPic’ing from the set of…oh, I don’t know “Cupid Boy,” but I suppose this will do as well. The outfit/styling is kind of Body Language era, no?

From gutter sluts to disco divas, Taio Cruz has certainly had his fair share of help from the lady pop landscape lately.

After the relative success of his Ke$ha-assisted ode to sexting (“Dirty Picture,” my personal life anthem of the mo’), Cruz has unveiled a re-rub of his album track “Higher” featuring the mighty Aphrodite herself, Kylie Minogue.

It’s…you know, pretty good. ‘Modern sounding.’ Radio-friendly R&B dance-pop. ‘A banger.’ She sounds a bit like a robot, but a sexy one.

According to Idolator (who then say according to We Are Pop Slags), the mix will lead off the Rokstarr re-release in the Australian market. Sounds right.

This is all very well and good, but I’m still not over the injustice that is the #12 UK Singles Chart peak of one of the greatest singles of 2010, “Get Outta My Way.” STILL VERY MUCH NOT OVER IT.

Rokstarr was released in June in the US. (iTunes)

While the name Luciana Caporoso might not immediately strike a chord, chances are you’ve seen the name attached to some of the hottest dance floor scorchers of the past decade.

Luciana is perhaps best known for being the queen of collaboration, responsible for lending her vocal chops and songwriting skills to a slew of the brattiest and bossiest dance anthems of the past few years, including “Yeah Yeah” and “What Planet You On?” with Bodyrox, to “Bigger Than Big” with Super Mai, to her latest club smash along with Static Revenger and Richard Vission, “I Like That.”

A few weeks ago, I got the chance to ask the singer some questions regarding her break into the music industry, her creative work–including visual art and penning tracks for other artists (most recently Kylie Minogue‘s heaven-sent Aphrodite cut, “Cupid Boy”), and her plans to further dominate the dance floor.

As one can probably tell early on into the interview, the sassy spunk that Luciana brings to her music is hardly restricted to the recording studio. She’s a firecracker! Click “Read More…” to see the full interview.

Oh, and just to make this feature even more delicious, I just happened upon this sweet lil’ video shout out above from the singer waiting for me in my inbox. As she would likely declare, it’s utterly fabulous. Thanks for the love, Luciana!

Read More…