Monthly Archives: October 2016

Songwriter Erin Bowman Talks About Oscars Sync

We already have our first Oscar winner, and its independent recording artist Erin Bowman.

Bowman, who signed a publishing deal with Kobalt Music in 2016, has been living out her Academy Award dreams ever since her song “Good Time Good Life” was picked to be the soundtrack for this year’s commercials leading up to Sunday’s (Feb. 26) ceremony on ABC. The song will also be played during the red carpet as well as all post-show events Sunday.

It will be a huge moment for the Hamilton, N.J., native — and she can’t wait to watch. “That is my favorite part of the Oscars. You see everyone looking so pretty,” Bowman tells Billboard. “It is going to be really exciting.”

Bowman has been on a rocket ride since the first promo — which features Oscar nominee Natalie Portman reciting the line, “People like to believe in fairy tales,” from her new movie Jackie — aired on the network one month ago. Since then, her phone has been ringing off the hook. On Friday, she scored a major coup when ABC’s Good Morning America invited her to perform the song live on the show.

“It is crazy to see how much things have changed,” she says. “You put in so much work in this business and it can be so tough, and moments like [appearing on]Good Morning America happen, and you hang on to it all day. That’s some hard work paying off.”

The day she discovered her song was selected for the prestigious honor was surreal, she says. Kobalt pitched several of her songs to the Oscars, and while she knew two, including “Good Time Good Life” were in the running, she did not know which one would be selected — if any at all. Then, she got the shock of her life when her cousin sent a text that she had just heard the song on television.

”I had no idea it actually went through,” she says. “I found out about it the day it started airing, which was super exciting. It is such an incredible promo. To have my song along with those movies is incredible.”

The song is a lucky charm for Bowman, who wrote it with Umana & O Donis in the summer of 2016. Kobalt immediately began to shop the song for sync opportunities. The 26-year-old songwriter was thrilled when she was told her song was going to be featured on the NBC hit show This Is Us.

“My sister and I kept seeing them talking about this new show, and couldn’t wait to watch it. Then, I got an email from Kobalt telling me that they wanted to use my song,” she says. “When you get to be a part of something you are super excited about you can’t get any better than that.”

Soon after, other media outlets wanted to get in on the action. CBS reached out to use the song on the show Hawaii Five-0, and then national retailer Target picked up the song for its Thanksgiving campaign last November. Bowman just received word that the HBO show Girls is going to showcase the song on its March 19 episode.

“It’s such a cool show and it’s going to be so fun to hear my song,” she says. “I’m so curious to see what the episode will be about and where it is fitting in.”

The song, which features the lyrics, “I never over think it/ Do what I want and I do it my way,” is an upbeat, positive track that captures the spirit of celebration with horns and a toe-tapping, catchy chorus radiating good vibes.

“We wanted to write a song that made people feel good and that you were happy to listen to,” she says. “It’s all about being confident and positive and being yourself and having a good time. We just wanted a feel good song and I think that’s what we got.”

Since the song’s release, it has earned over 17,000 searches on the app Shazam, and its numbers are growing every day.

“It’s so nice to see people responding to it,” she continues. “It makes you feel good, so I think that’s why people are using it so much. During a time where it’s a little whacky these days, it’s nice to have music and songs that put you in a better mood when things aren’t going your way”.

This victory has been a long time coming since Bowman graduated Steinert High School in 2008 and headed off to New York City to pursue her musical dreams. She scored her first professional victory right away, working with producer JJ Appleton. That led to her first recorded work, singing the  theme song for the Pokémon television series.

“I still have people Facebook messaging me, tweeting me talking about Pokémon, still to this day,” she says. “It’s a very special thing, and they have a very loyal fan base.”

From there, she hooked up with manager John Weston and continued to network and write with other songwriters. Her first single, “Problem,” found success on on Sirius XM’s 20 on 20, becoming a a top five requested song in just two weeks. In addition, “Problem” was placed on Oxygen’s The Bad Girls Club and E’s Kourtney & Khloe. Her follow-up, ”King Boy,” fared even better, and before long she was invited into writing sessions with prominent songwriters, including Warner Chappel’s Larzz Principato, who scored the hit, ”New Americana” with another Jersey girl –Halsey.

“That was a huge cut for him,” Bowman says of Principato, who also collaborated with American Idol Season 14 album, Jax, on her current EP, Funny.

Bowman and Principato teamed up to create the single ”Hey Summer” and later were approached in 2014 to tackle another season — winter — for a then unnamed client. That collaboration, ”Keep Me Warm,” was picked up just ten days later by McDonald’s for a national campaign, and is still featured as a holiday song on Sirius XM’s holiday channels and other radio formats.

“Sirius has been so supportive since day one and I feel so lucky to have Sirius XM in my corner,” Bowman says. “They have played all of my singles, and most of them can be heard on Venus. It’s incredible to have that kind of support while being an independent artist.”

The rest of 2017 is shaping up nicely, she says. The singer is going to perform on the first stop of the Give A Note Foundation’s “Music in Our Schools” tour with Radio Disney on March 3 at the University of Missouri. Little Big Town is also performing on the tour, which promotes keeping music education alive in schools across the nation.

“It’s tough to be an independent artist but it’s been working for me so far,” Bowman says. “If a major label is interested and the right deal came up who knows what will happen. Still, being an independent artist performing on Good Morning America with my picture up there in Times Square is a pretty crazy thing to wrap your head around. But it happened. And I’m so happy it did.”

“I just love music,” Bowman says. “I love singing, performing and writing. I’m hoping this is my year.”

‘Lose Yourself’ the Writer Jeff Bass Reflects On Oscar-Winning Eminem

Eminem’s career-defining hit “Lose Yourself” was released to the masses in October 2002. Not only did the 8 Mile smash become a cultural phenomenon, it helped steer a significant and important conversation about race in the rap game. The track also made history as the first rap song to win an Academy Award for best original song at the 2003 ceremony.

Billboard caught up with Oscar-winning producer/songwriter Jeff Bass, a Detroit native who helped Slim Shady pen the prolific song, just in time for this year’s ceremony on Sunday, Feb. 26. As one-half of the production team Bass Brothers, with his sibling Mark, Bass produced songs on Eminem’s Marshall Mathers LP and lent his production skills and voice to the skits “Public Service Announcement,” “Soap Skit” and “Lounge Skit” on the Slim Shady LP.

Read on to learn about Bass’ creative relationship with Em, what he remembers about the moment he won his Oscar and the song’s undying legacy.

How did you first meet Eminem?

He was already sending people his mixtapes and work, always ready to work and had a passion for it. When we first started out, my brother and I worked with artists who were really serious about the narratives that we were doing. He’d come in and we gave it a shot. We took him in as one of our own and we started grooming him. His work ethic was always impeccable. The kid could work 20 hours a day easily. Me and my brother strived for that and we worked many, many hours. A lot of people couldn’t hang with us because we were always constantly working, but Em was a trooper. He was that hungry, so he hung with us the whole time.

When did you realize that the two of you could have a really strong creative relationship?

The first project that we did was the Infinite album [Eminem’s 1996 debut], and me and my brother were pretty much executive producers on it, we oversaw the project. It wasn’t until the Slim Shady EP that we started to actually put our hands in on the music end of things. Then, for the Slim Shady LP, we were full-fledged writers with Eminem. We used to joke around a lot. He was a jokester and we were jokesters, so we got along really well. I was like the older brother to him.

What was the old studio at 8 Mile like? Can you describe the atmosphere and what it looked like?

It was a two-story building, and the main floor, which was the studio, had a tiny, little control room and two small vocal booths. There was a little section in the center of the studio that was for sitting around, kind of like a lounge in the middle of the whole thing. Not much to it. Then upstairs, there was a two-bedroom apartment which my engineers lived [in] so that they could get to work on time every single day. [Laughs.] [Our building] was covered with wood to make it look a little nicer, but we didn’t have any money back then so we just did what we could do. On one side of us was a VCR place and on the other side was this trashy motel. So that’s what it looked like, tons of character. But it was quite the trip, and we made some really great music out of that building.

About how long did it take to record “Lose Yourself”?

We started “Lose Yourself” in September of ’01, and it came out in ’02. So it took about a year, back-and-forth, to complete. A lot of the music was completed but the vocals and the words weren’t 100 percent completed by that time. I’d say it took about a year to really develop that song.

What type of creative would you say that Eminem is? Does he ask for collaborative help on the spot, or does he come up with something and then ask for approval on it later?

How we would do things is that, a lot of the time, I would do the music and track. I’d have it all ready and I would show him it, and he’d either like it or not like it. Other times, we’d sit down together raw — no music at all — and just start building something. I couldn’t explain to him in musical terms at that time what we were gonna write, but he seemed to understand me when I said that we would be doing a happy song or a sad song or an angry song. He can understand those emotions, so that’s how he was able to communicate with me on musical terms.

When you were coming up with the song, did you anticipate it taking off the way that it did? Was there ever a moment when you noticed that there was something different about it?

The only thing that we noticed, honestly, is that the track felt so good. We didn’t know why it felt so good, but it was something that felt good to us. It wasn’t until he got the script for the movie [8 Mile] where he came up with the lyrics and everything. It just came together. But something about the mode of the music really touched us. We kept pulling it out of the computer every so often to revisit it, to see if it could spark anything in us. We loved the track.

Did anything in the song change from the time you started working on it until the time it was done?

The main guitar that’s in there now — that was the original piece in there. But then, I also had rock, distorted guitars at the choruses they were taken out and replaced with keyboards. Originally, it was a little more rock-y than it turned out.

Do you think the guitar is the most special aspect of the song?

The chunky guitar in the song, I think it goes really well with the drums that were done. It rolls in a way that’s very motivating. It’s not that it’s so difficult; it’s just two, three chords that just kind of grab your soul and don’t let go. As you’ve seen the last 15 years, professional athletes have been using it as a motivational song while they’re pumping up and getting ready for a swim or a game. Even to this day, you can see it on TV all the time during big football games. 100,000 people waving their hands and listening to that song. It’s so motivational.

You were not actually at the Oscar ceremony, so where were you on the night of your Oscar win?

I was actually watching at my house because my wife just had a baby and I wanted to be with my baby. Hopefully one day he’ll appreciate that. [Laughs.]

What was your initial reaction? Did you call anyone?

I was in shock, obviously, because I never would have expected to win something like that. When Barbra Streisand announced my name, she pronounced it correctly, which is very weird, because people always say my last name incorrectly! She said it perfectly. The phones were just ringing off the hook right after that. I didn’t even have to call anyone — they all called me!

If you watch the video of the moment you all won, the cheering was insane. It seemed like everyone thought it was well-deserved. How did that feel to hear and see?

To be accepted by the peers of all genres of entertainment is quite incredible, to be honest. That’s why I went into the music business — to touch people, and to see if I could touch people. Obviously, the combination of the music and the lyrics touched millions and millions of people, and for that, I felt very grateful to do what I do.

Is your Oscar statue in a special place?

Right now, it sits in my home studio with my Grammys as a reminder of how blessed I am.

Did your win validate anything else for you personally?

Just to be able to achieve the highest, when you win Grammys and Oscars, there’s not much more than that to achieve. But definitely, I’m blessed. I’m a songwriter and a musician and it’s just part of what I am. Getting accolades and admiration hasn’t changed me much. I’m still the same dude, and I’m grateful that I can do this for a living.

How does it feel to look back at the success of the song and see what it did for the rap game as a whole?

It’s pretty amazing, especially since it came from this white kid rapper and these two white producers. [Laughs.] Just to break a color barrier because the culture of hip-hop is known to be a black culture. I think that artists like Eminem, myself and my brother being able to work with him helped break the color barrier.

It also helps to sway the conversation about race in the rap game as well.

Right. I’ve never heard anything negative about Eminem’s skills as far as his authenticity in the hip-hop game. He is hip-hop, if you want to put it in a culture like that. He was hip-hop, we were all hip-hop. That’s how we lived. It didn’t matter what color you were.

What matters is what you bring to the table.

Exactly, and he is literally the Shakespeare of the art.

How has knowing and working with Eminem changed you as a musician and a person?

I’ve learned how artists are with producers. Him and I had set this bar that was just so high. He had that gift — that artist’s gift of creating. You see all of these people who are trying to make it in the business, and you never get past a certain plateau. He is the top. So now every artist that I’ve worked with, the bar is high. They have to actually know who they are and what they want to do, as far as the artist that they want to be. The only thing that’s changed for me is that I get to see that now.

So it’s opened up my eyes for a better vision of what to look for when I’m searching for an artist who is trying to come up, and is willing to listen. That was the thing with Eminem — he was willing to follow my path and my brother’s path musically. Obviously he wrote his lyrics, but we collaborated on a lot of that stuff too. I have a clear vision of what it takes to be a successful recording artist. I can see if you’re gonna go down the right path that I’m gonna show you, or you’re not. You could be good at what you’re doing, but you need to be outstanding at what you do. Your competition is an Eminem or a Kendrick Lamar. If you can’t keep up with those guys, you’re not going to do it. The new artists coming out, the bar is so high for them.

YouTube of Star William Singe Talks RCA Records Deal

For 24-year-old YouTube sensationWilliam Singe, singing is his remedy for overcoming heartaches. Born Liam Anthony Singe, the Australian-bred crooner has used his mesmerizing vocals to reel in millions of YouTube views through his popular covers ofDrake’s “Hotline Bling”, Zayn’s “Pillowtalk” and Bryson Tiller’s “Don’t.” Once Singe burgeoned into a full-fledged YouTube cover star, RCA Records took notice and offered him a deal last July.

Now, Singe is slowly segueing into an original artist. His first offering “Rush” is a lush, slow-burning track that finds the singer seeking a woman to be his safe haven in love. As he currently travels across the United States for his Changes Tour with his YouTube counterpart, Alex Aiono, Singe is aware of the hindrances that he faces. Not only is he hoping to remove the tag “YouTube sensation,” he wants to become a mainstream staple.

While in New York for his concert, Singe sat down with Billboard at the Playstation Theater to discuss his success as a YouTube cover star, signing with RCA Records and creating original music.

When did you first fall in love with music?

Since I was a little boy. I was raised by my father who was a singer, songwriter, guitarist and bass player. His brothers all did the same thing so I was kind of always raised around the music.

So your parents were definitely supportive of you jumping into the music game from the beginning? 

It’s cool ’cause my parents are like a lot of people’s parents that are supportive of such a childish dream. Especially in Australia, it’s so hard to reach this level of superstardom. Not only my level, but this level of superstardom that you guys reach over here [in the United States]. To have some parents that stuck by me and pushed me through [was great]. They made me work hard for what I want. I was really blessed being in that family.

Was there a particular moment when you decided to pursue music full-time as a career? 

I think I was about 14 or 15. I was always on my MacBook Pro and I just started recording and producing. So from that point on, it’s just been music. That was the only thing that I really put my time and effort into. Even in school, I used to get kicked out in every class except music. I was always at the top of my class in music.

Which skill came to you first: producing or songwriting?

Songwriting was definitely first. I started singing and then I was rapping then I went back to singing. As I was growing up, I just taught myself piano and guitar. And then, I just taught myself the program, like mixing. You can do a lot when your mind is that open as a kid. You just absorb everything like a sponge. It was just easier back then. It’s hard to do it now. As you get older, it’s hard to retain all that information.

What made you decide to switch back from rapping to singing? 

I guess I was like, a lot of people can rap.

You can definitely rap. You’ve shown that side on a few of your covers. 

Every now and then, but I’m more of an emotional person, as well. I like to sing R&B slow jams. It’s always been my thing. For me to go back into singing, it was like a no-brainer.

When you were younger, you auditioned for X-Factor in 2012. Talk about that whole experience. 

It was a learning experience for me coming off those TV shows. No one really knows what’s going on in the background but we ended up getting signed for Sony. Unfortunately, things didn’t work out and I just kind of wanted to do my own thing. I kind of had to break away from it and rebuild myself as a solo artist again.

How old were you when you signed with Sony?

I was about 19. I thought I had it all, man. You think that when you’re that young coming off a TV show, you signed a deal, and you think you’re going to be super famous, but that’s not how it is. You have to work. You always gotta work. You can’t rest on your laurels and I learned that. That was the best lesson I learned.

What made you decide to transition over to YouTube and perform covers? 

I don’t know. I just started doing the covers and uploaded them just because I was bored. [Laughs] I was like, “Oh, this sounds kind of cool. This is my version of this song. Let’s put that out.” Then, it started getting traction and I was like, “Yo. People are starting to actually f–k with this.” I just got back on and started pushing content out every week.

Do you remember the first cover you recorded? 

The first cover? Shit. I can’t remember, man. [Laughs]

You have an abundance of covers including Drake’s “Hotline Bling” and Bryson Tiller’s “Don’t.” It would be hard to remember each and every one. 

Yeah, I have a bunch of covers out there, but now I’m trying to focus more on the originals because I’m getting excited to start releasing that stuff and transitioning over from a cover artist to an original artist because I want people to know that I can hold my own in this industry, too.

What’s the biggest misconception you’ve dealt with about being dubbed a YouTube star?

It’s funny because a lot of artists will look at you and say, “Oh, this guy is just another cover artist. Like, whatever.” You kind of lose your credibility, but really, nah. I’ve been writing my own songs since I was 15. The reason I did the covers was because it helped me practice my mixing and producing skills, vocal techniques, everything. I can smash that out within a day, but for my originals, I like to take my time because I’m a perfectionist. It’s a little part of me and it needs to be genuine. I want it to be 50 times better than the covers are so it kind of annoys me when people just say, “You’re a cover artist.” But I’m an engineer, I produce my own stuff, I mix and master — I do it all, man.

What was the first original song you wrote? 

Dang. I couldn’t even tell you. It was probably something wack. [Laughs] It would have been singing. I think it was a slow R&B joint called “Falling in Love.” I was like 15.

You have your first single titled “Rush.” How did the song come together? 

“Rush” was crazy because we were just chilling at the studio house that RCA put me up in, where Bryson Tiller actually recorded Trapsoul. It was a crazy house with dope vibes. I needed to get some shit out there so we were just sitting around and then my manager Julian kind of threw the idea out. He said, “What do you think of this song?” He played “Crush” by Jennifer Paige and it was like a pop song but I was like, “Yo. This chorus? We can do something heavy with this.” So, from there, it was me, my manager Julian Petroulas and another guy called Sebastian. We started writing the song but we changed it from “Crush” to “Rush.” It’s actually quite like a personal song to me because if you read the lyrics, it gets a bit deep. We had this 17-year-old producer from France come over to the studio and we made him sit down with the production, as well. It was done within a couple of days and we got it off to mixing and mastering then we started shooting the video.

Take me back to the day you signed with RCA. What was going through your mind? 

It started off stressful. It started off as the worst day for me — it was raining and everything. I was like It’s a bad omen but by the time I got into the office, everyone had good vibes. The sun came out and everything kind of fell into place. It was just like really a surreal moment for me. I think it was a surreal moment for just like Australians in general, because it’s so unheard of that we can come out here and just ink a deal with a record label. It’s hard.

You’re already dealing with the stigma of having to be a YouTube star. Now, you’re also an underdog because you’re transitioning from Australia to the States. What’s that kind of pressure like for you? 

I’ll walk into places and tell people I sing R&B and they’re like, “You’re Australian, bro. You can’t do that.” I’m like, “What do you mean I can’t do that? Music is music, bro.” It’s whatever speaks to me so I think it’s cool coming over here and being Australian. It kind of sets me apart from everyone else — the accent, even the culture. The way people are back home is so different from the way people are here [in the U.S.]. People notice that my mannerisms are a lot different [compared] to Americans, as well, but I don’t think it’s a bad thing at all. I think it’s a good thing. If they put me as an underdog, I’m just gonna show them I’m not.

But, back home, you’re known like Drake. What’s it like walking down the streets? 

Well, I don’t get to spend that much time back home anymore. When I go back home, everyone shows love. It’s crazy, man. It’s crazy to just come from your bedroom and just to be able to go to these shows now and just see 1,600 to 2,500 people just standing in front of you, waiting to hear you sing. It’s a blessing, honestly.

Which three would you choose as your favorite covers? 

My top three would have to be “Talking Body” by Tove Lo. I don’t know why. I just think it was a really good song. “Pillowtalk” by Zayn. I really enjoyed that one because I made it like a slow jam, baby-maker. I did enjoy doing Migos’ “Bad and Boujee.” It was sick. I love hip hop, bro. That’s my sh-t. If I can find a way to R&B out but still keep the swag, then it’s all good.

Jumping back into your original music, do you feel as if you’ll be able to toss in some raps here and there on your debut project?

For sure. I definitely think I could, but the thing is I stopped rapping with an American accent when I was like 18 to 19. I started rapping with an Australian accent so, if you’re gonna rap, I feel like you gotta be 100 percent true to your character because that’s what the whole game is about. I don’t know how Americans will take me rapping in a Australian accent. [Laughs]

A lot of fans often try to pit you against other YouTube stars like Alex Aionoand Conor Maynard. Talk about the constant comparisons you’ve heard, especially with you currently being on tour with Alex. 

I just think it’s funny because we all come from the same cloth with the YouTube thing but it’s like comparing Trey Songz, Chris Brown, August Alsina and Bryson Tiller. They’re all in that game. We’re all in this game. We’re all going to get those comparisons but we just have to deal with it. We’re all friends, though. We all text each other all the time like, “Did you see that reaction cover? They said my video is terrible. How funny is that? They said you killed me.” [Laughs] But it’s all just fun and games for us, man. I just want to see them do as well as they can. I hope that they want to see me do as well as I can. That’s all I care about at the end.

Were you surprised to see the cover of Drake’s “Fake Love” go 25 million-plus on YouTube?

I was surprised at how big it was, but I wasn’t surprised about it doing well, though, because I watched the video. I was like, “The vibes are there, man.” [Alex and I] both vibing with each other. We’re working off each other energy wise. People are going to see that and they’re going to enjoy that. It was pretty crazy though.

Do you see yourself possibly saying goodbye to covers at one point in your career?

Definitely at a point but I still enjoy other people’s songs. If someone writes a good song and I’m feeling it, I might just have to. Like I said, music just speaks to you in a way and if it does, then I’ll just have to. But I do want the focus to start coming on my original music as I start to release more and more. The covers will kind of cut back a little back more. I think I’ll still be on it but at a point, there’ll be a time when I’m like, “Nah. It’s time to refocus on my stuff.”

When can fans expect your debut album?

Definitely before the middle of this year. I’ve just been literally working on singles, singles, singles. So, hopefully, I’ll get an EP out by the middle of this year and then we’ll see what happens down the line. It’s definitely gonna be me. I have a ratchet side. I have an emotional side. It’s everything in between. I’m excited. I just want people to kind of find out who I am through my music because I’m not the most outgoing person. I’m kind of timid in person but when I get on stage, I’m a different character.

Future got Earns Fourth No. 1 Album on Billboard 200 Chart

Future scores his fourth No. 1 album on the Billboard 200 chart as his new self-titled effort starts atop the list, earning 140,000 equivalent album units in the week ending Feb. 23, according to Nielsen Music.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption, which includes traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new March 11, 2017-dated chart (where Future debuts at No. 1) will be posted in full to Billboard’s websites on Tuesday, Feb. 28.

Future’s latest No. 1 is also his fourth leader in a row, following Evol (2016), What a Time to Be Alive (with Drake) and DS2 (both in 2015). It’s likely that Future will notch another No. 1 in short order — as he released another album on Feb. 24: HNDRXX. Industry forecasters suggest the new set could also open atop the tally, bumpingFuture from the top slot, and giving the artist an unprecedented feat: back-to-back No. 1 debuts in successive weeks.

As for Future’s current No. 1, more than half of its units were powered by streaming activity: 73,000 units (equaling 109 million streams of the album’s songs during the tracking frame). The rest of its units were comprised of traditional album sales (60,000) and track equivalent album units (7,000).

Bruno Mars’ 24K Magic rests at its peak, No. 2, for a fourth nonconsecutive week (59,000 units; down 10 percent). The last album to spend as many weeks at No. 2, without reaching No. 1, was Andrea Bocelli’s My Christmas, which racked up five straight weeks in the runner-up slot in November and December of 2009.

The Fifty Shades Darker soundtrack drops two slots to No. 3 in its second week, with 53,000 units (down 57 percent). The Weeknd’s Starboy climbs one rung to No. 4 with a little more than 50,000 units (down 7 percent). Migos’ Culture slips a position to No. 5 with 50,000 units (down 15 percent). Big Sean’s I Decided.descends 3-6 with 49,000 units (down 21 percent).

The second-highest new entry on the chart belongs to R&B veteran Charlie Wilson, who nabs his fourth top 10 effort with In It to Win It, which debuts at No. 7 with 48,000 units (47,000 from traditional album sales). It’s the singer’s best sales week since 2010, when Just Charlie bowed at No. 19 with 57,000 copies sold. The new album was led by the single “I’m Blessed,” featuring T.I., which has become Wilson’s 10th top 10-charting tune on the Adult R&B Songs airplay chart.

Ryan Adams claims his fifth top 10 album on the Billboard 200 with the bow ofPrisoner at No. 8 (45,000 units; 42,000 in traditional album sales). Adams lastvisited the top 10 in 2015, with his interpretation of Taylor Swift’s 1989 album, also called 1989. Adams’ version debuted and peaked at No. 7.

Prisoner’s lead single, “Do You Still Love Me,” gave the singer/songwriter his ninth top 10 single on the Adult Alternative Songs airplay chart in January.

Alison Krauss’ new Windy City — her first solo album of new material since 1999’sForget About It — debuts at No. 9 on the Billboard 200 with 38,000 units (36,000 in traditional album sales). In total, Windy City marks the country and bluegrass artist’s 10th charting effort: she’s charted four solo titles, a collaborative set withRobert Plant, and five with her band Union Station. Though Krauss has been releasing albums since 1985, she did not reach the all-genre Billboard 200 chart until 10 years later, when the retrospective Now That I’ve Found You: A Collection, entered the chart dated Feb. 25, 1995. (Her first album to visit the Top Country Albums chart was 1991’s I’ve Got That Old Feeling, which reached No. 61.)

On the Billboard 200, Krauss has now reached the top 10 four times — with Windy City, Paper Airplane, with Union Station (No. 3 in 2011), Raising Sand, with Robert Plant (No. 2; 2007) and the solo best-of package, A Hundred Miles or More: A Collection (No. 10; 2007).

Rounding out the new Billboard 200’s top 10 is the soundtrack to Trolls, which falls from No. 7 to No. 10 with 37,000 units (down 16 percent).