After entering the French Albums Chart at number two, Sale el Sol peaked at number one for two consecutive weeks, propelled by the success of the lead single "Loca" in the country. It spent 17 consecutive weeks inside the top 10 and 113 weeks in the top 200, making it Shakira's longest charting album in the country. It finished as the 13th best-selling album of 2010 in France, with sales of 236,616 units. The album additionally sold 198,000 units in 2011, appearing at number 10 on the year-end chart and bringing its total sales to 425,000 units. In addition to being her first album to top the French Albums chart, Sale el Sol is also Shakira's highest-certified album in the country as it was certified diamond by the Syndicat National de l'Édition Phonographique (SNEP) for sales of 500,000 units. It is one of the best-selling albums in France. By contrast, Sale el Sol became the singer's lowest charting studio-album in Germany, peaking at number six on the Media Control Charts. However, it achieved high sales in the country and was certified platinum by The Federal Association of Music Industry (BVMI) for having shipped 200,000 units in Germany. The album was certified platinum by the Association of Hungarian Record Companies for sales of 10,000 units.
The album alsp saw success in South America. In Shakira's native country Colombia, it sold in excess of 200,000 units and was certified diamond by the Colombian Association of Phonograph Producers (ASINCOL). In Mexico, Sale el Sol debuted at number one on the Mexican Albums Chart, becoming the singer's second consecutive studio album to enter the chart at the top position. It also became her longest-charting album in the country, spending a total of 50 weeks. In this region, it was certified platinum and gold by the Mexican Association of Phonograph Producers (AMPROFON) for shipments of 90,000 units. In Canada, the album peaked at number 11 on the Canadian Albums Chart, spending a total of two weeks on the chart. In Peru, it was the seventh best selling album of the year in 2011.
Shakira's official website announced that "[t]he full album is due out in October 2009 from Epic" and it "features a predominantly English track list". The site also announced that a Spanish album would be released in 2010. Shakira premiered "She Wolf" on Z100 and KIIS-FM on July 13, 2009. Shakira stated in an interview that the album will have three Spanish songs. It was since revealed on her official website that the album would be released November 23 in the USA with exclusive bonus content that would not be available elsewhere. In Argentina and Colombia (and possibly other Spanish-speaking countries), Loba was re-released on March 22, 2010 with extra features like the Spanish version of the single "Gypsy" ("Gitana") and remixes.
Shakira's official website announced that "[t]he full album is due out in October 2009 from Epic" and it "features a predominantly English track list". The site also announced that a Spanish album would be released in 2010. and KIIS-FM on July 13, 2009. Shakira stated in an interview that the album will have three Spanish songs. It was since revealed on her official website that the album would be released November 23 in the USA with exclusive bonus content that would not be available elsewhere. In Argentina and Colombia (and possibly other Spanish-speaking countries), Loba was re-released on March 22, 2010 with extra features like the Spanish version of the single "Gypsy" ("Gitana") and remixes.
Urban Dancefloor Guerillas, the first album credited to an entity called the P-Funk All Stars, was Clinton's first major attempt to consolidate members of the assorted Parliament and Funkadelic entities into one headliner band (and circumvent name-rights issues in the process). This album gave them their first proper top-billing credit after 1982's Computer Games, featuring most of the same personnel, was credited as a George Clinton solo album. If a circa '89 Funkadelic couldn't get the hang of synthpop-infused electro-boogie and go-go rhythms, it's not because they hadn't tried -- Urban Dancefloor Guerillas, or at least its second side, was plenty proof they could pull it off. "Pumpin' It Up" and "Hydraulic Pump" are two distinct takes on where their sound fit in the '80s, with a squirrelly synth-bass provided by David Spradley in a fine pinch-hitting appearance for Bernie Worrell (presumably busy at the time with Talking Heads, who'd fit well on a less-segregated circa-'83 airwaves alongside these jams). "Hydraulic Pump" in particular is one of the Mothership's best cuts of the '80s, a wall of machine-shop boogie funk that sets a thousand piston-churning hands clapping and is one of the decade's few moments to catch Sly Stone still on his game. (If it sounds vaguely familiar to new listeners, that's because it was later loosely interpolated by one of the Coup's funkiest jams, "5 Million Ways To Kill A CEO.") And "Copy Cat" is more or less a self-answer to the canine counterpart "Atomic Dog," complete with ceaseless puns and harmonized meows in the service of calling out biters.
Not George Clinton, not the P-Funk All-Stars, not even Parliament-Funkadelic -- this is an actual Funkadelic record, something that nobody'd seen since 1981. Call it semantics if you want -- with the core members who've passed since The Electric Spanking Of War Babies (Garry Shider, Tiki Fulwood, Eddie Hazel, Glen Goins, and Cordell "Boogie" Mosson, to name a few), skeptics might consider this an All-Stars kind of effort anyhow, even considering the number of performances brought out from the vaults and stitched posthumously into the tracks. But as the most overstuffed and stylistically experimental thing to come out of the P-Funk camp possibly ever, pinning it down to any one idea of what's previously been offered under the Funkadelic name is beside the point. It's not out of the question to expect an uneven effort from a three-plus-hour triple album with thirty-three tracks (one for each year Funkadelic was in storage). And maybe it's hard to cut through all that to separate the fine from the mediocre; there's not much further on either end of the scale, whether it's outright stinkers or mind-boggling brilliance. But it does successfully put forth the idea of a version of P-Funk that incorporates a lot of familiar trademarks -- beautifully dazed close harmonies, deathless roller-boogie bounce, a philosophical notion of funk that permeates everything, no matter how far away it strays from "One Nation Under A Groove" -- while remaining wide open to brand new ideas.
The irony about this album being Clinton's last before his extended hiatus is that it's a record rooted in his idea of legacy. That unwieldy acronym stands for "The Awesome Power Of A Fully Operational Mothership," and it comes from the fact that it's the first record to feature most of the original P-Funk core since the crew drifted apart in the early '80s. It wasn't cheap -- it reportedly took $40 grand apiece to bring Bootsy and Bernie back into the fold -- and their role on the record is brief at best, their warbling, burbling presence floating through gelatin on the woozy "Sloppy Seconds." Not that it matters much; T.A.P.O.A.F.O.M. really feels like more of a synthesis of (and response to) what P-Funk had become after the likes of Dr. Dre and DJ Quik got ahold of it, a recursive answer to their own phantom presence in other peoples' work.
Of course that presence was all over g-funk, and P-Funk's repayment slides into that mode with comfortable familiarity -- they're not quite impersonating themselves, but they do feel refracted through the knowledge of what they represented in the '90s and subsequently play up their most hip-hop friendly traits. "Summer Swim," "Hard As Steel," "Funky Kind (Gonna Knock It Down)," and "Rock The Party" all lean on the meandering Minimoogs and handclap-garnished, woofer-throbbing low-end rhythms that begged to be sampled (but, somehow, never really were). But Clinton's willingness to collaborate with hip-hop artists gives us another angle: the lead cut and first single "If Anybody Gets Funked Up (It's Gonna Be You)," co-produced by East Coast legend Erick Sermon and featuring featuring Flint, Michigan's MC Breed, both of whom had their own acknowledged debts to the P-Funk. The bounce doesn't rise far above waist level, and the most transcendent moments are its slower ones -- like the gorgeous "New Spaceship," featuring guest vocals from none other than Uncle Charlie Wilson -- but this album's possibilities of a reinvigorated, contemporary-minded elder statesman George Clinton engaging fully with the two-way integration of hip-hop into his music only made his subsequent absence that much more frustrating.
The first album to be released under the P-Funk aegis was a drastic break from the late-'60s singles that the Parliaments released on labels like Revilot and Atco, and the title signified as much: Osmium is the densest element on the periodic table, a transition metal found in platinum ore named after the Greek root word for "smell." Considering how much of a transition their early-'70s stank-riddled, heavy metal sound represented -- the platinum would come later -- it's difficult to think of a more apropos title for the LP that would introduce the world to Parliament as we know it. Or at least somewhat know it: the last album released as Parliament until 1974's Up For The Down Stroke thanks to a label dispute with Revilot, Osmium feels like a short-term hitch in George Clinton's vision of a complementary two-band dichotomy. In other words, it's a lot more similar to a circa-'70 Funkadelic record than tandem Parliament/Funkadelic LPs would be in, say, 1975; the main distinction is that it's willfully, absurdly eclectic to the point where it's clear they're still getting their identity together. 2b1af7f3a8