No. 1 D12 Puts Keys in 2nd Place

Alicia Keys may have been edged out of the top spot on this week’s album sales chart by Eminem’s group D12, but another strong showing suggests Keys’ Cinderella arrival on the chart last week was no fluke.

The previously unknown 20-year-old singer-writer-producer’s debut album, “Songs in A Minor,” caught even her label, J Records, by surprise when it entered the chart at No. 1 after selling 236,000 copies, according to SoundScan.

The album’s unexpectedly fast start was attributed to radio and TV exposure for the “Fallin”’ single and strong word of mouth. That word of mouth continues strong. The album’s sales fell to 173,650 last week, a drop of just 26% compared with drops by some artists of 40% to 60%.

Keys’ album finished just 306 copies behind “Devil’s Night,” which reclaims the top spot. After three weeks, D12’s album has sold more than 765,000 copies. Keys’ album has sold 410,000 copies in two weeks.

Looking ahead, the new Sean Combs album, which was released Tuesday, could challenge for the No. 1 spot next week, but the industry is focused on the July 24 release of the new ‘N Sync album. The group’s last collection, “No Strings Attached,” has sold more than 10.5 million copies since its release in February 2000. It also holds the record for the highest first-week sales total: 2.4 million.

Only one album debuts in the Top 20 this week: Lil’ Romeo’s self-titled album, at No. 6. Other positions in the Top 10: Staind (No. 3), Jagged Edge (No. 4), Destiny’s Child (No. 5), “The Fast and the Furious” soundtrack (No. 7), Blink-182 (No. 8), the “Moulin Rouge” soundtrack (No. 9) and St. Lunatics (No. 10).

Usher’s “U Remind Me” remains the top-selling single.

Sound Advice (From The Times’ album reviews)

D12’s “Devil’s Night,” Shady/Interscope. While Eminem uses wit, venom and energy to make his work remarkable, the other rappers in D12 employ awkward raps that lack the spunk, authority and humorous edge typical of Eminem’s lyrics. (Soren Baker).

*

Alicia Keys’ “Songs in A Minor,” J. The reason for the excitement being generated by this artist is the remarkable range she shows in her debut album. In the highlights, she moves from the funky sensuality of Prince’s “How Come U Don’t Call Me Anymore” to the neo-soul vitality of Macy Gray and Jill Scott. (Robert Hilburn).

*

Staind’s “Break the Cycle,” Flip/Elektra. Oozing with bittersweet choruses and restless guitar riffs, the latest album from the melodic metallers is surprisingly exhilarating, considering its dark, angst-filled themes. (Lina Lecaro).

*

Lil’ Romeo’s “Lil’ Romeo,” Soulja Music/Priority. Lighthearted, profanity-free raps about growing up, falling in and out of young love and Romeo’s impending domination of the rap world fill the 18-cut collection. (S.B.).

Blink-182’s “Take Off Your Pants & Jacket,” MCA. Despite its crass, juvenile jokes, the superstar punk-pop trio with the never-grow-up attitude accurately articulates the pain and absurdity of adolescence. (Natalie Nichols).

*

Radiohead’s “Amnesiac,” Capitol. Although a companion piece to last year’s “Kid A,” this is a richer, more engaging record, its austerity and troubled vision enhanced by a rousing of the human spirit. (Richard Cromelin).

*

Marco Antonio Solis, “Mas De Mi Alma,” Fonovisa. The prolific Mexican singer, composer and multi-instrumentalist tackles amor with such wide-eyed sincerity that it’s hard not to succumb to his no-nonsense declarations of passion. (Ernesto Lechner).

*

Melissa Etheridge, “Skin,” Island. Her albums have frequently replaced inspiration with manufactured passion and emphasized volume over feeling. But this one is different, with its songs of real feeling and grace. (Steve Appleford).

*

The White Stripes, “White Blood Cells,” Sympathy for the Record Industry. Effortlessly flowing from bare-bones, blues-influenced rock to country punk and chillingly gorgeous ballads, this album is further testimony to frontman Jack White’s versatility and talent. (Susan Carpenter).