Inspirational Track Lifts Enya’s ‘A Day’

Five albums by female artists broke into the Top 15 sales chart this week, including new releases by pop-rock’s Tori Amos, jazz’s Diana Krall, country music’s Martina McBride and soul-leaning Macy Gray.

But the most dramatic move was by Enya, whose “A Day Without Rain” album jumped from No. 19 on last week’s chart to No. 7, which is rare for an album that has been in stores for nearly a year and already sold more than 2.5 million copies.

The reason for the resurgence, retailers suggest, is that “Only Time,” an inspirational track from the album, has been widely played by radio and TV stations in the aftermath of the terrorist attacks in New York and the Washington area.

The tune had already been a Top 40 hit on radio, but the added exposure has made it one of the 10 most played pop songs on U.S. radio.

Despite the rush of Top 10 entries, rapper Jay-Z’s “The Blueprint” remained at No. 1 for the second week after selling 271,000 copies. Alicia Keys’ “Songs in A Minor” continued to hold the runner-up spot by selling 161,000 albums, which brings the collection’s total sales to almost 2.5 million in three months.

The rest of the Top 10: Nickelback’s “Silver Side Up” (No. 3), Amos’ “Strange Little Girls” (4), McBride’s “Greatest Hits” (5), Gerald Levert’s “Gerald’s World” (6), P.O.D.’s “Satellite” (8), Krall’s “The Look of Love” (9) and Linkin Park’s “Hybrid Theory” (10). Gray’s “The Id” finished No. 11.

To make room for the newcomers, several artists in the Top 10 last week took dramatic falls: Fabolous (No. 4 to No. 13), Mariah Carey (No. 7 to No. 17), Bob Dylan (No. 5 to No. 20) and Aaliyah (No. 10 to No. 21).

The nation’s No. 1 single remains Jagged Edge’s “Where the Party At?”

Sound Advice

(From The Times’ album reviews)

Tori Amos’ “Strange Little Girls” (Atlantic). Not all these reworkings of songs written by men are particularly compelling or redefining, which makes one wonder if the overarching idea was merely a grand excuse to do a covers album. (Natalie Nichols).

Mary J. Blige’s “No More Drama” (MCA). Though, perhaps inevitably, not as innovative as her early recordings, “No More Drama” seamlessly incorporates the smoother soul and gospel flavors of 1999’s “Mary” with her trademark blend of hip-hop, funk and R&B.; (Natalie Nichols)

Bob Dylan’s “Love & Theft” (Columbia). Dylan pulls us back to the start of rock ‘n’ roll sonically, reminding us of the innocence and energy of the times. In the process, he challenges those who feel that rock is exhausted as an art form. (Robert Hilburn)

Macy Gray’s “The Id” (Epic). The album showcases the further blossoming of an artist who is every bit as gifted as the best moments of her debut collection suggested. (R.H.)

Jay-Z’s “The Blueprint” (Roc-A-Fella/Def Jam). The immensely talented Brooklyn rapper returns with a vengeance on his sixth album, displaying a sense of purpose that has been missing since his 1998 breakthrough. (Soren Baker)

Alicia Keys’ “Songs in A Minor” (J). In a striking debut, Keys 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. (R.H.)

Diana Krall’s “The Look of Love” (Verve). The album is sonically gorgeous, especially the tracks with the London Symphony Orchestra. And the songs, many of them chosen because of their Frank Sinatra association, perfectly portray the collection’s late-night mood. (Don Heckman).

P.O.D.’s “Satellite” (Atlantic). A giant leap forward for the San Diego quartet, the album sharpens the emotional and spiritual edge of the band’s platinum-selling debut. (Lina Lecaro)

Slipknot’s “IOWA” (Roadrunner). This bludgeoning collection makes it clear that once you take away the freak show surrounding this masked band, what’s left is not very interesting. (L.L.)

System of a Down’s “Toxicity” (American Recordings). Most of the album’s ragged, manic structures are too distracting to effectively convey the sociological statements behind them, but the inventive presentation is challenging nonetheless. (L.L.)

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