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Snow Spiider View member profile	4th May 2011, 10:01 AM Post #1
BuzzJack Platinum Member Joined: 30 January 2007 Posts: 5,681 User: 2,760	On air/on sale... on track May 07 2011 By Paul Williams Source: MW The UK singles market has undergone a radical transformation in the few months since the introduction of the on air/on sale policy – and the chart is already starting to behave in a different way. Music Week research reveals that while a majority of releases are following the on air/on sale strategy, some labels make an argument for adhering to the policy on a case-by-case basis On air/on sale has radically overhauled the UK singles market within the space of a few months – with Music Week research revealing the vast majority of new tracks are now available to buy almost as soon as radio starts playing them. Just three months after Universal and Sony adopted the policy of commercially issuing new singles at the same time as servicing them to radio, the once normal practice of allowing weeks of pre-release airplay has become the exception rather than the rule. The policy was brought in as a key measure to reduce online piracy and early evidence suggests that it has already been effective at reducing illegal P2P activity. However, analysis by Music Week of the singles sector since the beginning of February, when the two leading majors introduced on air/on sale strategies, reveals that in some cases music fans still have to wait up to two months to be able to purchase tracks legally after they first hear them on the radio. The exclusive research undertaken into on air/on sale has examined every track which has entered the UK Top 40 since February and was not previously available to buy in some legal form (such as being part of an already-existing album). This covers the weeks from when Island/Lava act Jessie J’s Price Tag – widely seen as one of the first on air/on sale successes – debuted at number one to last week’s OCC chart when RCA’s Beyoncé single Run The World (Girls) entered at 18 on the back of only three days of airplay and commercial sales. During this period some 46 tracks arrived in the Top 40 that were not previously commercially available; more than half of them were releases from either Universal or Sony, four came from Warner, three from EMI and the remainder from the independent sector. Music Week has compared these 46 tracks’ debut appearances in the weekly OCC Top 200 sellers to when they first cropped up in Nielsen Music’s weekly Top 1,000 UK radio airplay chart (this chart was used as the benchmark for when airplay started to kick in properly). Twenty-five of these 46 tracks – some 54.4% – had not yet made the Top 1,000 radio chart by the time they were commercially available, while about 11% of them first showed up in the radio chart the week before they could be purchased. This meant there was, in effect, only a few days’ gap between initial radio plays and commercial release. Of the remaining 35% of tracks, the gap between radio stations playing a song and its commercial availability varied between two and 10 weeks. Four of these tracks turned up in Nielsen’s radio chart at least seven weeks before they could be purchased. In some cases the big gap between radio date and commercial release can be explained because on air/on sale policy had not fully kicked in at the beginning of the period under review. Some of the tracks that enjoyed weeks of pre-release plays, such as RCA’s Champion by Chipmunk featuring Chris Brown, were already at radio at the time the policy rolled out so had been on the air for several weeks or more when fans could finally buy them. In other instances there has been a deliberate decision to hold back a track’s commercial release to allow weeks of pre-release awareness to build up and help to secure a high first-week OCC chart position. An obvious example of this is the Ministry Of Sound single Unorthodox by Wretch 32 featuring Example, which had already spent 10 weeks in the Nielsen Top 1,000 radio chart – getting as high as number 15 – when it debuted at two on the sales countdown a week ago. Ministry Of Sound Recordings managing director David Dollimore describes on air/on sale as “a great idea in principle”, but says it has to be adopted on a case-by-case basis. “If, for instance, a dance track hasn’t started at all at clubs or on the radio it needs a longer period of time to bed in,” he says. “If you put up a track on iTunes by an unknown dance producer there is no plot so it is not going to do anything. With an artist who is much more established it is easier to do it because there is already a groundswell of interest.” The widespread use of on air/on sale for more established acts has been adopted by Universal and Sony. Universal has since applied day and date techniques twice for Lady GaGa releases – with Born This Way, which entered and peaked at number three on the OCC chart in February and has since sold more than 400,000 units, and follow-up Judas, which debuted at 14 a fortnight ago before climbing into the Top 10 a week later. Both tracks will be on GaGa’s May 23-issued album Born This Way. According to Universal’s commercial division managing director Brian Rose, since the company introduced on air/on sale in February there have only been two releases that have not stuck to the policy: the Mercury-issued On The Floor by Jennifer Lopez featuring Pitbull and Geffen act The Wanted’s Gold Forever. Several other Universal tracks during this period only became available commercially after several weeks of airplay, including Nicole Scherzinger’s Don’t Hold Your Breath, which entered the OCC chart at one in mid-March, six weeks after first making the radio airplay chart. However, Rose suggests the release was already at radio before the policy started, a situation also shared by the debut single from Polydor artist Clare Maguire. In the case of the Lopez track, which had seven weeks of upfront airplay before becoming an instant OCC number one in April, Rose says this happened because of a decision by the artist’s management, while The Wanted stance was led by the track’s link to this year’s Comic Relief. “With Jennifer we talked it through with management and we were happy with their plan,” he says. “We always have these conversations with the managers and artists and that is definitely going to continue. “In the case of The Wanted, because it was a single for Comic Relief, we couldn’t look at it as a run-of-the-mill single. It was around a specific event and it was more about the event than radio.” The early results from on air/on sale have been greeted positively, albeit with some caution, by Music Managers Forum chairman Jon Webster whose organisation campaigned for a year alongside the Entertainment Retailers Association for the airplay/sales window to be closed. “The MMF is generally very pleased with the progress of OAOS but the stats show there is still a long way to go,” he says. “We still need to educate all facets of the industry who are resistant to change so that we arrive at a place where retrogressive marketing techniques do not promote piracy. We are confident that sanity will prevail.” Despite there being a few exceptions occurring, Rose says all the Universal labels have embraced on air/on sale. “We’ve also taken massive strides in terms of working with all our partners – radio, press, TV and promotions – to explain to them what we’re trying to do,” he adds. The main reason for introducing on air/on sale in the first place was to try to reduce online piracy by making sure consumers were given the option of buying a track they heard on the radio legally rather than being tempted by illegal services filling the gap ahead of official release. Although it is still early days, Rose says he is very encouraged by the early signs the initiative is having on online illegal activity. “We’ve only got six or seven weeks of data but we’re really seeing some interesting trends,” he says. “Prior to on air/on sale when peer-to-peer was peaking it was doing so two weeks before you could buy a single legally. When the track is available legally we’re now seeing a dip in P2P because people can legally buy it when they hear it on the radio.” A Sony spokeman says it is still very early days to do a proper verdict on the effect of on air/on sale, but adds, “It’s certainly proving an early indicator of blockbuster records, such as in the movements of the Chris Brown Beautiful People track. “Where we still need further evaluation are in the areas of the overall plot – when you do go on air, you need to factor in what other marketing assets are in place over the subsequent weeks to sustain interest and awareness of tracks while you build up to the release of albums.” THE EFFECT ON THE SINGLES CHART On air/on sale can still produce instant number one hits, but increasingly for labels the focus is shifting from a single’s first-week chart position to how many units it sells overall. Island/Lava’s Jessie J featuring B.o.B. track Price Tag might have suggested the new strategy would have little impact on how the UK singles chart behaves when it debuted at one on the weekly OCC countdown in February, despite having had only minimal pre-release radio support. But while some other singles subject to the on air/on sale policy have followed in Price Tag’s wake by commanding a high, first-week sales chart position, the days of a stack of brand new entries in the OCC Top 10 each week now appear to be over. Instead labels and the wider industry are having to get used to, in the majority of cases, releases entering the chart at more modest positions and then building up to a peak over several weeks or more. In short, the singles chart is starting to behave like it used to decades ago when, with minimal pre-release airplay support, the story was about releases growing week by week; only occasionally would something debut at number one. The evidence of the first three months of on air/on sale, as uncovered by Music Week research, suggests the commercial behaviour of releases subject to the day and date policy can roughly be divided into two: some tracks will still claim high first-week positions – as evidenced by Price Tag and Polydor act Lady GaGa’s Born This Way, a number three debut in February – but the vast majority of new releases will enter the charts lower down. As awareness grows through increased support at radio and elsewhere, they then move up the rankings. Universal commercial division managing director Brian Rose says on air/on sale can still produce “out-of-the-box” hits such as Price Tag, but the focus now is cumulative sales and a switch in focus away from the first-week chart position. “Our business needs to be about the consumer first. It’s not about the business first or the media first, but what the consumer wants,” he notes. A good example of the effects of on air/on sale on chart patterns is Universal’s Interscope/ Polydor release Party Rock Anthem by LMFAO (pictured left) featuring Lauren Bennett & Goonrock. Prior to this policy, this track would likely have enjoyed a number of weeks’ airplay before going on sale and debuted on the OCC chart at least in the Top 10. Instead it entered at 22, having that week sat only in 330th position on Nielsen’s weekly radio chart, but then climbed on the sales countdown a week later to three, then two before hitting number one in its fourth week. In some instances OCC chart progression can go in fits and starts for tracks subject to on air/on sale with some releases falling down the chart or even dropping out in their early weeks on sale and only then beginning to progress again when a story begins to develop at radio. An example of this is RCA act Britney Spears’ (inset) Till The World Ends which was only radio’s 859th most-heard track when it entered the OCC chart in a modest 55th position in March. It leapt on the OCC countdown to 21 the following week as its radio profile started to grow but then dropped back down to 55 on the sales chart the following week and then out of the Top 75 altogether. But then in the week its parent album Femme Fatale was released it re-entered at 47 and moved back into the Top 40 seven days later to 26, while retaining this position the following week. However, its sales progress so far may have been held back by the track not yet having fully taken off at radio. By last week it had only got as high as 66 on the airplay chart. Meanwhile, Warner Bros act Birdy’s first single Skinny Love has demonstrated how the industry going forward will need to consider more and more cumulative sales rather than a release’s chart peak. Having entered the OCC chart at 25 in March, without having first appeared in Nielsen’s weekly Top 1,000 radio chart, it has since enjoyed a very consistent sales pattern, moving on the OCC countdown up to last week 29-27-27-27-22-21. It is a similar case with Wall of Sound release C’mon (Catch ’Em By Surprise) by Tiesto V Diplo featuring Busta Rhymes which, without upfront radio support, entered the OCC Top 75 at 50 at the end of February but then spent eight weeks in the Top 40 with its cumulative sales up to last week standing at nearly 160,000. But Ministry Of Sound Recordings managing director David Dollimore questions whether the single – which peaked at 13 on the OCC chart – could have done better without on air/on sale. “It could have been in the Top 10 if it had great pre-orders,” says Dollimore who suggests on air/on sale can “create a bit of confusion” when a release has a low chart position if people are not aware of the process. On air/on sale is also no guarantee that a release will build its sales chart profile once airplay starts to increase. In the case of Domino’s Arctic Monkeys, on air/on sale resulted in a Top 40 debut – at 28 – just days after radio first started playing their single Don’t Sit Down ’Cause I’ve Moved Your Chair as their loyal fans no doubt decided to purchase it immediately. But it was not able to grow beyond that and dropped to 43 on the OCC chart the following week. No doubt the longer on air/on sale is established the better labels will get in terms of determining how best to use it to most successfully commercially exploit their releases, while the wider industry will become more used to judging the success of a single on its full sales life and not just based on the first week or two. At this early stage it would be premature to pass full judgment on the policy, but the fact most on air/on sale tracks have seen their sales pick up after initial release would suggest on the whole it is working. It is also difficult to know how much, if anything, to attribute the continuing growth this year of the UK’s singles market to on air/on sale, but Universal’s Rose is convinced it is helping his company’s sales. “In terms of what we’re doing, looking across our slate of releases, we’re really encouraged by our sales,” Rose says. “The track market is up 9% year-on-year, which is a really good result, but our track sales are up 15% and I do think our policy is playing a part.”


Mart!n View member profile	4th May 2011, 10:24 AM Post #2
Infamy Infamy they all got it in for me Joined: 5 March 2006 Posts: 129,135 User: 2	EDITORIAL: We must hold our nerve in this brave new world of on air/on sale Source: MW May 07 2011 By Paul Williams Music fans lost full control of shaping the UK singles chart sometime in the mid-Nineties when record company promotional and marketing techniques became so clever a handful of new releases would be propelled straight into the Top 10 every week and then most dropped down the following week. The early evidence of on air/on sale suggests fans are starting to win back that control. While it is still too early to draw any firm conclusions about the new policy, the first few weeks indicate on air/on sale is working very effectively, with the majority of singles concerned enjoying gradual rises up the chart to an eventual peak as used to be the case. This is as opposed to what became the norm of an artificially high first-week chart position that did not usually reflect a song’s real popularity but rather an illustration of label activity that, on the back of weeks of pre-release airplay, managed to shoehorn the majority of sales into the first seven days of release. Of course, the main reason for introducing on air/on sale in the first place was not to alter the behaviour of the singles chart – although that is a welcome addition – but as a move against piracy by ensuring fans have the opportunity to buy a track as soon as they hear it on the radio. The new policy is clearly not going to eradicate piracy overnight, but what it does mean is that nobody now has the excuse they are only accessing a track illegitimately because it is not available legally. And at this very early stage, the evidence coming from Universal and others is that the initiative is already starting to reduce P2P traffic. Another real positive is that Universal and Sony, which both announced with great fanfare at the beginning of the year they would close the airplay/sales window, are on the whole sticking to their guns. Yes, there have been some tracks breaking away from the policy but this needs to be put in the context of these two majors abandoning a way of doing things undertaken over many years in just the space of a few weeks. That is quite a radical shift, so the odd discretion here and there has to be expected. And, in the future, there are bound to be other instances when on air/on sale is not the most appropriate option for a new release. Indeed, Ministry of Sound’s David Dollimore puts forward a compelling case that when it comes to brand new singles by completely unknown acts, sometimes you need a period of time to allow the release to bed in – otherwise it risks getting lost in the melee. That should not be an excuse for everyone suddenly wavering from this policy but, as with every rule, there is always room for manoeuvre and each label must do what they feel is right for their own releases. We need to apply some common sense and accept dealing with the releases of unknown acts and superstars might require different approaches. Certainly, the more an act is established the more effective on air/on sale can be because there is instantly a groundswell of interest in any new music they are putting out. That has been demonstrated by singles issued since the start of on air/on sale by Lady GaGa and Beyoncé which managed to crack the OCC Top 20 based on just a few days of airplay and sales. Not everything in this brave new world will be as straightforward as Beyoncé and GaGa singles and there are bound to be issues emerging along the way we have not even thought of yet. But we must hold our nerve and realise just how far we have come in such a short space of time. Abandoning business practices established over many years is never easy, but already with on air/on sale the industry is making a very good stab of doing so. ============== I found another piece on this, taken from an editorial point of view.


GrAmii View member profile	4th May 2011, 10:44 AM Post #3
Imma gonz Blue Waffle ya up bitch! Joined: 7 March 2006 Posts: 24,143 User: 30	I am still not sure on this policy if I'm honest. I feel it's just another step to 'Billboardising' the charts and making them slow and boring. I have really been bored of the charts this year partly due to their slow movement and also because the quality of music imo has been the worst for as long as I can remember. That's just me being picky but bleh. OA/OS is clearly only a major benefit if you release the song to radio and the video at the same time. It seems to have killed a number of massive artists hyped comebacks [Beyonce, Gaga, Britney], though I guess you could argue that the quality of the songs still means something and in the case of those three the musical output has hardly been something to get excited about.


Steve201 View member profile	4th May 2011, 03:29 PM Post #4
Shakin Stevens Joined: 29 December 2007 Posts: 46,157 User: 5,138	Its the record companies that have to change strategy imo as you say releasing videos and airplay earlier to maximise earlier sales!!


Brer View member profile	4th May 2011, 05:33 PM Post #5
is my brain across your walls? Joined: 14 February 2009 Posts: 115,079 User: 8,300	I still think OA/OS is definitely the way forward. Even if it does make the charts slower.


Colm View member profile	4th May 2011, 05:40 PM Post #6
Yes, it's me. Joined: 4 November 2009 Posts: 19,813 User: 9,885	QUOTE(Mart!n @ May 4 2011, 11:24 AM) Music fans lost full control of shaping the UK singles chart sometime in the mid-Nineties when record company promotional and marketing techniques became so clever a handful of new releases would be propelled straight into the Top 10 every week and then most dropped down the following week. The early evidence of on air/on sale suggests fans are starting to win back that control. what a complete over statement! No one had a gun to the public's head. FULL control? Not a chance. And we're not winning back the control.


Eric_Blob View member profile	4th May 2011, 06:04 PM Post #7
BuzzJack Legend Joined: 18 February 2010 Posts: 25,009 User: 10,665	The public has always had the same amount of control really. I can't see how we have more or less than we did before. It's up to us to choose what songs to buy. If someone likes a song, they buy it. It's always been that way really. People like listening to Someone Like You and S&M, so they've sold bucketloads. I think the articles provide good summaries though. However, I would be interested to see a comparison between American and British songs.


Chez Wombat View member profile	4th May 2011, 06:06 PM Post #8
The owls are not what they seem Pronouns: He/him Joined: 11 July 2009 Posts: 37,129 User: 9,232	I guess we'll get used to OA/OS and the charts will become faster again- the same thing happened in 2007, which was painfully slow, but in 2008, things speeded up again- I'm sure a similar thing will happen here once more labels come round to the idea


Eric_Blob View member profile	4th May 2011, 06:09 PM Post #9
BuzzJack Legend Joined: 18 February 2010 Posts: 25,009 User: 10,665	QUOTE(chart wizard @ May 4 2011, 07:06 PM) I guess we'll get used to OA/OS and the charts will become faster again- the same thing happened in 2007, which was painfully slow, but in 2008, things speeded up again- I'm sure a similar thing will happen here once more labels come round to the idea I'm not so sure, because in other countries where they've always done on air, on sale, their charts can move very slowly. But yeah, hopefully they speed up. One thing I've noticed is that a lot of songs seem to climb to their peak in just a few weeks, and then slowly descend the chart, so they're at least quick on their way up.


superbossanova View member profile	4th May 2011, 09:06 PM Post #10
BuzzJack Platinum Member Joined: 7 March 2006 Posts: 5,948 User: 50	QUOTE(spiidey @ May 4 2011, 11:01 AM) During this period some 46 tracks arrived in the Top 40 that were not previously commercially available; more than half of them were releases from either Universal or Sony, four came from Warner, three from EMI and the remainder from the independent sector. Music Week has compared these 46 tracks’ debut appearances in the weekly OCC Top 200 sellers to when they first cropped up in Nielsen Music’s weekly Top 1,000 UK radio airplay chart (this chart was used as the benchmark for when airplay started to kick in properly). Twenty-five of these 46 tracks – some 54.4% – had not yet made the Top 1,000 radio chart by the time they were commercially available, while about 11% of them first showed up in the radio chart the week before they could be purchased. This meant there was, in effect, only a few days’ gap between initial radio plays and commercial release. Of the remaining 35% of tracks, the gap between radio stations playing a song and its commercial availability varied between two and 10 weeks. Four of these tracks turned up in Nielsen’s radio chart at least seven weeks before they could be purchased. I'm glad they did these numbers, so everybody can see clear as day the widespread use of on air, on sale. I swear someone was trying to claim in the iTunes thread last week that there were still only a "few" OA/OS releases which is quite clearly stupid and wrong. OA/OS doesn't literally mean the moment it goes online. There have been dozens, as the above shows. QUOTE Ministry Of Sound Recordings managing director David Dollimore describes on air/on sale as “a great idea in principle”, but says it has to be adopted on a case-by-case basis. “If, for instance, a dance track hasn’t started at all at clubs or on the radio it needs a longer period of time to bed in,” he says. “If you put up a track on iTunes by an unknown dance producer there is no plot so it is not going to do anything. With an artist who is much more established it is easier to do it because there is already a groundswell of interest.” I agree with that. It seems very silly to me to have debut singles as on air, on sale. I'd say ALL debut singles should be given a typical held-back release with around 4 weeks of airplay, before the subsequent singles adapt based on the level of interest (for example, if someone has a #1 single straight up, then make their next single OA/OS as there's clearly a high amount of interest in them). But I don't know, it's something that still needs to be looked at, I guess, and I'm sure someone could come up with a better plan than me QUOTE But Ministry Of Sound Recordings managing director David Dollimore questions whether the single – which peaked at 13 on the OCC chart – could have done better without on air/on sale. “It could have been in the Top 10 if it had great pre-orders,” says Dollimore who suggests on air/on sale can “create a bit of confusion” when a release has a low chart position if people are not aware of the process. Yeah, and the same confusion wasn't there when songs that missed the top 10 outsells a front-loaded #1 single? Or when a #2 single that wasn't held back outsells every other #1 song in the entireity of 2010? :\| What a dip$h!t. If anything, it will lead to a closer harmony between peak and sales, and a song like Love The Way You Lie would actually get to #1 because it wasn't kept off by something like Roll Deep who dropped into oblivion afterwards. QUOTE(chart wizard @ May 4 2011, 07:06 PM) I guess we'll get used to OA/OS and the charts will become faster again- the same thing happened in 2007, which was painfully slow, but in 2008, things speeded up again- I'm sure a similar thing will happen here once more labels come round to the idea Did it though? If we look at new entries in the top 40 by year, 2008 was actually SLOWER than 2007: http://www.polyhex.com/music/singles/newenttop40.php Although there was a small increase (by 11) of new entries in the top 10: http://www.polyhex.com/music/singles/newent10.php I don't think the charts will become faster, to be honest. If anything it will only get slower. In Australia, they do OA/OS with everything, and their chart is 100% based on sales (so no airplay or streaming like the US), and they only have a few new entries in their chart every week. This post has been edited by superbossanova: 4th May 2011, 09:07 PM


AcerBen View member profile	4th May 2011, 09:34 PM Post #11
BuzzJack Gold Member Joined: 18 May 2007 Posts: 3,628 User: 3,429	There's absolutely zero evidence that OAOS is actually translating into singles selling more copies. The J Lo record has already done 400,000 copies despite it having several weeks of pre-release radio play and is still very high in the chart even now. If they'd released it earlier, it might not have even made number 1. Also I still worry that if a single isn't doing very well on sales (because it's getting no airplay) e.g. Natalia Kills "Mirrors", it will stop it from getting playlisted. This post has been edited by AcerBen: 4th May 2011, 09:35 PM


jay727 View member profile	4th May 2011, 10:33 PM Post #12
BuzzJack Gold Member Joined: 10 November 2010 Posts: 4,017 User: 12,273	its a shame that record labels are focusing entirely on the sales now with the chart position not being viewed as important. it sort of takes the excitement of chart battles away now if singles are released on a wednesday or a friday :/ maybe im just old fashioned...


Chez Wombat View member profile	4th May 2011, 11:24 PM Post #13
The owls are not what they seem Pronouns: He/him Joined: 11 July 2009 Posts: 37,129 User: 9,232	QUOTE(superbossanova @ May 4 2011, 10:06 PM) Did it though? If we look at new entries in the top 40 by year, 2008 was actually SLOWER than 2007: http://www.polyhex.com/music/singles/newenttop40.php Although there was a small increase (by 11) of new entries in the top 10: http://www.polyhex.com/music/singles/newent10.php I don't think the charts will become faster, to be honest. If anything it will only get slower. In Australia, they do OA/OS with everything, and their chart is 100% based on sales (so no airplay or streaming like the US), and they only have a few new entries in their chart every week. 2008 had more number 1s though, I think 2007 had less than 20, which was the lowest since 2003? I think anyway maybe, not instantly, but I do think more acts will come round to using on air on sale as it gets bigger, and maybe the charts will speed up eventually


-0-0 View member profile	4th May 2011, 11:29 PM Post #14
🙄 Joined: 14 February 2010 Posts: 53,654 User: 10,643	I don't like the on air/on sale things I much prefer the other way


vidcapper View member profile	5th May 2011, 05:46 AM Post #15
Paul Hyett Joined: 4 April 2006 Posts: 25,346 User: 364	QUOTE(GrAmii @ May 4 2011, 11:44 AM) I am still not sure on this policy if I'm honest. I feel it's just another step to 'Billboardising' the charts and making them slow and boring. I have really been bored of the charts this year partly due to their slow movement and also because the quality of music imo has been the worst for as long as I can remember. I've been saying that for a long while - does that mean you're coming around to my pov?


Steve201 View member profile	5th May 2011, 08:31 AM Post #16
Shakin Stevens Joined: 29 December 2007 Posts: 46,157 User: 5,138	QUOTE(AcerBen @ May 4 2011, 10:34 PM) There's absolutely zero evidence that OAOS is actually translating into singles selling more copies. The J Lo record has already done 400,000 copies despite it having several weeks of pre-release radio play and is still very high in the chart even now. If they'd released it earlier, it might not have even made number 1. Also I still worry that if a single isn't doing very well on sales (because it's getting no airplay) e.g. Natalia Kills "Mirrors", it will stop it from getting playlisted. But for every jlo theres a katy b - peak at no8 and 5 weeks top 40!!


superbossanova View member profile	5th May 2011, 12:31 PM Post #17
BuzzJack Platinum Member Joined: 7 March 2006 Posts: 5,948 User: 50	QUOTE(AcerBen @ May 4 2011, 10:34 PM) There's absolutely zero evidence that OAOS is actually translating into singles selling more copies. The J Lo record has already done 400,000 copies despite it having several weeks of pre-release radio play and is still very high in the chart even now. If they'd released it earlier, it might not have even made number 1. Also I still worry that if a single isn't doing very well on sales (because it's getting no airplay) e.g. Natalia Kills "Mirrors", it will stop it from getting playlisted. True, but what about if you look at someone like Jodie Connor? I bet Bring It has sold very close to if not more than Now Or Never despite peaking 23 places lower. Does anybody know the sales of these two singles off-hand (vidcapper)? I agree on Natalia Kills, but if they followed my system she would have been held back anyway. Although the song is $h!te and incredibly unoriginal so I wouldn't automatically assume radio stations ignored her just because she didn't take off straight away from OA/OS. QUOTE(chart wizard @ May 5 2011, 12:24 AM) 2008 had more number 1s though, I think 2007 had less than 20, which was the lowest since 2003? I think anyway maybe, not instantly, but I do think more acts will come round to using on air on sale as it gets bigger, and maybe the charts will speed up eventually Yeah, but there's more to the charts than the #1 single... Although the way some people act on here you wouldn't think so. 2007 was definitely faster than 2008. Physical singles were much stronger then so there were still many new entries from that, that would have completely missed the top 40 in 2008, for example. 2008 was actually excruciatingly slow at times.


Brer View member profile	5th May 2011, 03:07 PM Post #18
is my brain across your walls? Joined: 14 February 2009 Posts: 115,079 User: 8,300	QUOTE(superbossanova @ May 5 2011, 01:31 PM) Yeah, but there's more to the charts than the #1 single... Although the way some people act on here you wouldn't think so. It really annoys me how much emphasis is put on the #1 in the chart. It's as if no one other than chart geeks cares about 2 downwards Reggie doesn't help


ima View member profile	6th May 2011, 02:02 AM Post #19
resistance is futile Joined: 29 October 2007 Posts: 274 User: 4,702	QUOTE(GrAmii @ May 4 2011, 11:44 AM) I am still not sure on this policy if I'm honest. I feel it's just another step to 'Billboardising' the charts and making them slow and boring. I have really been bored of the charts this year partly due to their slow movement and also because the quality of music imo has been the worst for as long as I can remember. That's just me being picky but bleh. OA/OS is clearly only a major benefit if you release the song to radio and the video at the same time. It seems to have killed a number of massive artists hyped comebacks [Beyonce, Gaga, Britney], though I guess you could argue that the quality of the songs still means something and in the case of those three the musical output has hardly been something to get excited about. YOU are a walking ADVERTISEMENT for stereotypical drawbacks of (and possibly entirely coincidentally, sorely lacking absence of (the positive/worthy aspects of) humanity gay cultural)youth - IGNORANT,FICKLE, SHALLOW as FCUK,empathy/emotional IQ of a amoeba, OBSESSED SELFISH pleasure seeking above everything else/to be obtained by just about any means. KILLING major hyped comebacks - clearly you live in another dimension to me : Britney + Beyonce would BOMB WRETCHEDLY with CAREER RELEVANCE SLAUGHTERING in ANY chart era their SHOCKINGLY bad comeback MATERIAL and "artistry". Beyonce HAS no stable long term significant success - ONE hugely successful album campaign does not indicate an established repeated endless commercial/cultural rebirth/comeback insight/ability/gift multi decade spanning Madonna or Kylie careers make. As for Britney her career ended when as prognosis predicts, severe + crippling mental illness leaves victims a shadow of their former selves thus since Britney has been a drugged out dead zombie with all the animation of a 3 week old rotting cadaver - any of the few shallow talents she had to please her easily pleased/low rent/ intellectually life experience challenged/crippled audience have LONG GONE. This is just the final stages(to retirement of this last album end of deal agreement - like she couldn't be less interested in her career or give a toss about her fans the gullible f*s that believe she "tweets herself" ) of those events except accelerated as Jive have totally lost the plot and relevance to the musical buying youth of today and of course Britney no longer has sex appeal with which Jive slick SICK brainwashing the intellectually limited/short sighted $$$ spin started her career on. As for Gaga again if you could be bothered to do something as BORING as reading and increasing your knowledge(eg this article) you would know: QUOTE(spiidey @ May 4 2011, 11:01 AM) On air/on sale... on track May 07 2011 By Paul Williams Source: MW for Lady GaGa releases – with Born This Way, which entered and peaked at number three on the OCC chart in February and has since sold more than 400,000 units 400K = killed comeback . THE THINKING ABILITY a THREE YEAR OLD would DIE from EMBARRASMENT of ... As i posted months ago and if you bothered to ACTUALLY to take the BORING time to READ + this article along with this most pertinent point confirms its not a question of what YOU think. HISTORY IS the key to the present and the future.... QUOTE(spiidey @ May 4 2011, 11:01 AM) On air/on sale... on track May 07 2011 By Paul Williams Source: MW In short, the singles chart is starting to behave like it used to decades ago when, with minimal pre-release airplay support, the story was about releases growing week by week; only occasionally would something debut at number one. For by FAR the majority of the charts existence to the early 90's was from your 2 dimensional intellectually crippled/short sighted, Neanderthal opinion; QUOTE(GrAmii @ May 4 2011, 11:44 AM) and making them slow and boring OF course they were for minority of emotionally dearthed life experienced people like you that don't look outside the top 3 or chart position and for who the meaning and ultimate relevance to human entertainment + pleasure of the impact of cumulative sales is TOTALLY beyond such limited shallow comprehension.Strange that for the first few decades of its existence the chart you abhor provided GENERATIONS with ample entertainment + excitement to be political you have a most unique + extremest viewpoint within the spectrum of human experience As someone who is your complete antithesis in every way on the human scale so eloquently puts: QUOTE(Bray @ May 5 2011, 04:07 PM) It really annoys me how much emphasis is put on the #1 in the chart. It's as if no one other than chart geeks cares about 2 downwards Reggie doesn't help QUOTE(jay727 @ May 4 2011, 11:33 PM) its a shame that record labels are focusing entirely on the sales now with the chart position not being viewed as important. it sort of takes the excitement of chart battles away now if singles are released on a wednesday or a friday :/ maybe im just old fashioned... Nah not old fashioned... its just when evolution was dolling out the ability to see the forest for the trees (as we are trying to explain above) you were at the back of the que (thus probability indicating likely you were at the front of others ) QUOTE(lee wallace @ May 5 2011, 12:29 AM) I don't like the on air/on sale things I much prefer the other way WELL OBVIOUSLY you would choosing by your own free will to draw inspiration/entertainment from something as cynically manufactured manipulated vacuous, shallow,pointless puppet AND genuine EMOTIONALLY + INTEGRITY life enriched demeaning as a "MacDonald's Britney™ " ONLY 99p incl. French fries . engineered to "cash rape the gullible + intellectually challenged " now EXTRA MEATY......FREE!!!! This post has been edited by ima**: 6th May 2011, 02:06 AM


superbossanova View member profile	6th May 2011, 01:13 PM Post #20
BuzzJack Platinum Member Joined: 7 March 2006 Posts: 5,948 User: 50	QUOTE(ima @ May 6 2011, 03:02 AM) [waffling rubbish here] ima, how long do you spend writing your posts? I don't mean to be rude but I don't think anyone actually reads them I sure do try as I like to believe anyone can make a valid point but I usually end up giving up every time in trying to understand any coherent thoughts amongst a load of waffle/bile. And there's really no need to be so rude to people just because you disagree with them.