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A first number one single for Taylor Swift
Taylor Swift gets her first number one single eight-and-a-half years after her chart debut. Queens Of The Stone Age run away with it at the top of the albums chart.

Taylor Swift has her first number one single in the UK and Queens Of The Stone Age top the albums chart for the first time.

It has been noted here on a number of occasions that there are very few general rules which have remained constant in the 60+ years of UK singles chart history. One of them is that songs rarely return to number one. While this phenomenon has become a little more common recently it remains relatively rare. Another general rule is that if an artist has not had a number one with one of their first half-dozen or so hits, they will probably never get there. This week we see one of the exceptions to that rule.

Taylor Swift made her UK chart debut in February 2009 with Love Story. That song went to number two but it was to be well over three years before she returned to the top ten. This week she gets her 20th top forty single and her tenth top ten hit. More to the point, she finally gets her first number one single in the UK as Look What You Made Me Do goes straight to the top of the chart.

In the past Swift has avoided putting her songs on Spotify. However, she has now accepted the inevitable and her new song was made available to stream immediately. It duly set a new record for the number of worldwide streams in one day.

There have been many cases in the past songwriters being accused of ripping off another song. Some of these end up in court and result in costly outcomes. The Verve’s Richard Ashcroft receives no royalties from Bitter Sweet Symphony after losing a court battle over its resemblance to a Rolling Stones song. Perhaps the most famous case, hpwever, is that of George Harrison’s My Sweet Lord and The Chiffons’ He’s So Fine which dragge on for an eternity.

In other cases a songwriter acknowledges the similarity and gives the claimant a songwriting credit from the word go. Therefore, when it was pointed out that the rhythm pattern of parts of Look What You Made Me Do bore more than a passing resemblance to Right Said Fred’s I’m Too Sexy Swift saved everybody a lot of hassle by seeking the band’s permission and giving the threesome a credit. Some people will remember Lily Allen doing the same thing when one of her songs sounded very similar to a Take That song.

After two weeks at number one Dua Lipa’s New Rules slips to number two. Pink’s What About Us climbs one place to number three. Just a few weeks ago it was noted here that there had been a paucity of hits by solo female singers this year. This week solo female singers occupy the whole of the top three.

Calvin Harris and co. fall one place to number four with feels. In only its second week in the chart Justin Bieber and Bloodpop’s Friends drops three places to number five.

Swedish producer Avicii scored his first hit of the year last month with the song Without You. The theme of partnerships - or lack of them - continues with his latest hit Lonely Together at number 37. The featured vocalist this tine is Rita Ora who also gets her second hit of 2017.

J Hus, known for much of his life as Momdou Jallow, made his top forty debut as ther featured artist on Stormzy’s Bad Boys earlier this year. He then followed it up with a hit of his own in the form of Did You See. His latest single, Spirit, has been hovering just outside the top forty for the last few weeks. This week it climbs into the broadcast part of the chart at number 39.

Katy Perry sneaked into the top forty with Swish Swish a couple months ago. This week it is back at a new peak of number 29. She is joined by Nicki Minaj whose contribution is perhaps one of her least awful performances. I suppose it had to happen some time.

There are thirteen-place climbs for two of last week’s new entries. Camilla Cabello and Young Thug jump to number 24 with Havana while Macklemore and Skylar Grey are up to number 23 with Glorious. French Montana and Swae Lee’s Unforgettable provides another example of the absurdity of the new rules whereby streams of some songs are considered to be worth only half those of other songs. Last week, after a long run in the top ten, it crashed 13 places to number 16. This week it stabilises again, falling just one place to number 17.

There was no real contest at the top of the albums chart as Queens Of The Stone Age easily outsold all rivals to get their first number one with their seventh album Villains. Their singer Josh Homme has worked as a producer for a number of acts including Arctic Monkeys. However, for this album the unashamedly rock-oriented band have enlisted the help of Mark Ronson, better known for working with the likes of Amy Winehouse, Adele and Lily Allen.

After its latest spell at number one Ed Sheeran’s ÷ slips back to number two.

The War on Drugs was a phrase originally popularised by American President Richard Nixon in the early 1970s to describe a campaign against the use of various harmful substances, a campaign so spectacularly unsuccessful that it continues to this day. A variation on the theme was adopted by one of his successors in the early 21st century who decided that it was possible to wage war on an abstract noun.

There have been various other country-specific wars on drugs and, in 2005, the name was adopted by an American indie rock band. The band’s singer is Kurt VIle who may possibly have been named after the renowned German composer Kurt Weill, responsible for songs such as Mack The Knife. After The War On Drugs’ first two albums failed to chart at all they made it into the top twenty in 2014 with Lost In The Dream. They take a further step forward with album number four as A Deeper Understanding enters at number three.

Some bands seem deliberately to have set out to give themselves a name that makes it hard to use a search engine to find some information about them. Others have adopted a dull name before changing it slightly, by, for example, changing one letter, to give the likes of Google a better chance. Chvrches are an obvious recent example and the band PVRIS are another. Their debut album, White Noise, fell short of the top forty on its release in 2015. They have fared a lot better with their second set as All We Know Of Heaven All We Need Of Hell lands at number four. The album was recorded in a supposedly haunted church. Perhaps that should be “a svpposedly havnted chvrch”. While the name of the album is somewhat verbose, all the tracks have blissfully short titles.

Earlier this week the French capital became one of the worst answers ever given on a television quiz. When asked to name a country (by which we mean a sovereign state that is a member of the UN in its own right) whose name ended in two consonants, a Pointless contestant answered “Paris”. Unfortunately the rules of the show meant that she only scored 100 although she deserved at least 200.

Much to the relief of many music fans, Irish boyband Westlife disbanded in 2012 after a long career. Of course, the end of a successful boyband often means the launch of a string of solo careers. Another one of the unwritten rules of the UK charts is that, in general, only one member of a boyband will make a big success of that solo career. In the case of Westlife, none of them have come anywhere near matching their success as a band.

Shane Filan’s debut solo album, You & Me, reached the top ten in 2013 while its successor, Right Here, fell just short two years later. His third album, Love Always, enters this week at number five. It includes versions of Bob Dylan’s Make You Feel My Love (made most famous by that Adele singer) as well as Don’t Dream It’s Over (Crowded House) and Eternal Flame (The Bangles) and even three songs co-written by Filan himself.

From a defunct boyband we move on to a current girlband, Fifth Harmony. It is not entirely clear what they have been doing in the year since they released their last album. The evidence suggests that they have not bothered coming up with any decent songs and they have clearly not dwelt for very long on choosing a name for their third album. The best they could come up with was Fifth Harmony. It is a new entry at number ten.

Something called 17 by an act going by the name of XXXTentacion enters at number twelve. Perhaps it is meant to be a prequel to Adele’s 19. Probably not though.

The choice of Legacy as an album title suggests either a final album (possibly one released posthumously) or and album celebrating a particular (probably dead) artist. The Cadillac Three’s album of that name appears to be neither. All that can be said, judging by the comments on Amazon, is that their fans do not seem to be terribly literate. Anyway, the album is at number sixteen.

However literate The Cadillac Three’s fans may be, at least the comments are not of the same standard of gibberish as Lil Uzi Vert’s album title Luv Is Rage 2. The album, which has contributions from The Weeknd and Pharell Williams, enters at number fourteen.

There are five re-entries in this week’s chart led by Haim’s Something To Tell You at number 26. Accompanying her first number one single Taylor Swift’s 1989 returns at number 32, one place ahead of the Trolls soundtrack album. The Killers Direct Hits album is at number 35 with Kasabian’s For Crying Out Loud one place beneath it following their appearance at the Reading & Leeds festival last weekend.
Published on: 2017-09-01 by Suedehead2 || 23644 Views
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