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Three weeks at the top for Calvin Harris and Sam Smith
Calvin Harris and Sam Smith spend a third week at the top of the singles chart. Eminem's Kamikaze is the number one album for a third week.

Another week for Calvin Harris and Sam Smith at the top of the singles chart and for Eminem on the albums chart.

Calvin Harris and Sam Smith get a third week at number one in the singles chart with Promises. It matches Too Good At Goodbyes to become the joint longest-running of Smith’s seven number one singles. Three of Harris’s nine previous chart-toppers have spent longer than three weeks at the summit.

The rest of the top four also remain unchanged. Benny Blanco’s Eastside (assisted by Khalid and Halsey) is at number two, Kanye West & Lil Pump are still at number three with I Love It and Loud Luxury’s Body (featuring Brando) is at number four. The only change in the top five sees Marshmello and Bastille climb one place to number five with Happier. Dynoro and Gigi d’Agostino enter the top ten at number eight with In My Mind.

There are many people who would be delighted if the title of the new single by Jason Derulo (who turns 29 today - Friday) and Nicki Minaj (who doesn’t) was a statement of intent. The pair are joined on Goodbye by a French contingent, David Guetta (from whose new album it is taken) and Willy William. Derulo has now had nineteen top forty hits, most of them ranging in quality from fairly bad to diabolical, while Guetta has notched up a total of 38, including 23 top ten hits, six of them going all the way to the top. Minaj has somehow managed to have 32 top forty hits, none of which have been good enough even to be described as terrible. Goodbye enters at number 33.

This week’s only other new entry also has a long list of credited artists. Just Got Paid, a new entry at number 37, adds to the singles chart tally of Sigala, Ella Eyre and Meghan Trainor with some featured French Montana thrown into the mix as well. Perhaps we should be thankful that Cardi B must have been taking a day off when this was recorded. The four artists had amassed 26 hits between them since Ella Eyre made her chart debut in 2013, including Came Here For Love on which both Eyre and Sigala appeared.

After crashing to number seventeen last week (having seen the value of its streams halved as it was put on to the Accelerated Chart Ratio), George Ezra’s Shotgun climbs back up to number fourteen. The biggest upward mover is Machine Gun Kelly’s Rap Devil which climbs sixteen places to number fifteen. In its ninth week in the top forty Panic! At The Disco finally make it into the top half as High Hopes climbs to number twenty. It is only their second top twenty hit and comes a decade after their first, Nine In The Afternoon.

Eminem’s Kamikaze ext4ends its run at the top of the albums chart to three weeks. Eminem’s nine number one albums have spent a total of 28 weeks at the summit, so this album’s performance will count as average by his standards if it vacates the number one spot next week.

Last week’s new entries were led by two veteran artists called Paul. This week’s highest new entry is by another one. Paul Weller is not quite as old as Pauls McCartney and Simon, but has been a successful artist for over forty years. Weller and his bandmates in The Jam put Woking on the musical map in 1977 when In The City sneaked into the top forty in 1977. The band went on to have four number one singles before Weller surprised the musical world by leaving and forming The Style Council. His new band had seven top ten singles and a number one album (the same number as The Jam), but never received anything like the critical acclaim of his original band.

After abandoning The Style Council (to the relief of many), he embarked on a solo career in 1991, a career that continues to this day. As a solo artist Weller has managed to have four number one albums with a further thirteen reaching the top ten. This week he gets his eighteenth top ten album with True Meanings at number two.

The Greatest Showman soundtrack slips to number three; the soundtrack to Mamma Mia - Here We Go Again stays at number four. Ariana Grande’s Sweetener stays put at number five.

The British and Irish Modern Music Institute (BIMM) was established as a higher education institute to teach all aspects of the music industry, from performing to journalism and event management. They, along with the umbrella group UK Music, are currently doing a mini tour of the party conferences to launch a manifesto for the British music industry. Among the BIMM alumni are George Ezra, Tom Odell and The Kooks. The list of successful alumni is joined this week by Manchester band Pale Waves who enter at number eight with their debut album, My Mind Makes Noises. The band also featured on the BBC’s Sound of 2018 list.

While Paul Weller has achieved both critical and commercial success, Richard James, better known as Aphex Twin has only rally achieved the former. On the other hand, he cannot be said ever to have made much of an attempt at commercial success. The name of his 1992 debut album, Selected Ambient Works 85-92, provides a good explanation of why his albums do not sell by the truckload. He had to wait until his sixth studio album (Syro, 2014) for his first foray into the top ten. Since then he has released two EPs (both of which made the top forty albums chart) and has now released his seventh full-length album. Collapse gives him a second top ten success at number eleven.

There is some further electronica at number twelve in the shape of Orbital with their ninth studio album, Monsters Exist. The duo enjoyed some modest success in the early 1990s before commanding wider attention with the brilliant single The Box (1996). They continued to enjoy reasonable success before brothers Phil and Paul Hartnoll went their separate ways in 2004.

They re-formed two years later before splitting up again in 2014. Paul Hartnoll’s projects after that included writing music for the BBC series Peaky Blinders. Last year the brothers reunited again with Monsters Exist as the result.

Before bands such as Orbital came along, a number of the major acts heavily dependent on synthesisers came from mainland Europe with Kraftwerk (Germany) and, later, Jean-Michel Jarre (France) among them. Jarre, son of film composer Maurice Jarre, made his UK chart debut in 1977 with the album Oxygene and the single Oxygene Part IV, the fourth track from the album which spent four weeks at number four. That little fact tends to get overlooked in favour of the fact that Blur’s Song 2 is two minute long, was the second track on the parent album and peaked at number two (but only for one week). Oxygene Part IV remained Jarre’s only top forty single until 20 years later when he released Oxygene Parts 7-13 and two of the tracks were minor hits.

In 1979 Jarre performed in front of a crowd estimated at one million people (according to the Guinness Book of Records) at the Place de la Concorde for the 14 July celebrations. In the 1980s and ‘90s he performed several more concerts in front of massive crowds with a laser light show being part of the spectacle. Last month he celebrated his 70th birthday and, to mark the occasion, he has released Planet Jarre, a collection of reworked versions of music from throughout his career. It is a new entry at number 21.

When David Guetta made his UK chart debut, Jean-Michel Jarre was still one of the few French musical acts with any significant name recognition in the UK. Now, he and Daft Punk have probably finally ended the reign of Jarre, Sacha Distel and Charles Aznavour as the most-recognised French acts on this side of the Channel. Despite his six number one singles Guetta is yet to have a number one album although One Love and Nothing But The Beat both reached number two. The latter has spent a total of 78 weeks (eighteen months) in the top forty. His seventh album, 7, enters at number nine.

Former Catatonia singer Cerys Matthews stated in an interview this week that she tried to avoid playing music by acts who had gone to fee-paying schools on her show. Her argument is that it is increasingly difficult, for a variety of reasons, to make it in the music industry if you went to a state school. That means that she avoids bands such as Radiohead and Coldplay and that she would probably also avoid playing music by Jungle. They were formed by two friends at Latymer Upper school, an establishment also attended by the likes of Hugh Grant and Heston Blumenthal as well as the gloriously weird comic Milton Jones. The band enter at number ten this week with their second album, For Ever.

If Cerys Matthews hosted a show on Radio 1 or 2 instead of 6Music, she would probably also want to avoid playing anything by acts who got their break from a talent show. If so, Carrie Underwood, winner of American Idol in 2005, would no doubt be on her banned list. Despite that talent show success UK audiences initially showed as much enthusiasm for her music as they have shown for so many other country artists - almost none. She didn’t have a hit album in the UK until her fourth release, Blown Away, in 2012. She gets her third top forty hit this week with Cry Pretty at number sixteen.

Despite his grammar school background, Richard Thompson might make Cerys Matthews’ approved list. He started his musical career as a member of the acclaimed folk rock band Fairport Convention in the 1960s, performed as half as a duo with his wife Linda in the 1970s and has released a steady stream of solo albums from 1983 onwards. The latest of those, 13 Rivers, enters at number eighteen.

The list of people with a stupid pseudonym to hit the charts is joined this week by 6lack, supposedly pronounced Black. OK, so Ricardo Valentine might have decided that Dickie Valentine had already been bagsied by a British singer in the 1950s and that Black, spelt correctly, had been commandeered by Colin Vearncombe who gave us the sublime Wonderful Life. If so, why couldn’t he choose s different name? It’s not as if most of the words in the English language have already been used. His debut album, Free 6lack, failed to chart in the UK. The follow-up, East Atlanta Love Letter is at number nineteen.

Of course, some artists can feel justified in performing under a pseudonym. After all, Justin Clarke doesn’t really sound like a suitable name for a rapper. He can, therefore, hardly be blamed for styling himself Ghetts instead. He reached number 23 with his first album Rebel With A Cause in 2014 and appeared briefly in the singles chart last year when a whole host of Stormzy tracks flooded the top forty. Ghetts’ second album, Ghetto Gospel - The New Testament, is a new entry at number thirty.

Earlier this month The Kooks, a band named after a David Bowie song, entered the albums chart. This week we have an album by a band who share their name with a Bowie album, Low. They made their top forty debut in the UK in 2015 with their eleventh studio album, Ones And Sixes. It appears that they are now on a roll as their latest set, Double Negative, isn’t not a new entry at number 26.

This week’s rock offering is from Good Charlotte who enter at number 31 with Generation RX. The veteran award of the week is won by a large margin by 92-year-old Tony Bennett who enters at number 33 with Love Is Hear To Stay, an album of duets with Diana Krall. It includes a version of Fascinating Rhythm, a song Bennett first recorded in 1949.

After another showing of a BBC4 documentary Amy Winehouse’s Back To Black re-enters at number 38. Fleetwood Mac’s Rumours returns at number forty. It is crisis time for Ed Sheeran. In its 81st week in the chart ÷ crashes to a new low of number thirteen.
Published on: 2018-09-21 by Suedehead2 || 26054 Views
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