I think it was stupid how the radio edit was so short. I know radio don't like playing 4:30 long songs, but the radio edit was a bit too far in the other direction.

 

Plus, We No Speak Americano is the type of song you could have on repeat for hours and not get bored. I could understand short radio edits for songs like Barbra Streisand, which are brilliant in small doses, but get boring after about 3 minutes (I have the full-length version of Barbra Streisand on my mp3 player, and I never listen to it all the way through).

I think it was stupid how the radio edit was so short. I know radio don't like playing 4:30 long songs, but the radio edit was a bit too far in the other direction.

 

Plus, We No Speak Americano is the type of song you could have on repeat for hours and not get bored. I could understand short radio edits for songs like Barbra Streisand, which are brilliant in small doses, but get boring after about 3 minutes (I have the full-length version of Barbra Streisand on my mp3 player, and I never listen to it all the way through).

 

Yes, a 3 minute edit would be nice. Not just that song, but Alexandra Stan, Inna, Loca People, Barbra Streisand and Stereo Love. UK dance songs are "allowed" to be 3 1/2 mins long, why is it different for international ones? A question I've never understood

#18

FLORENCE + THE MACHINE
“Dog Days Are Over”
from the album “Lungs”
[December 2008]
RE-23-24-33-36-44-48-55-56-47-37-34-24-25-27-24-27-42-55-56-56-64-75-67-61-74-75-74-80-86-98-x(2)-85-x(1)-77-67-95-x



~ 1,688 points // 36 weeks // #23 peak ~

The first of two entries in the top 20 in what was a very good year for Florence + The Machine is Dog Days Are Over, the second single from their first album Lungs. It was originally released long before the band went mainstream and peaked at a lowly #89. The first thing that propelled this to a new and decent peak of #23 was its use on the advert for the film Slumdog Millionaire. It managed four weeks in the top 40 off the back of this and they then decided to capitalise off the recent exposure and re-release it properly, which netted it a further seven weeks in the top 40 (although it just failed to re-peak again, spending two weeks at #24 in this second top 40 run). Constant airplay and presumably just the song being so good kept it hanging around the the top 100 for an absolute age and it’s also the band’s only hit of any real note in the USA where it reached #21, partially due to its use in Glee (I suppose it’s a good thing it built up enough US prominence to be featured on the show though?) although it’s only their fourth highest peaking single here behind their two versions of You Got The Love which both went top 5 plus their #12 breakthrough single Rabbit Heart (Raise It Up). Their other singles didn’t quite fare as well. Their first single, 2008’s Kiss With A Fist, peaked at #51. Drumming Song was an almighty flop peaking at just #54 and Cosmic Love (widely regarded as their best song, or at least up there) peaked at #51 - although it was a top 3 hit in Ireland and surely would have been a much bigger UK hit had they not released it ridiculously late. Heavy In Your Arms, a new song for the soundtrack to The Twilight Saga: Eclipse and also for the re-release of Lungs, peaked at #53. Since starting this saga of a countdown they’ve released What The Water Gave Me, first single off second album Ceremonials, which peaked at #24 despite a midweek release with seemingly very little hype around it and no airplay to speak of. Anyhow, back to this song, it’s the highest placed song that didn’t peak in the top 20. There are still two to come that missed the top 10 in 2010 (although one of those was a 2009 #1).

Edited October 12, 201113 yr by Bré

#17

FLORENCE + THE MACHINE
“You’ve Got The Love”
from the album “Lungs”
[August 2009]
-13-5-8-17-21-24-29-12-21-30-34-36-35-41-39-49-59-59-61-74-77-64-68-75-76-75-65-71-82-82-96-93-96-x(1)-84-99-82-x(1)-94-x



~ 1,691 points // 37 weeks // #5 peak ~

And the second of Florence + The Machine’s top 20 finishes comes straight after the first. Needless to say this is the last instance of any act getting two in a row and indeed Rihanna and Lady Gaga are the only acts remaining with two songs on the countdown (will.i.am’s vocals make two further appearances, one as a solo artist and one as a member of The Black Eyed Peas). If you can cast your mind back all the way to #79 in this countdown quite a few months ago you may recall we’ve already come across one of Miss Welch and her Machine’s renditions of The Source feat. Candi Staton’s You Got The Love, but the studio version without any Dizzee Rascal in sight outshines it dramatically. The two versions of the song are the band’s only two top ten hits and even another chart entry which they’ve had since I posted the last result hasn’t changed that - Shake It Out made #27, performing even worse than What The Water Gave Me despite having pre-release airplay and being released on a Sunday. Poor Florence + The Machine, will they ever see this level of success and longevity again? Indeed, Florence et al’s performance of this song was such an enduring hit, the original version by The Source feat. Candi Staton (which was rather a success and attained classic status itself) has practically been forgotten and the song is arguably more associated with Florence + The Machine these days! Despite You’ve Got The Love spending an extra week on the chart in 2010 and peaking eighteen places higher, it only barely outstrips Dog Days Are Over on this countdown, becoming their highest-scoring single of the year by just three points. This song came 60th in the Top 100 Downloads of All Time.

GETTING IT DONE. One entry at a time.

Edited October 12, 201113 yr by Bré

I know a lot of people hate Florence's version of You've Got the Love, but I really like it. I love the "Dirtee" version aswell. :D

 

Is the music video where the Black Eyed Peas got their idea for the Meet Me Halfway performance on X Factor? :lol:

Edited October 12, 201113 yr by Eric_Blob

Number 1 coming up on New Years Day then? :kink:

Number 1 coming up on New Years Day then? :kink:

 

I'm aiming to announce it at 11:59pm on 31st December. Then the new countdown will be started one minute later and last the whole year again, yay :lol:

#16

KATY PERRY FEAT. SNOOP DOGG
“California Gurls”
from the album “Teenage Dream”
[July 2010]
1-1-2-4-4-9-10-12-13-18-15-25-29-34-35-39-44-43-49-55-55-65-74-90-95-93-68-



~ 1,745 points // 27 weeks // #1 peak ~

Katy Perry’s highest entry on the countdown is California Gurls, the introductory single from her third album Teenage Dream featuring American rapper Snoop Dogg (real name Calvin Broadus, Jr. - yes, really). Upon release it duly delivered Perry a second UK #1 hit, following her debut hit I Kissed A Girl from 2008. While her singles chart success from her second/breakthrough album One Of The Boys started to flag after its introductory #1 and #4-peaking follow-up Hot N Cold, Perry managed much more consistent success with her second era of success, with four further singles from the album making the top 10, three of those in the top three. She did even better in the USA where all five singles have hit the top spot on the Billboard Hot 100. Teenage Dream the album also did far better than One Of The Boys - while the latter only managed a #11 peak and passable longevity, Teenage Dream went straight to #1 and has barely left the top 40 since. Well done Perry. Your other singles after this one were also significantly better (which the UK public seems to at least partially agree with, since third single Firework is now her highest selling single despite being released after the album and peaking at #3). Snoop Dogg (of former -y Dogg fame) finally had a UK #1 hit to his name thanks to his appearance on this song, nearly 17 years after he first hit the UK charts with his #20 hit What’s My Name?, but his core fanbase didn’t approve much - part of what has kept Snoop such a big name for such a long time is his refusal to follow other rappers into ‘selling out’. He had pretty much remained ‘urban’ with very little crossover since he first broke onto the scene… until this collaboration. The backlash didn’t extend to his commercial success though as in 2011 he scored arguably his biggest UK hit to date with Sweat (Snoop Dogg vs. David Guetta), which peaked at #4 - of course being billed with Guetta didn’t do much to reinstate his urban appeal though. He had got as high as #2 as a lead artist in the past with 2005’s Signs (feat. Charlie Wilson and Justin Timberlake) but the chart longevity of Sweat more than made up for the peak position deficit, spending nine weeks in the top 10 compared to just four for Signs. Snoop’s fellow celebrity Calvin, Mr. Harris, is not actually a Calvin at all - his real name is Adam Wiles. This song came 24th in the Top 100 Downloads of All Time.

California Gurls is basically Empire State of Mind's lyrics over Tik Tok's instrumental. The US were always going to love it! :lol:

 

I always wondered how much Firework would've sold if it was the first single. Although it would've been a weird choice for a lead single.

#15

TRAIN
“Hey, Soul Sister”
from the album “Save Me, San Francisco”
[April 2010]
64-51-36-22-22-18-21-21-25-28-32-30-28-32-31-34-34-34-30-37-42-50-55-53-65-65-53-64-76-94-x



~ 1,783 points // 30 weeks // #18 peak ~

The highest scoring song of the year to have never graced Radio 1’s playlist (excluding Journey’s Don’t Stop Believin’ which may or may not have done so on its original release in 1982) is neither of the non-playlisted #1s of the year then, but a song which only peaked at number eighteen. The only entry in the top 200 for American pop-rock band Train (Patrick Monahan, Scott Underwood, Jimmy Stafford) is their commercial radio anthem Hey, Soul Sister. It was one of the biggest hits of 2010 in their native USA, being outsold only by Katy Perry’s California Gurls (feat. Snoop Dogg) during the year. The massive success didn’t quite cross over to the UK but it spent an absolute age in the top 40 and marked a spectacular return for the band whose only previous hit of any note was 2001 #10 hit Drops Of Jupiter (Tell Me). Foster The People’s Pumped Up Kicks can be described as 2011’s Hey, Soul Sister chartwise on a lesser scale, the song also peaking at #18 in the UK and spending a while in the top 40, but being one of the biggest hits of the year in the USA. The song is the sole appearance of the rather underused punctuation mark that is the comma in the top 200 - the next highest scoring song which utilises the comma in its name is all the way down at #332, Flo Rida’s Turn Around (5,4,3,2,1) which uses not one but four of the things. Do Train win because their album also has a comma in its title? Does anyone care? No? Moving on then…

Edited October 13, 201113 yr by Bré

#14

GLEE CAST
“Don’t Stop Believin’”
from the album “Glee - The Music - Season One, Volume 1”
[December 2009]
RE-99-5-3-2-4-5-7-18-20-28-25-24-27-29-40-38-44-48-53-70-72-72-71-33-44-67-78-81-64-72-80-88-x(1)-77-x(14)-79-x



~ 1,867 points // 34 weeks // #2 peak ~

Speaking of Don’t Stop Believin’… moving onto the only legitimate ‘hit’ of the 67 entries Glee Cast placed on the full top 818 of 2010. They did just sneak a second top 200 entry at #157 with the least flash-in-the-pan of their other ‘hits’ (Halo / Walking On Sunshine) but they’ll likely never match the success of this again. It spent three times as long in the top ten as any of the songs from season two did in the top 40, that’s how much bigger it was than any of their other songs. Don’t Stop Believin’ is of course a cover (shock) of the Journey classic of the same title and it was featured in the very first Glee episode ‘Pilot’, performed by New Directions (I presume Glee fans know what that is) although credited to ‘Glee Cast’ for its single release as per every other song from the show. The song was featured again in a slightly different version in the 22nd and final episode of Glee season one ‘Journey To Regionals’, causing it to re-enter at #33, although it didn’t last as long on the chart with its second wind of success, promptly slumping back to the lower echelons of the top 100 and dropping out shortly afterwards. The release of this coupled with two performances by 2009 X Factor winner Joe McElderry helped the original version of the song to climb as high as #6 in the chart as well (quite a bit better than its original 1982 peak of #62) and both versions of the track were concurrently in the top 10 for several weeks and concurrently in the top 40 for what seemed like years. The Journey original proved to be the longer-lived hit, perhaps surprisingly since it had already lost many sales to download trickles in the previous years - it was already a classic before X Factor and Glee made it a hit you know! But yes, the Journey version of this song is still to come, spending 47 out of 52 chart weeks in the top 100 compared to 34 for the ‘updated’ Glee version. I like to think the chanting in the background of this version is a stealth joke and they’re saying ‘Journey Journey Journey Journey Journey Journey…’ but no one else seems to agree with me on that. This song came 74th in the Top 100 Downloads of All Time.

ACTUALLY GETTING STUFF DONE SHOCKER

Another reason why the Journey version had more longevity is because it got a LOT more radio airplay in the long run of the year, and most people think it's better.

 

Both Train and Glee Cast were two of the most uplifting songs of 2010 imo.

Both Train and Glee Cast were two of the most uplifting songs of 2010 imo.

 

I agree, the former in particular never fails to put me in a good mood :D I'm quite surprised its so high on here though, amazing for a hit that only peaked at number 18!

#15

 

TRAIN

“Hey, Soul Sister”

from the album “Save Me, San Francisco”

[April 2010]

64-51-36-22-22-18-21-21-25-28-32-30-28-32-31-34-34-34-30-37-42-50-55-53-65-65-53-64-76-94-x

 

 

~ 1,783 points // 30 weeks // #18 peak ~

 

The highest scoring song of the year to have never graced Radio 1’s playlist (excluding Journey’s Don’t Stop Believin’ which may or may not have done so on its original release in 1982) is neither of the non-playlisted #1s of the year then, but a song which only peaked at number eighteen. The only entry in the top 200 for American pop-rock band Train (Patrick Monahan, Scott Underwood, Jimmy Stafford) is their commercial radio anthem Hey, Soul Sister. It was one of the biggest hits of 2010 in their native USA, being outsold only by Ke$ha’s TiK ToK during the year. The massive success didn’t quite cross over to the UK but it spent an absolute age in the top 40 and marked a spectacular return for the band whose only previous hit of any note was 2001 #10 hit Drops Of Jupiter (Tell Me). Foster The People’s Pumped Up Kicks can be described as 2011’s Hey, Soul Sister chartwise on a lesser scale, the song also peaking at #18 in the UK and spending a while in the top 40, but being one of the biggest hits of the year in the USA. The song is the sole appearance of the rather underused punctuation mark that is the comma in the top 200 - the next highest scoring song which utilises the comma in its name is all the way down at #332, Flo Rida’s Turn Around (5,4,3,2,1) which uses not one but four of the things. Do Train win because their album also has a comma in its title? Does anyone care? No? Moving on then…

 

#15

 

TRAIN

“Hey, Soul Sister”

from the album “Save Me, San Francisco”

[April 2010]

64-51-36-22-22-18-21-21-25-28-32-30-28-32-31-34-34-34-30-37-42-50-55-53-65-65-53-64-76-94-x

 

 

~ 1,783 points // 30 weeks // #18 peak ~

 

The highest scoring song of the year to have never graced Radio 1’s playlist (excluding Journey’s Don’t Stop Believin’ which may or may not have done so on its original release in 1982) is neither of the non-playlisted #1s of the year then, but a song which only peaked at number eighteen. The only entry in the top 200 for American pop-rock band Train (Patrick Monahan, Scott Underwood, Jimmy Stafford) is their commercial radio anthem Hey, Soul Sister. It was one of the biggest hits of 2010 in their native USA, being outsold only by Ke$ha’s TiK ToK during the year. The massive success didn’t quite cross over to the UK but it spent an absolute age in the top 40 and marked a spectacular return for the band whose only previous hit of any note was 2001 #10 hit Drops Of Jupiter (Tell Me). Foster The People’s Pumped Up Kicks can be described as 2011’s Hey, Soul Sister chartwise on a lesser scale, the song also peaking at #18 in the UK and spending a while in the top 40, but being one of the biggest hits of the year in the USA. The song is the sole appearance of the rather underused punctuation mark that is the comma in the top 200 - the next highest scoring song which utilises the comma in its name is all the way down at #332, Flo Rida’s Turn Around (5,4,3,2,1) which uses not one but four of the things. Do Train win because their album also has a comma in its title? Does anyone care? No? Moving on then…

Sorry to be pedantic but I thought it was california gurls that outsold it digitally rather than tik tok, I thought tik tok was the hot 100 number 1 for the year

Sorry to be pedantic but I thought it was california gurls that outsold it digitally rather than tik tok, I thought tik tok was the hot 100 number 1 for the year

 

Ah, that's right. Sorry, I got a bit confused there. If the USA would use a less retarded chart as their main one I wouldn't have this problem :lol:

#13

JASON DERÜLO
“Ridin’ Solo”
from the album “Jason Derülo”
[March 2010]
44-63-80-86-70-59-56-56-38-12-2-2-4-3-7-9-14-16-18-20-23-28-32-38-37-45-57-64-70-76-87-89-94-x



~ 1,934 points // 33 weeks // #2 peak ~

Mr. fancy unnecessary umlaut man’s highest of four entries is Ridin’ Solo, the third single off debut album Jason Derülo. It’s his longest-lived, highest-scoring and highest-selling single to date, but not his highest peaking - previous single In My Head bested it and got to #1, as did 2011’s Don’t Wanna Go Home, the lead single off second album Future History. Ridin’ Solo generated some hype before the release of his album due to some ‘controversy’ over its demo featuring a sample of The Verve’s Bittersweet Symphony (which coincidentally is also arguably their biggest hit despite peaking at #2 when they had a #1). The sample was removed by the album’s release but the ‘damage’ was done and it charted straight in at #44. It managed to sustain these sales somehow and stayed top 100 right up until it started receiving promotion. Then, as soon as it made the top 40, it made a quick vault to #2 that’s comparable to Telephone (although that went to #1 and had several top 40 weeks prior to the leap). This song and Iyaz’s similarly titled Solo both peaked in the chart at roughly the same time. Both songs were produced by J.R. Rotem and both have the word ‘solo’ spelled out at some point, although Jason clearly failed spelling at school, because he spells ‘solo’ S-S-O-L-O. Coincidence? (Yes). This song came 73rd in the Top 100 Downloads of All Time.

Ridin' Solo! INCREDIBLE! :heart: Such a brilliant song. I kind of think of it as his 2nd single sometimes, since I was listening to back in 2009 long before I knew of In My Head. :lol: I guess it was the same for a lot of people.

 

Ridin' Solo still got to keep the same chord progression as Bittersweet Symphony, even though they had too take the strings out. Still such an anthem imo. Love it.

#12

OWL CITY
“Fireflies”
from the album “Ocean Eyes”
[January 2010]
50-2-1-1-1-2-3-8-11-13-15-15-15-18-24-29-33-35-38-48-57-60-72-73-66-73-80-87-78-88-83-85-91-x(6)-98-x



~ 1,981 points // 34 weeks // #1 peak ~

Throughout the whole of 2010, only two songs occupied the top spot of the chart for more than fourteen days. One of them was Roll Deep feat. Jodie Connor’s Good Times which plummetted after its 3-week stay at the top leading to a disappointing #71 finish on this chart. The other was this, the debut single from American electronica/synthpop artist and noted one-hit wonder Owl City (real name Adam Young). It’s still not done overly well for its three-week stay at the top, especially as less than half of the songs still to come got to #1 in 2010 at all. Fireflies is a rather lovely song about insomnia, although the references are slightly less blatant than in Faithless’ song Insomnia. The Owl City sound was absolutely massive for a few fleeting weeks at the start of the year but it didn’t last very long, the identical sounding follow-up Umbrella Beach only charting at number one hundred and ninety-four and not due to a lack of support, as it even went top 10 on radio airplay. It’s not even like his album was a huge success, Ocean Eyes only reaching #7 in the albums chart. It just seemed that after Fireflies no one gave a damn about Owl City. But for a one-hit wonder it’s a pretty great hit (although many would beg to differ). If you want to stretch the word ‘hit’ to mean anything in the top 100, as I often do, he technically has one other hit. Vanilla Twilight was the second single from Ocean Eyes in the USA and the ‘hype’ around it (even though it only charted at #72, also a pretty sizeable flop after Fireflies was a #1 there too) lead to the song entering at #94 here on the week of his album’s release. Owl City’s choice of stage name understandably gives him a nice case of ‘is it a solo artist or is it a band?’ syndrome. Sort of creates flashbacks to 1997 when White Town, also a solo artist who used a word for a settlement in his stage name, went to #1 in the UK with his single Your Woman but only reached #57 with the follow-up Undressed and had no further hits. This song came 20th in the Top 100 Downloads of All Time.

Edited October 22, 201113 yr by Bré

I have a chiptune version of Fireflies on my mp3 player. INCREDIBLE. :wub: