i'll never understand why people want songs to stick at #1 for ages. Surely it's alot more interesting if more songs get to the #1 spot instead of having one hogging the position for weeks?

 

I agree. Gotye having a 30% lead on iTunes for 2 months is in no way interesting imo. :lol:

 

I don't mind that much though, since it is such an amazing song. But in terms of chart behaviour, it's dull as.

i'll never understand why people want songs to stick at #1 for ages. Surely it's alot more interesting if more songs get to the #1 spot instead of having one hogging the position for weeks?

Just look at 2000 for evidence of this- 42 No 1 singles- how many of them would people know without refreshing their memories? Or how many do you still regularly hear? A lot of No 1 singles usually highlights a year in which niche acts get to No 1 with songs that fail to go beyond their fans, I quite liked the music of 2000 but even I would have to conceed some of them weren't No 1 material. It also devalues having a No 1 if loads of acts can say that they have had one.

 

Conversely a song staying at No 1 means it has gone beyond it's immediate fans and is picking up more of a general audience meaning in years to come that it will still be remembered thusly making for a "better" music scene- whatever that means. That's the theory anyway :(

Gotye for 4th week at #1 to further prove just how popular his song really is. New 'We Found Love' please. :D

 

It be great if Gotye got 7 weeks at #1 make up for Maroon 5 last year, I think the chart needs a long stayer, 7 weeks max anything longer it gets rather stale after awhile, but I love the track. The only track that could knock Gotye off probably JLS with the charity single, but its still early days which way the track will go.

Just look at 2000 for evidence of this- 42 No 1 singles- how many of them would people know without refreshing their memories? Or how many do you still regularly hear? A lot of No 1 singles usually highlights a year in which niche acts get to No 1 with songs that fail to go beyond their fans, I quite liked the music of 2000 but even I would have to conceed some of them weren't No 1 material. It also devalues having a No 1 if loads of acts can say that they have had one.

 

Conversely a song staying at No 1 means it has gone beyond it's immediate fans and is picking up more of a general audience meaning in years to come that it will still be remembered thusly making for a "better" music scene- whatever that means. That's the theory anyway :(

 

A lot of the general public don't even know what songs get #1 and which ones don't. Depending on your age, you might just remember the songs that Heart FM, etc. play the most over the years tbh.

 

A better way to see the biggest hits from a time period is to look at the year-end charts. A #1 just means you're the highest-selling song in a 7 day period.

Just look at 2000 for evidence of this- 42 No 1 singles- how many of them would people know without refreshing their memories? Or how many do you still regularly hear? A lot of No 1 singles usually highlights a year in which niche acts get to No 1 with songs that fail to go beyond their fans, I quite liked the music of 2000 but even I would have to conceed some of them weren't No 1 material. It also devalues having a No 1 if loads of acts can say that they have had one.

 

Conversely a song staying at No 1 means it has gone beyond it's immediate fans and is picking up more of a general audience meaning in years to come that it will still be remembered thusly making for a "better" music scene- whatever that means. That's the theory anyway :(

 

To be honest, I don't really care about the theory behind it or if the #1's will be "forgotten". Look at the likes of 'Fireflies' and 'Good Times' from 2010 that are forgotten even though they had three weeks at #1. Tons of songs get to #1 and will be forgotten, but it's the same for any chart position really. I don't think it devalues the #1 spot at all if lots of artists manage to get one, if anything I find it alot more competitive to see new entries battle for the spot instead of seeing one song hog the spot for ages.

 

'Somebody I Used to Know' will end up being forgotten by the end of the year anyway, just like 'Fireflies' and we'll never hear from Gotye again.

11. Seven Nation Army - Marcus Collins

15. Bright Lights (feat. Pixie Lott) - Tinchy Stryder

20. Love Me - Stooshe

73. Are You Not Entertained? (Radio Edit) - Dot Rotten

128. F**k Me - Stooshe

To be honest, I don't really care about the theory behind it or if the #1's will be "forgotten". Look at the likes of 'Fireflies' and 'Good Times' from 2010 that are forgotten even though they had three weeks at #1. Tons of songs get to #1 and will be forgotten, but it's the same for any chart position really. I don't think it devalues the #1 spot at all if lots of artists manage to get one, if anything I find it alot more competitive to see new entries battle for the spot instead of seeing one song hog the spot for ages.

 

'Somebody I Used to Know' will end up being forgotten by the end of the year anyway, just like 'Fireflies' and we'll never hear from Gotye again.

 

Exactly. And that supports my suggestion to look at the year-end charts if people want to know the biggest hits from a time period anyway. If you look at a list of the #1s from 2010, you see Good Times at 3 weeks, and think it's one of the biggest songs for the year, but if you look at the year-end chart, you see it at #45 (or somewhere around there), so you see it quite big, but not one of the biggest hits of the year.

 

A lot of the songs from 2009 and 2010 are forgotten because it's simply a poor time for chart music imo. It's not to do with lots of songs spending 1 week at #1.

 

Plus, the charts, especially at the moment, aren't really representing what songs are popular with the general public I feel anyway. So many songs which are everywhere, in shops, blasting out of cars, in everyday conversation, at parties, etc. are struggling to get top 40, or even top 100. So I think the bigger problem here, at least with people my age, is that when they're older, they may look at the charts from 2011 to see what was big at this time, and then be wondering why a massive song like Motivation by Kelly Rowland never even made the top 100. That's a much bigger problem than Love the Way You Lie not making #1 imo.

To be honest, I don't really care about the theory behind it or if the #1's will be "forgotten". Look at the likes of 'Fireflies' and 'Good Times' from 2010 that are forgotten even though they had three weeks at #1. Tons of songs get to #1 and will be forgotten, but it's the same for any chart position really. I don't think it devalues the #1 spot at all if lots of artists manage to get one, if anything I find it alot more competitive to see new entries battle for the spot instead of seeing one song hog the spot for ages.

 

'Somebody I Used to Know' will end up being forgotten by the end of the year anyway, just like 'Fireflies' and we'll never hear from Gotye again.

All of that may be true, only time will tell. It would be very interesting if we could see a forum like this back in 1999/2000 when it was a new No 1 almost weekly, iirc almost everyone wanted stability in the charts and was lamenting the high turnover of No 1 singles by people who would be forgotten about in 12 months time. I guess these things are cyclical and you can't please everyone, for my money 4 or 5 wks at no 1 is about enough for any song, but prior to 97/98 the turnover was never that high so it's a relatively recent phenomenon historically speaking. Whether it makes for a better or a worse chart is of course a matter of opinion.

Exactly. And that supports my suggestion to look at the year-end charts if people want to know the biggest hits from a time period anyway. If you look at a list of the #1s from 2010, you see Good Times at 3 weeks, and think it's one of the biggest songs for the year, but if you look at the year-end chart, you see it at #45 (or somewhere around there), so you see it quite big, but not one of the biggest hits of the year.

 

A lot of the songs from 2009 and 2010 are forgotten because it's simply a poor time for chart music imo. It's not to do with lots of songs spending 1 week at #1.

 

Plus, the charts, especially at the moment, aren't really representing what songs are popular with the general public I feel anyway. So many songs which are everywhere, in shops, blasting out of cars, in everyday conversation, at parties, etc. are struggling to get top 40, or even top 100. So I think the bigger problem here, at least with people my age, is that when they're older, they may look at the charts from 2011 to see what was big at this time, and then be wondering why a massive song like Motivation by Kelly Rowland never even made the top 100. That's a much bigger problem than Love the Way You Lie not making #1 imo.

You do have a point with the Y/E charts I agree.

 

I would add though if songs like the one you quoted are so big why aren't people buying them and converting them into big hits?

11 Marcus

16 Tinchy

19/123 Stooshe

 

Come on Stooshe! :cheer:

Edited March 4, 201213 yr by tommie

You do have a point with the Y/E charts I agree.

 

I would add though if songs like the one you quoted are so big why aren't people buying them and converting them into big hits?

 

Motivation didn't do well in the charts because it wasn't played on the radio much I think.

 

We're seeing this with Niggas in Paris at the moment. That song has been very popular for months already, yet it only gets into the charts when Radio 1 playlists it and it gets a music video.

 

I think basically the music-buying public is a small sub-section of the general public.

Edited March 4, 201213 yr by Eric_Blob

Motivation didn't do well in the charts because it wasn't played on the radio much I think.

 

We're seeing this with Niggas in Paris at the moment. That song has been very popular for months already, yet it only gets into the charts when Radio 1 playlists it and it gets a music video.

But as I understand your point you were saying it was everywhere parties, in cars, i assumed you meant on radio but clearly you didn't mean that, so how are these people who have it on everywhere getting the music/ hearing it in the first place? If it only gets into the charts when it has a video (thereby getting air on music channels I presume) or Radio One (thereby getting exposure- though it isn't the most listened station any longer) then how can it be everywhere, or certainly everywhere BUT not being bought by the public?

 

So to take your recent example, the lovingly titled "Niggas In Paris", how can it be everywhere and very popular when people aren't buying it?

I think basically the music-buying public is a small sub-section of the general public.

Less now than ever it was? And if so then that argues that the music being produced does not have mass appeal- urgo radio is not playing music that people want to buy so that even if the records you cite were played there is no correlation on them become automatically bigger hits.

Less now than ever it was? And if so then that argues that the music being produced does not have mass appeal- urgo radio is not playing music that people want to buy so that even if the records you cite were played there is no correlation on them become automatically bigger hits.

 

 

 

Also year 2000/early 2000 we had high amount of new entries, 12 to 16 per week, now we don't even get that at the most we are talking about 3 to 5 new entries per week and sometimes not even that. More artists should be releasing new music to compete in the current market.

But as I understand your point you were saying it was everywhere parties, in cars, i assumed you meant on radio but clearly you didn't mean that, so how are these people who have it on everywhere getting the music/ hearing it in the first place? If it only gets into the charts when it has a video (thereby getting air on music channels I presume) or Radio One (thereby getting exposure- though it isn't the most listened station any longer) then how can it be everywhere, or certainly everywhere BUT not being bought by the public?

 

So to take your recent example, the lovingly titled "Niggas In Paris", how can it be everywhere and very popular when people aren't buying it?

 

It just was "everywhere" (not literally, but I heard it a lot, more than many of the songs that were supposedly big at the time according to the charts). I heard it so much late last year, without actually having to listen to it myself. It seems no more popular at the moment than it was at Christmas.

 

It's largely down to lifestyles though. I never heard anything about Niggas in Paris at work for example, probably because of the demographics of people that work there (I'm literally one of the only people there under the age of 30). At work everyone talks about artists like Duran Duran.

 

Also year 2000/early 2000 we had high amount of new entries, 12 to 16 per week, now we don't even get that at the most we are talking about 3 to 5 new entries per week and sometimes not even that. More artists should be releasing new music.

 

Maybe that's just a symptom of the download age. I imagine in such a fast-moving chart in 2000, really, really small hits could make the top 40 (and then they're free-fall I guess). Whilst now, they don't stand a chance, and instead we've got Only Girl and Firework hogging the top 40 spots for months, and those songs, which may be equally as big as the average #35 hit from 2000, are maybe just charting at #150 for a month or so instead.

Edited March 4, 201213 yr by Eric_Blob

11. Seven Nation Army - Marcus Collins

15. Bright Lights (feat. Pixie Lott) - Tinchy Stryder

18. Love Me - Stooshe

72. Are You Not Entertained? (Radio Edit) - Dot Rotten

120. F**k Me - Stooshe

216. Electrify - Jakwob

293. Hangover (feat. Flo Rida) - Taio Cruz

583. Too Good to Lose - Rebecca Ferguson

599. Love Me (Kat Krazy Remix) - Stooshe

664. Bright Lights (feat. Pixie Lott) [CASSETTi Remix] - Tinchy Stryder

822. Hush Ya Gums (Vocal Mix) - Major Look

993. R'n'b******t - Deaf Havana

 

 

EPS on Albums Chart

 

20. Bright Lights - EP - Tinchy Stryder

23. Are You Not Entertained? - EP - Dot Rotten

66. Leeches - EP - Deaf Havana

73. Too Good to Lose - Single - Rebecca Ferguson

89. Electrify (Remixes) [feat. Jetta] - Jakwob

99. Two Devils - EP - Dog Is Dead

115. Don't You Ever EP - General Fiasco

120. Must Be the Feeling (Remixes) - Nero

247. Hush Ya Gums - EP - Major Look

366. Hangover (Remix Bundle) [feat. Flo Rida] - EP - Taio Cruz

468. Another Story High - EP - Me

530. The Crow, the Owl and the Dove - EP - Nightwish

762. EP2 (Remixes) - VCMG

Edited March 4, 201213 yr by ManicKangaroo

So many songs which are everywhere, in shops, blasting out of cars, in everyday conversation, at parties, etc. are struggling to get top 40, or even top 100. So I think the bigger problem here, at least with people my age, is that when they're older, they may look at the charts from 2011 to see what was big at this time, and then be wondering why a massive song like Motivation by Kelly Rowland never even made the top 100. That's a much bigger problem than Love the Way You Lie not making #1 imo.

 

I'm sorry but Motivation was not 'everywhere'. You may have heard it a few times in the shops/clubs or you're friends may have played it a few times, but I fail to see how it impacted the wider society like LTWYL did.

 

If I ask anyone I know not one of them would be able to tell me what Motivation sounds like, yet they'll all be able to sing lines from the eoy top 20s of the past few years.

Also year 2000/early 2000 we had high amount of new entries, 12 to 16 per week, now we don't even get that at the most we are talking about 3 to 5 new entries per week and sometimes not even that. More artists should be releasing new music to compete in the current market.

 

There are plenty of new releases each week but the charts are so clogged up with long running oldies that very few breakthrough

 

 

New Releases:

 

11. Seven Nation Army - Marcus Collins

15. Bright Lights (feat. Pixie Lott) - Tinchy Stryder

18. Love Me - Stooshe

72. Are You Not Entertained? (Radio Edit) - Dot Rotten

120. F**k Me - Stooshe

216. Electrify - Jakwob

293. Hangover (feat. Flo Rida) - Taio Cruz

574. Dil Mera (feat. Rahat Fateh Ali Khan) - Panjabi Hit Squad

583. Too Good to Lose - Rebecca Ferguson

599. Love Me (Kat Krazy Remix) - Stooshe

664. Bright Lights (feat. Pixie Lott) [CASSETTi Remix] - Tinchy Stryder

821. Civilian - Wye Oak

822. Hush Ya Gums (Vocal Mix) - Major Look

954. Drum in Your Chest - BigKids

993. R'n'b******t - Deaf Havana

It's largely down to lifestyles though. I never heard anything about Niggas in Paris at work for example, probably because of the demographics of people that work there (I'm literally one of the only people there under the age of 30). At work everyone talks about artists like Duran Duran.

:lol: :lol: :lol: :lol: (I feel they are all necessary). So if you're over 30 then all you talk about musically are 80s popstars? As a 36yr old I can say with some conviction that my time spent talking about 80s music is virtually nil weekly (my last thread excluded :D ) I admit I don't know every song that makes the top 40 these days but I have listened to at least 90 odd per cent of it at least once to see if I like it. Now obviously I'm on a music forum so perhaps I'm not entirely representative of the average 30+ joe public, but I can't help but think you're being slightly stereotypical there?! :o