LOL, the thing is *I* don't know what rule I'm on about either. :lol: But I remember in the late 1990s and very early 2000s it was quite common for big hits to rack up loads of time at the bottom of the top 75 because of reduced stock being sold off. Occasionally they even pushed back into the top 40 like Spice Girls - Goodbye returned to the top 40 in May 1999, but usually they just sort of meandered around at the bottom of the chart (Teletubbies Say Eh-Oh! is a good example here).

 

But around this time in 2001 the chart runs became very odd with songs being completely removed from the chart (as in the entire top 200) and then being allowed back in again, sometimes the following week but sometimes they were gone for an even more extended period of time. And then they'd pop back in as if they'd never been away. It was very confusing and I've never understood it exactly but I remember reading an explaination of how it was to do with how the track was performing in relation to the market but it kind of went *whoosh* over my head at the time.

 

I could try and find some examples of what I'm talking about if you want? :lol:

 

I know which rule you mean, it also caused Damien Rice's Cannonball to have a very strange chart run the second time around in 2004 because it outperformed the market by over 5% or something one week and was excluded only to re-enter a week later, I never quite 'got' it either. I guess the rule was abolished when download sales were introduced.

 

As for the chart, What Makes A Man is one of Westlife's more melodic and memorable songs but I was quite happy to finally see them miss the #1!

The main example of that would be Damien Rice's 'Cannonball' I guess? That vanished from the chart while it was still top 40 before re-entering - back in the top 40 - the next week.

 

EDIT: Damn, beaten by 2 minutes :P

Edited May 4, 201213 yr by B.r.É

courtesy of Robbie on UKMix "There was another set of exclusion rules which began to be applied to the top 75 in the early 2000s which removed records below #40 which had previously been in the top 40 and which subsequently recorded sales which outperformed the market by 5% or more (the sell-off singles exclusion rule). Once excluded under this rule a song wasn't eligible for a chart position for something like 6 weeks but after that period it could chart again even if sales were falling"

 

It wouldn't have effected the Westlife single as it never dropped out of the top 40, but well remembered!

What exactly is this 'outperforming the market' lark?

The market (i.e total singles sold in a week) goes up and down every week obviously. Some singles will increase sales by 3% in a week while the market as a whole might contract by 5% overall, thus the single outperforms the market et voila!

courtesy of Robbie on UKMix "There was another set of exclusion rules which began to be applied to the top 75 in the early 2000s which removed records below #40 which had previously been in the top 40 and which subsequently recorded sales which outperformed the market by 5% or more (the sell-off singles exclusion rule). Once excluded under this rule a song wasn't eligible for a chart position for something like 6 weeks but after that period it could chart again even if sales were falling"

 

It wouldn't have effected the Westlife single as it never dropped out of the top 40, but well remembered!

The period seemed to be arbitary rather than anything specific. Like I said, sometimes songs disappeared for only one week and sometimes more... perhaps it was allowed in again when its sales returned to a normal level, I don't know.

 

Also, what is with this chart run for What My Heart Wants To Say by Gareth Gates? It was excluded from the top 200 for two weeks, fair enough, but then it was allowed back in again, then re-entered the top 40? :blink: Did it somehow record that entire climb without ever outperforming the market by 5%? That seems like a stretch of the imagination to me to do so for three straight weeks.

 

*19 35 53 64 xx xx 58 49 35 26 48 67 xx xx xx xx 95 94 107 111... etc.

Edited May 4, 201213 yr by superbossanova

I remember being very mystified by a single's sudden disappearance from the chart, when the week before it'd been within the Top 75! :lol: I had no idea about this strange rule back then. I followed the chart runs of the solo Spice Girls, it happened to the vast majority of them, and never understood until years later.

 

Victoria Beckham - Not Such An Innocent Girl

6-18-33-52-74-OUT [1st Entry: 23/09/2001]

76-77-50-46-68-OUT [2nd Entry: 04/11/2001]

87-74-67-74-OUT [3rd Entry: 23/12/2001]

 

:lol: No time spent in the 101-200 region whatsoever.

45. I LOVE THE WAY YOU LOVE ME- Boyzone (400,700)

 

http://upload.wikimedia.org/wikipedia/en/7/79/Boyzone_I_Love_The_Way_You_Love_Me.jpeg

 

RELEASED: 1998

PEAK POSITION: 2

WKS ON CHART: 13

 

Their 13th top 5 hit on the trot almost unseated the mighty “Believe” from the top had it not sagged come the weekend. A cover of a John Michael Montgomery country hit (not the first time he would prove useful source of material for a boy band) it also became their sixth hit to stop one place short of the top.

 

44. NEVER FORGET- Take That (407,100)

 

http://upload.wikimedia.org/wikipedia/en/5/5f/Take_that_never_forget_CD1.jpg

 

RELEASED: 1995

PEAK POSITION: 1

WKS ON CHART: 10

 

Rivalled only by Geri’s Departure from the Spice Girls, news that Robbie had left TT genuinely shocked the pop world and made the national news. Proving that any publicity is good publicity “Never Forget” was released literally weeks later and instantly became the band’s 7th chart topper, the time span not allowing for a new video nor a re-recording as the original featured a Robbie part toward the end and the Jim Steinman production adding an appropriately dramatic feel to it. Severely frontloaded, the track dipped from 115k to just 54k over the course of its three weeks at the top before giving way to the mammoth Blur Vs Oasis chart battle.

 

43. THE TIDE IS HIGH (GET THE FEELING)- Atomic Kitten (407,200)

 

http://upload.wikimedia.org/wikipedia/en/7/70/Atomic_Kitten_The_Tide_Is_High_Cover.jpg

 

RELEASED: 2002

PEAK POSITION: 1

WKS ON CHART: 16

 

Originally recorded and released by the Paragons in 1967 the track went largely unnoticed until plucked from obscurity by Blondie in 1980 when they turned into a transatlantic No 1. That the Kittens released it was in part due to another starlet’s misfortune, a certain Billie Piper was due to release her version of this in early 2001 but a combination of her previous single “Walk Of Life” failing to go top 20 and appearing in court due to death threats received convinced the label that timing was not right, had that of been a hit then a remake so soon would seem unlikely. With a new bridge added however the Kittens secured a third No 1 and their only US top 100 hit when it hit no 42.

 

Double post every day this BH weekend!

Billie was on the same label as the kittens I read her official biography she said even after walk of life bombed they still asked her if she wanted to release her version (I actually prefer it it is very similar) but she said she didn't want to!

I'm hoping that was a delibrate pun! :D

ofcourse :)

I'm sure most of Oasis' songs spent loads of time around the bottom of the top 75 after plummeting out of the top 40, I think it got them some decent sales overall! Beautiful Day by U2 did a similar thing as well I think...

 

Love Never Forget & The Tide is High, as tacky as it is, really makes me feel nostalgic :blush:

I'm sure most of Oasis' songs spent loads of time around the bottom of the top 75 after plummeting out of the top 40, I think it got them some decent sales overall! Beautiful Day by U2 did a similar thing as well I think...

 

Love Never Forget & The Tide is High, as tacky as it is, really makes me feel nostalgic :blush:

I think the Oasis runs were mainly to do with record stores, which tend to lean to more indie releases, still having their vinyl releases in stock, rather than the bargain bin affect. That tended to kick in from about 3-6 months after release while some of the Oasis songs were still in the charts for two or three years afterwards. It was mainly their early singles that did that - with I guess newer fans who had jumped on board in 1995 going backwards to complete their collection. The chart run for Whatever, for example, is quite a sight, looking more like one for a 2011 hit, not a 1994 hit!

 

But yeah, it wasn't uncommon at the time but clearly the OCC didn't like it, which is presumably why they introduced this rather pointless (at least in retrospect) rule. But to go back to my original point it was nothing to do with What Makes A Man as that wouldn't have been affected by it anyway. :lol:

Edited May 5, 201213 yr by superbossanova

42. BABE- Take That (412,100)

 

http://upload.wikimedia.org/wikipedia/en/e/eb/Take_that_babe_uk_cd_1.jpg

 

RELEASED: 1993

PEAK POSITION: 1

WKS ON CHART: 10

 

Christmas 93 I remember it well, the smart was on this to become the festive favourite until a novelty hit by a Children’s character came along (Westlife SHOULD have known!). The week before Christmas “Babe” crashed into the charts at No 1 with all indicators suggesting that nothing would change the following week, the Band’s previous No 1 hits had all stayed there for more a week and no song had returned to the top since 1969. Collective eyebrows rose when the Xmas chart was revealed and Mr Blobby had won.

 

41. FREAK ME- Another Level (414,600)

 

http://upload.wikimedia.org/wikipedia/en/2/24/Another_Level_-_Freak_Me.jpeg

 

RELEASED: 1998

PEAK POSITION: 1

WKS ON CHART: 12

 

What East 17 and Gabrielle did in 1996 Another Level did in 1998, take a massive US hit which performed poorly here and cover it for maximum effect. Fittingly East 17 took a US #2 and got a UK #2 and Another Level took a 1993 US#1 and replicated the position here, a considerable improvement on the No 46 position that Silk achieved in the UK. Partly written by US singer Keith Sweat some concerns were raised over the lyrical content and the appropriateness of performing the track on “Blue Peter”.

 

Recap Time No's 41-60

 

41. Freak Me Another Level 414,600

42. Babe Take That 412,100

43. The Tide Is High (Get The Feeling) Atomic Kitten 407,200

44. Never Forget Take That 407,100

45. I Love The Way You Love Me Boyzone 400,700

46. Don't Let Go (Love) En Vogue 400,200

47. What Makes A Man Westlife 387,400

48. You Got It (The Right Stuff) New Kids On The Block 380,000

49. Got The Feelin' Five 374,600

50. Thunder East 17 364,000

 

51. Finally Found Honeyz 362,700

52. Everything Changes Take That 359,500

53. I Wanna Sex You Up Color Me Badd 356,500

54. Waterfalls TLC 355,400

55. Eternal Flame Atomic Kitten 349,100

56. Everybody (Backstreet's Back) Backstreet Boys 349,000

57. Swear It Again Westlife 348,800

58. You Needed Me Boyzone 343,300

59. End Of The Line Honeyz 337,700

60. Pray Take That 333,700

 

40. INDEPENDENT WOMEN (PART ONE)- Destiny’s Child (421,000)

 

http://www.cdandvinyl.co.uk/images/ebaypics/90722.JPG

 

RELEASED: 2000

PEAK POSITION: 1

WKS ON CHART: 15

 

Part 1 was originally part 2 but that was scrapped and here’s the new part one, hope that all made sense. Anyway slung onto the “Charlie’s Angels” movie soundtrack and chosen as the lead single from the third album “Survivor” it became the girls first No 1 in late 2000 and stayed at the top for 11 wks in the US. It’s the first single to feature the line up that we all got to know and recognise Knowles, Rowland & Williams, and when this topped our charts the band became the first to hold down No 1 on both sides of the Atlantic simultaneously since Elton John in 1997.