March 16, 201510 yr Another example, ATB's '5PM (Till I Come)' had two different imports charting simultaneously for at least one week. They came at 9PM, not 5PM :kink: Edited March 16, 201510 yr by Mango
March 16, 201510 yr Two versions of the Crazy Frog, the original Crazy Frog himself, and that Pondlife cover version. The fifties saw many, but the ultimate occurence would surely have been 4 versions of Unchained Melody in the same week, by Jimmy Young, Al Hibbler, Liberace and I forget the fourth one.
March 16, 201510 yr Two versions of the Crazy Frog, the original Crazy Frog himself, and that Pondlife cover version. Wasn't that different "songs" - the Crazy Frog one was a cover of "Axel F" and the Pondlife just random "Ring Ding Ding"-ing
March 16, 201510 yr The fifties saw many, but the ultimate occurence would surely have been 4 versions of Unchained Melody in the same week, by Jimmy Young, Al Hibbler, Liberace and I forget the fourth one. 18/6/55 2 - Al Hibbler 3 - Jimmy Young 17 - Les Baxter =20 - Liberace There were also 3 versions of "Stranger In Paradise" in the charts that week 4 - Tony Bennett 10 - Tony Martin 12 - Four Aces and 2 versions of "Cherry Pink And Apple Blossom White" 1 - Eddie Calvert 5 - Perez "Prez" Prado & His Orchestra
March 16, 201510 yr 18/6/55 2 - Al Hibbler 3 - Jimmy Young 17 - Les Baxter =20 - Liberace There were also 3 versions of "Stranger In Paradise" in the charts that week 4 - Tony Bennett 10 - Tony Martin 12 - Four Aces and 2 versions of "Cherry Pink And Apple Blossom White" 1 - Eddie Calvert 5 - Perez "Prez" Prado & His Orchestra Can you imagine the Buzzjack Chart Show thread in a week like that? :lol:
March 16, 201510 yr In the 50's it was very common for multi versions of the same record in the chart. Simply because of the old publisher system. That worked by song writers going to the music publishers or working inside them instead of recording the song themselves. The music publishers would then go to the labels with the songs for the A&R men to listen too. Often around the same table. In EMI for example a chap from each imprint of the record company would be there. They would say that song could be sung by an artist(s) on there books. With very popular songs nearly all the artists would record it, if they could sing it. Each record company would be approached in this way. There could be as many as 20 recordings or more of a very popular song. The artist would often have little say in what they recorded. The system started to fail when Lennon & McCartney came along. It's likely that the early NME charts excluded some of these versions, because of the way it counted the information. I understand that the NME would phone shops up and ask for say the 20 best sellers. Each shop would supply this list, but the shop didn't list the sales. Instead the number one was given 20 points and the 20 I point. However some records were only sold at dealers of certain labels. If there was not enough of these shops in the sample, there records would not get sufficient points to make the chart. There was no weighting, so if a big branch outsold a certain record by all the other shops taking part, it would only get 20 points for it's number one not say 600 to balance the sample.
March 16, 201510 yr Author Wasn't that different "songs" - the Crazy Frog one was a cover of "Axel F" and the Pondlife just random "Ring Ding Ding"-ing yeah they were different but Pondlife probably wouldn't have existed if it weren't for Crazy Frog as it was an obvious rip-off/cash-in :lol:
March 16, 201510 yr There were two versions of 'Cha Cha Slide' in March 2004 - one from DJ Casper and one from MC Jig which both charted at the same time.
March 16, 201510 yr Two versions of Michael Jackson's Black Or White charted at the same time, the original release peaking at no.1 and the C&C Remixes at no.14.
March 16, 201510 yr When We Collide - Matt Cardle Many of Horror - Biffy Clyro Both in the top 10 at the same time in 2010.
March 16, 201510 yr In the 50's it was very common for multi versions of the same record in the chart. Simply because of the old publisher system. That worked by song writers going to the music publishers or working inside them instead of recording the song themselves. The music publishers would then go to the labels with the songs for the A&R men to listen too. Often around the same table. In EMI for example a chap from each imprint of the record company would be there. They would say that song could be sung by an artist(s) on there books. With very popular songs nearly all the artists would record it, if they could sing it. Each record company would be approached in this way. There could be as many as 20 recordings or more of a very popular song. The artist would often have little say in what they recorded. The system started to fail when Lennon & McCartney came along. It's likely that the early NME charts excluded some of these versions, because of the way it counted the information. I understand that the NME would phone shops up and ask for say the 20 best sellers. Each shop would supply this list, but the shop didn't list the sales. Instead the number one was given 20 points and the 20 I point. However some records were only sold at dealers of certain labels. If there was not enough of these shops in the sample, there records would not get sufficient points to make the chart. There was no weighting, so if a big branch outsold a certain record by all the other shops taking part, it would only get 20 points for it's number one not say 600 to balance the sample. Very interesting. Thanks.
March 16, 201510 yr Don't cry for me Argentina - Madonna / Mike Flower Pops F**k It / FURB - Eamon / Frankee You should really know - Pirates/Enya/Ama/Boss/Ishani vs. I don't wanna know - Mario Winans/P Diddy
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