Exactly - what is CHVRCHES or FKA Twigs?

 

AC/CD featuring TLC and OMD

Exactly - what is CHVRCHES or FKA Twigs?

In regards to the capitalisation, I have no idea, but CHVRCHES are named like that "so it's easy to google/search"! Fair play to them tbh. Same with PVRIS.

I am firmly on the "Top 100 should be the true Top 100" camp, with no exclusions, and as few a eligibility rules as possible, just because the singles and albums charts are meant to be - simply - rankings of the biggest-selling (I now use that term to mean paid-for purchases and rented streams) titles available in that week. The tortuous combining of true sales with audio streams was a complication that personally I still disagree with, although accept the reasoning for (and the reality that it can never return to actual sales alone), but for all the arguments about adjusting the mathematically-convenient ratio of 100 streams to 1 'sale', I don't feel the formula is presently in need of a huge change. I would prefer it if people still regarded paid-for copies as their primary means of consuming their music, but the trend is clearly in favour of streaming, and as long as the tendency remains for titles to build and decline for longer in that format than they tend to on sales (at least in respect of single tracks), then there will be the propensity for a slower-moving, less-diverse chart.

 

I agree it would be ideal to have more of a balance of newer titles with older ones, and appreciate why some people feel it would stimulate greater interest in the charts. But how much wider public interest is there in them now anyway? Those who care most - users of this and similar online fora - know that if we wnat to see a sales-only, or streams-only tabulation, the OCC website/Music Week carries that information weekly. Granted, these are subsidiary charts, not the official mainstream combined listing, but they do give vital indications of the differing fortunes of titles on the two sides of the consumption spectrum, and as long as we have this, those more keen on one than t'other can follow that chart instead of the combined one. All are fairly slow at present of course, but that is the nature of the market, and until that alters, the charts must wherever possible reflect that reality, however unpalatable that is to some. I disliked the ludicrously-excessive turnover and brief chart runs of the late 1990s/early 2000s, but had to put up with it until the advent of downloads and more organic sales patters returned to the fray, and therefore ended up being mirrored in the weekly charts.

 

Until as recently as December 2006 we still had charts that were subject to various - often very intrusive - restrictions that distorted the true picture. Let's not start campaigning to go back to that less than a decade later. I know that for some the truth hurts, but it's better that than having a falsified tabulation of hits, which could be considered a 'Hot' 100 US-style, but not a 'Top' 100 as it has certain titles de-selected by dint of arbitrary (and in the case of Billboard ever-changing) rules.

 

And I should just mention that this view is purely about the charts - not the music that occupies their positions. I find that nowadays the bulk of the 50 or so single downloads I buy each year stay out of the Top 100, sometimes 200! But I would never consider artificially-fixing the charts to somehow make it appear that my preferred tracks, artists or genres are enjoying a more elevated profile in the sales/streams lansdcape than they actually are!

 

In truth the charts are becoming a barometer of what is being streamed in volume. And because streaming is done more frequently by younger people than older people their tastes are going to be reflected in the charts much more so than older people. Am I wrong?

CHVRCHES are named like that "so it's easy to google/search"!

 

Now, THAT makes sense.

as for FKA twigs, she was originally called twigs but another artist threatened to sue so she put the FKA ('formerly known as') in front of her name.

Keep the "singles" chart (if there are singles these days), but stop broadcasting it on the radio. Instead, broadcast the album chart top 40 (one song from each) which is more varied, moves quicker and is more indicative of what people are buying week on week.

 

I'm not sure that idea for the album chart would fit with Radio 1 at all really. Album sales are terrible right now and say what you want about streaming, it's suited more to the younger generation which is the target audience of Radio 1, so the chart is pretty much fine as it is, even if it's less interesting to listen to.

 

A recurrent rule would do no good imo, charts aren't made to be interesting, they're a list of the most popular songs of the week and a couple of outliers aside which are boosted/harmed by streaming more than necessary, I think the charts are more representative than ever and rules shouldn't prevent this.

as for FKA twigs, she was originally called twigs but another artist threatened to sue so she put the FKA ('formerly known as') in front of her name.

 

I guessed that, but why go to that trouble when she wasn't "known". Tahliah Barnett would have been a good name :)

In truth the charts are becoming a barometer of what is being streamed in volume. And because streaming is done more frequently by younger people than older people their tastes are going to be reflected in the charts much more so than older people. Am I wrong?

 

No, quite correct. The current singles chart, and less-so albums, has always been more reflective of what the younger audience are buying, and now streaming, and so inevitably it must mirror the way their tastes are being guided, both in terms of the types of music they prefer, and now the way in which they choose to consume it. The end result is none-too-palatable for many of us I daresay who have rather disaparaging views about a lot of modern pop, and possibly even about the impermanence of streaming-for-rent rather than the more indelible buying-to-own. But the chart has to keep pace with that, whatever impact this may have on the movement of titles within its reach. Well, as long as the industry at large want it to reflect the truest picture possible, anyway - as ever, we must remind ourselves that charts are compiled primarily for their benefit, not that of music consumers or chart enthusiasts, and so it is they rather than us who will determine how it is concocted in future.

 

I thought it might be an interesting exercise to get an idea of how much impact US-style restrictions on chart longevity would have on the UK Top 100, were they to be introduced as of this week's chart. It's a somewhat crude method, but I have taken the latest Top 200 Singles published in UK Charts Plus, and 'starred-out' the tracks which have spent 52 weeks or more between positions 26 and 50 (there were none), and - more noticeably - those with 20 or more chart weeks overall below No 50, reassigning positions to the titles that currently don't fall foul of these criteria. The results were as below:

 

UK CHARTSPLUS – TOP 100 SINGLES 14 MAY 2016 – with US-style longevity exclusions applied!

TW LW 2W Title - Artist Label (Cat. No.) High Wks

1 1 1 ONE DANCE - Drake featuring Wizkid & Kyla Cash Money/Republic (USCM51600028) 2 2 14 5

2 NEW THIS IS WHAT YOU CAME FOR - Calvin Harris // Rihanna Westbury Road/Columbia (GBARL1600460) 1 1 2 1

3 2 2 CHEAP THRILLS - SIA Monkey Puzzle/RCA (USRV81501212) 3 4 2 16

4 3 3 I TOOK A PILL IN IBIZA - Mike Posner Island (USUM71503636) 4 7 14 19

5 5 4 WORK FROM HOME - Fifth Harmony featuring Ty Dolla $ign Syco (USSM11600251) 12 11 2 10

6 4 9 CAKE BY THE OCEAN - DNCE Republic (USUM71514637) 5 6 4 14

7 7 6 LUSH LIFE - Zara Larsson TEN/Epic (SEWEE1500509) 16 16 3 20

8 12 23 NO MONEY - Galantis Big Beat/Atlantic (USAT21600941) 9 10 8 5

9 8 7 FADED - Alan Walker MER/Relentless (NOG841549020) 7 12 7 16

10 9 5 GIRLS LIKE - Tinie Tempah featuring Zara Larsson Parlophone (GB7TP1500034) 18 15 5 10

11 17 -- HOLD UP - Beyoncé Parkwood/Columbia (USSM11603176) 6 3 11 2

12 18 33 MIDDLE - DJ Snake featuring Bipolar Sunshine Interscope (USUM71515784) 11 8 12 9

13 10 8 7 YEARS - Lukas Graham Warner Bros (USWB11506516) 19 17 15 18

14 19 31 HAIR - Little Mix featuring Sean Paul Syco (GBHMU1600012) 10 9 14 3

15 25 27 PANDA - Desiigner Good/Def Jam (USUM71601094) 46 29 15 7

16 13 10 WORK - Rihanna featuring Drake Roc Nation/Virgin EMI (QM5FT1600116) 68 51 2 15

17 11 12 NO - Meghan Trainor Epic (USSM11600935) 15 14 11 9

18 14 11 FAST CAR - Jonas Blue & Dakota Positiva/Virgin EMI (GBUM71507621) 29 33 2 17

19 15 15 NOTHING LIKE THIS - Blonde featuring Craig David Parlophone (GBAYE1600002) 27 22 15 7

20 16 13 STRESSED OUT - TwentyOne Pilots Fueled By Ramen/Atlantic (USAT21500597) 24 21 12 18

21 28 24 DANGEROUS WOMAN - Ariana Grande Republic (USUM71601826) 21 19 17 8

22 20 14 LIGHT IT UP - Major Lazer featuring Nyla & Fuse ODG Because (QMUY41500014) 45 42 7 25

23 22 21 STITCHES - Shawn Mendes Island (USUM71500658) 44 41 12 37

24 21 16 ROSES - The Chainsmokers featuring ROZES Disruptor/Columbia (USQX91500801) 26 26 16 18

25 27 19 LOVE YOURSELF - Justin Bieber Def Jam (USUM71516761) 51 47 16 25

26 23 17 ME, MYSELF & I - G-Eazy x Bebe Rexha The Revels Group/G-Eazy/BPG/RCA (USRC11502211) 57 60 13 18

27 24 18 PILLOWT4LK - Zayn RCA (USRC11600069) 50 50 1 14

28 29 22 HYMN FOR THE WEEKEND - Coldplay Parlophone (GBAYE1501020) 36 40 6 16

29 34 44 THE SOUND OF SILENCE - Disturbed Reprise (USRE11500180) 8 5 29 4

30 32 25 SORRY - Justin Bieber 2 Def Jam (USUM71516760) 66 67 12 28

31 31 -- FORMATION - Beyoncé Parkwood/Columbia (USSM11600712) 13 13 31 2

32 30 20 HANDS TO MYSELF - Selena Gomez Interscope (USUM71513592) 31 39 14 19

33 33 -- SORRY - Beyoncé Parkwood/Columbia (USSM11603178) 30 27 33 2

34 59 37 POP STYLE - Drake featuring The Throne Cash Money/Republic (USCM51600032) -- -- 33 5

35 37 26 SAY YOU DO - Sigala featuring Imani & DJ Fresh Ministry Of Sound (GBCEN1600004) 60 65 5 11

36 42 40 DANCING ON MY OWN - Calum Scott Instrumental (UK6KW1500205) 14 23 36 6

37 35 -- 6 INCH - Beyoncé featuring The Weeknd Parkwood/Columbia (USSM11603179) 37 32 35 2

38 36 -- DON'T HURT YOURSELF - Beyoncé featuring Jack White Parkwood/Columbia (USSM11603177) 38 34 36 2

39 45 43 CLOSE - Nick Jonas featuring Tove Lo Safehouse/Island (USUM71602394) 52 55 39 6

40 44 -- DADDY LESSONS - Beyoncé Parkwood/Columbia (USSM11603180) 25 28 40 2

41 NEW TOO GOOD - Drake featuring Rihanna Cash Money/Republic (USCM51600088) -- -- 41 1

42 63 53 BOYS & GIRLS - will.i.am featuring Pia Mia Interscope (USUM71602635) 33 30 42 4

43 41 30 ALL MY FRIENDS - Snakehips featuring Tinashe & Chance The Rapper Hoffman West (GBARL1501370) -- -- 5 26

44 56 45 PARADISE - Benny Benassi & Chris Brown Ultra (USUS11600196) 39 45 44 4

45 40 -- FREEDOM - Beyoncé featuring Kendrick Lamar Parkwood/Columbia (USSM11603184) 28 25 40 2

46 NEW CONTROLLA - Drake Cash Money/Republic (USCM51600080) -- -- 46 1

47 48 38 WHAT DO YOU MEAN? - Justin Bieber 2 Def Jam (USUM71511919) -- -- 15 36

48 61 90 NEEDED ME - Rihanna Roc Nation/Virgin EMI (QM5FT1600118) -- -- 48 14

49 43 35 WHEN WE WERE YOUNG - Adele XL (GBBKS1500217) 62 64 9 22

50 72 78 SEX - Cheat Codes x Kris Kross Amsterdam Spinnin' (NLZ541600026) -- -- 50 4

** 39 29 SECRET LOVE SONG - Little Mix featuring Jason Derülo Syco (GBHMU1500073) 35 37 6 21

51 68 104 I HATE U, I LOVE U - Gnash featuring Olivia O'Brien :):/Atlantic (USAT21601051) -- -- 52 3

52 46 36 FAMOUS - Kanye West Virgin EMI (USUM71603020) -- -- 33 7

53 58 64 I KNOW WHAT YOU DID LAST SUMMER - Shawn Mendes & Camila Cabello Virgin EMI (USUM71516597) 20 24 54 19

** 55 48 STAY - Kygo featuring Maty Noyes Kygo/Epic (SEBGA1500364) -- -- 20 22

** 105 94 HOTLINE BLING - Drake Cash Money/Republic (USCM51500238) -- 72 3 40

** 53 39 NEVER FORGET YOU - MNEK & Zara Larsson Digital Teddy/Virgin EMI (GBUM71504509) -- -- 5 34

54 NEW WITH YOU - Drake featuring PartyNextDoor Cash Money/Republic (USCM51600074) -- -- 58 1

55 54 41 I'M IN CONTROL - AlunaGeorge featuring Popcaan Island (GBUM71507516) -- -- 39 12

56 77 57 KISS IT BETTER - Rihanna Roc Nation/Virgin EMI (QM5FT1600115) 42 35 51 10

57 51 32 JUST LIKE FIRE - P!nk Walt Disney/RCA (USWD11676311) 17 20 32 3

58 76 71 IF IT AIN'T LOVE - Jason Derülo Beluga Heights/Warner Bros (USWB11600369) -- -- 62 5

** 62 28 DESIRE - Years & Years Polydor (4709488) 56 70 22 60

** 65 47 WHEN THE BASSLINE DROPS - Craig David x Big Narstie JEM/Speakerbox/Insanity (GBARL1501648) -- -- 10 23

59 57 -- SANDCASTLES - Beyoncé Parkwood/Columbia (USSM11603182) 48 48 57 2

** 50 46 HISTORY - One Direction Syco (GBHMU1500114) 65 49 6 25

** 64 50 ONE CALL AWAY - Charlie Puth Artist Partners/Atlantic (USAT21502915) 58 43 26 27

60 60 -- ALL NIGHT - Beyoncé Parkwood/Columbia (USSM11603185) 72 68 60 2

** 79 59 JUMPMAN - Drake & Future Cash Money/Epic/Republic (USCM51500300) -- -- 58 32

** 66 42 ADVENTURE OF A LIFETIME - Coldplay Parlophone (GBAYE1501022) -- 73 7 26

61 82 54 MAKE MY LOVE GO - Jay Sean featuring Sean Paul Kamouflage (AUBM01500588) -- 66 49 7

** 75 55 SUGAR - Robin Schulz featuring Francesco Yates Tonspiel/Warner Bros (DEA621501059) -- -- 21 39

62 NEW GRAMMYS - Drake featuring Future Cash Money/Republic (USCM51600082) -- -- 73 1

63 52 -- PRAY YOU CATCH ME - Beyoncé Parkwood/Columbia (USSM11603175) 75 61 52 2

64 83 84 WILD THINGS - Alessia Cara Def Jam (USUM71504407) 41 44 75 8

65 71 51 LIKE I WOULD - Zayn RCA (USRC11600403) -- -- 30 8

66 NEW U WITH ME? - Drake Cash Money/Republic (USCM51600065) -- -- 77 1

67 NEW TRUE COLORS - Zedd & Ke$ha Interscope:Kemosabe (USUM71603628) 23 36 78 1

** 74 56 BE RIGHT THERE - Diplo & Sleepy Tom Mad Decent/Because (USZ4V1500129) -- -- 8 30

68 86 77 DON'T LET ME DOWN - The Chainsmokers featuring Daya Disruptor/Columbia (USQX91600128) -- -- 77 8

69 NEW FEEL NO WAYS - Drake Cash Money/Republic (USCM51600067) -- -- 81 1

** 67 67 CHANDELIER - SIA Monkey Puzzle/RCA (USRC11400498) 59 54 6 97

70 NEW HYPE - Drake Cash Money/Republic (USCM51600069) -- -- 83 1

71 69 -- LOVE DROUGHT - Beyoncé Parkwood/Columbia (USSM11603181) -- -- 69 2

72 NEW BURN THE WITCH - Radiohead XL (GBBKS1600071) 32 31 85 1

** 73 52 BANG MY HEAD - David Guetta featuring SIA & Fetty Wap Parlophone (GB28K1500110) -- -- 18 27

73 NEW 9 - Drake Cash Money/Republic (USCM51600063) -- -- 87 1

** 6 65 PURPLE RAIN - Prince & The Revolution Warner Bros (USWB10202261) 22 18 6 28

** 84 58 HELLO - Adele 2 XL (GBBKS1500214) -- -- 13 28

74 78 34 MAN - Skepta Boy Better Know (GB7QY1500549) -- -- 34 3

** 80 49 THE GIRL IS MINE - 99 Souls featuring Destiny's Child & Brandy Resilience/Nothing Else Matters/RCA (GB1101501440) -- -- 5 26

75 NEW STILL HERE - Drake Cash Money/Republic (USCM51600078) -- -- 92 1

76 NEW KEEP THE FAMILY CLOSE - Drake Cash Money/Republic (USCM51600061) -- -- 93 1

77 NEW WESTON ROAD FLOWS - Drake Cash Money/Republic (USCM51600070) -- -- 94 1

** 100 66 HOW DEEP IS YOUR LOVE - Calvin Harris + Disciples Columbia (GB1101500748) -- -- 2 42

** 90 73 SWEET LOVIN' - Sigala Ministry Of Sound (GBCEN1501213) -- -- 3 25

78 NEW CHILDS PLAY - Drake Cash Money/Republic (USCM51600084) -- -- 97 1

** 92 75 LEAN ON - Major Lazer x DJ Snake featuring MØ 2 Mad Decent/Because (QMUY41500008) -- -- 2 62

** 88 72 THE HILLS - The Weeknd XO/Republic (USUG11500738) -- -- 3 50

*** 97 83 SHUT UP + DANCE - Walk The Moon RCA (USRC11401949) 67 -- 4 53

*** 93 74 CAN'T FEEL MY FACE - The Weeknd XO/Republic (USUG11500741) -- -- 3 48

*** 94 81 LET IT GO - James Bay Virgin EMI (USUM71405265) -- -- 10 67

*** 133 114 TAKE ME TO CHURCH - Hozier 2 Rubyworks/Island (IEACJ1300031) 64 59 2 93

79 NEW FIRE & DESIRE - Drake Cash Money/Republic (USCM51600092) -- -- 104 1

*** 98 76 EX'S & OH'S - Elle King RCA (USRC11401950) 47 53 15 20

80 NEW REDEMPTION - Drake Cash Money/Republic (USCM51600072) -- -- 106 1

81 NEW BORED TO DEATH - Blink-182 BMG Rights (QMRSZ1600286) 53 58 107 1

82 NEW FAITHFUL - Drake featuring Pimp C & dvsn Cash Money/Republic (USCM51600076) -- -- 108 1

83 89 62 TEAM - Iggy Azalea Def Jam (USUM71602350) 71 62 62 7

84 85 -- FORWARD - Beyoncé featuring James Blake Parkwood/Columbia (USSM11603183) -- -- 85 2

*** RE-ENTRY WINGS - Birdy 14th Floor/Atlantic (GBAHS1300286) 40 52 8 51

*** 101 80 MY HOUSE - Flo Rida Poe Boy/Atlantic (USAT21500528) -- -- 59 20

85 95 61 THE SOUND - The 1975 Dirty Hit/Polydor (GBK3W1500429) -- -- 15 16

86 96 132 WAY DOWN WE GO - Kaleo Elektra/Atlantic (USAT21502123) 43 38 96 3

87 102 70 GET UGLY - Jason Derülo Warner (USWB11504036) -- -- 12 18

88 103 82 THE RIGHT SONG - Tiësto + Oliver Heldens featuring Natalie La Rose Musical Freedom/PM:AM/Virgin EMI (CYA111500132) -- -- 39 15

89 NEW VIEWS - Drake Cash Money/Republic (USCM51600094) -- -- 117 1

*** 106 91 BLACK MAGIC - Little Mix Syco (GBHMU1500046) -- -- 13 43

*** 109 92 PHOTOGRAPH - Ed Sheeran Asylum (GBAHS1400094) -- -- 15 98

90 118 136 RAGING - Kygo featuring Kodaline Kygo/Ultra/Epic (SEBGA1600314) 61 -- 56 5

91 125 134 COME DOWN - WSTRN Atlantic (GBAHS1600131) -- 71 121 7

92 129 116 WILD HORSES - Birdy 14th Floor/Atlantic (GBAHS1600023) 49 57 75 7

*** 119 97 MR. BRIGHTSIDE - The Killers Lizard King (USUM70503221) -- -- 10 454

*** 115 103 THINKING OUT LOUD - Ed Sheeran 3 Asylum (GBAHS1400099) -- -- 12 98

*** 107 88 EYES SHUT - Years & Years Polydor (GBUM71501268) -- -- 17 37

*** 116 93 679 - Fetty Wap featuring Remy Boyz RGF/300 (QMCE31500250) -- -- 20 44

*** 114 86 WANT TO WANT ME - Jason Derülo Beluga Heights/Warner Bros (USWB11503046) -- -- 14 50

*** 110 100 UPTOWN FUNK! - Mark Ronson featuring Bruno Mars 3 Columbia (GBARL1401524) -- -- 17 74

*** 113 87 IN2 - WSTRN East West/Atlantic (GBAHS1500457) -- -- 4 30

93 148 124 YOUTH - Troye Sivan Polydor (AUUM71501373) -- -- 96 15

94 130 115 CATCH & RELEASE - Matt Simons Republic (NLE3T1400002) -- -- 111 8

*** 120 85 RUNAWAY (U & I) - Galantis Big Beat/Atlantic (USAT21404266) 63 -- 4 55

*** 112 89 SHUT UP - Stormzy Stormzy (GBLFP1599790) -- -- 8 34

*** 117 95 HOLD BACK THE RIVER - James Bay Republic (USUM71413149) -- -- 2 76

95 138 101 LOW LIFE - Future featuring The Weeknd Freebandz/Epic (USSM11600557) -- -- 101 13

96 128 158 HIDE AWAY - Daya Artbeatz/Z (QM4ZV1500057) -- -- 128 11

*** 126 96 DON'T BE SO HARD ON YOURSELF - Jess Glynne Atlantic (GBAHS1500227) -- -- 1 40

*** 123 120 COMPANY - Justin Bieber Def Jam (USUM71516762) -- -- 25 25

*** 136 140 FIRESTONE - Kygo featuring Conrad Epic (SEBGA1400887) -- -- 8 71

*** 91 63 ARMY - Ellie Goulding Polydor (GBUM71505878) -- -- 20 20

97 124 106 GOLD - Kiiara Atlantic (USAT21503774) -- -- 106 8

98 NEW SUMMERS OVER INTERLUDE - Drake Cash Money/Republic (USCM51600090) -- -- 142 1

99 134 119 WHAT IF I GO - Mura Masa Polydor (GBUM71601261) -- 75 119 4

*** 141 105 KING - Years & Years Polydor (GBUM71406892) -- -- 1 62

100 186 165 KEEPING YOUR HEAD UP - Birdy 14th Floor/Atlantic (GBAHS1500572) -- -- 57 18

 

By my reckoning, I make that 45 titles ranked within the TRUE Top 100 that would fall for exclusion this week, under the two longevity rules set out above. The consequent re-assigning of positions for qualifying hits provides an uplift of 45 rungs on the chart ladder for the revised No 100 track - which is actually the 145th bestseller with no restrictions. Interestingly, at present no singles would fall foul of the recently-introduced 52-week threshold between 26 and 50, leaving the Top 50 itself completely intact. The first real position to be starred-out is No 51, with the 52nd true bestseller being the first as we descend downwards to benefit from an improvement in chart position thanks to the clearing-out of 20+weekers below 50. I wonder whether, for all those complaining about old hits clogging up the charts this solution would satisfy their appetites, as I'd guess in many weeks the Top 50 would still be the same, which of course leaves the Top 40-based chart broadcast unaltered. Far-more intrusive rules would need to be introduced to get any additional movement (or 'excitement' as some see it) in the top half of the OCC listings.

 

The real artificial elevation of positions only really kicks-in gradually below 50, with 17 titles being removed between the revised No 51 and 75 echelon, and a further 28 that have been pulled from 76 to 100. Saying that, the new entries do receive a significant boost, increasing the further down one travels and the more oldies are starred-out - so the first below No 50 - Drake's 'With You' improves modestly from a No 57 to No 54 arrival, yet 'Summer's Over Interlude' (needless to say this week also by Drake!), which makes its maiden appearance at a lowly (and bar Charts Plus, un-published) debut at No 142 in real terms, would instead shoot up to a No 98 starting point.

 

I have to say that having actually assessed its effects, the so-called benefits of such a scheme seem even less to my mind than I'd previously thought. But doubtless there'll be some on here who will prefer the new-look, busier but artificially-contrived 'Hot' 100 to the existing, logjammed but truthfully-compiled 'Top' 100.

that looks like a much better top 100 to my eyes anyway!! With the exception of a ridiculous amount of Drake album tracks getting in simply because of high album streams.

 

I wouldn't be against the OCC applying the same recurrent rules as the US chart provided that they keep publishing the 'true' top 100 as well..

I wouldn't be against the OCC applying the same recurrent rules as the US chart provided that they keep publishing the 'true' top 100 as well..

 

But I'm not persuaded that they would do this, as they don't want other charts to be too high profile in case they distract from the mainstream tabulation, which the OCC insist must be pushed as the chart of official record, as that way it will maintain its predominance as the single source of 'truth' for historical record, whatever rules and restrictions are applied to its compilation that might distort the fuller picture. In my view a compressed chart would not be truthful, and so I cannot support it, but if ever they do introduce such a thing to the main singles tabulation, I wouldn't be confident we'd continue to receive the full chart alongside it, as they'd want to present the compressed version as the 'real' chart that counts. They're still very guarded about anyone citing positions from the 'unofficial' uncompressed charts of the past. I daresay the OCC site, which is thankfully now far-better-endowed with various subsidiary charts, would perhaps carry the uncompressed Top 100 initially, but I fear we'd lose it eventually, and with it, our long-wished-for ability to get a virtually complete ranking of tracks simply by the number of sales and streaming units they've accrued that week, however tilted that might be for the moment in favour of well-established commercial hits that have very lengthy streaming lives.