June 1, 20169 yr Catfish should just be under 40k by the end of the week (or maybe even over if it has racked up good streams). The album's not on Spotify, although a few singles from the album are. Not sure if it's streaming elsewhere. I imagine a good chunk of the sales are from vinyl, will be interesting to see the breakdown come Friday.
June 1, 20169 yr The album's not on Spotify, although a few singles from the album are. Not sure if it's streaming elsewhere. I imagine a good chunk of the sales are from vinyl, will be interesting to see the breakdown come Friday. Ah I didn't realise, apparently not available on Spotify until the 10th. Just seems like they would be the sort of act to get decent streams for their album. Very true about vinyl, I'd say ~5k+ was at least likely, which is very good for vinyl sales.
June 1, 20169 yr Does anyone else miss the days when you could just look at Kworb to guess next week's chart? :unsure: Contrary to popular opinion - I do! 2013 for me was an ideal time. You'd get a slew of new releases battling it out and the excitement of finding out each week what would happen. You had your share of long runners but not an overwhelming amount. By 2014 admittedly it got a little bit ridiculous with being able to handpick the #1s with pre-orders etc. I have HATED the state of the charts in 2016, and I don't care what anyone says about that. However I do think it'll eventually level itself out, it's like how downloads stagnated 2008's charts and made it hell.
June 1, 20169 yr Ah I didn't realise, apparently not available on Spotify until the 10th. Just seems like they would be the sort of act to get decent streams for their album. Very true about vinyl, I'd say ~5k+ was at least likely, which is very good for vinyl sales. Yeah album is top 5 on Apple Music's charts, so it should do well on Spotify when it lands on there
June 1, 20169 yr it’s infinitely easier to get people to impulse BUY a 99p download over a 6-8 week pre-order period than it is to get them to LISTEN to a shit record 70 times during a week for 0.7 of a chart sale ~ coupled with the relentless globalization of the music industry effectively into one homogenized market, for reduced costs and higher profits, the scope for devising strategies to manipulate one tiny chart within the global marketplace is minimal. the charts of 2016 are a REVELATION, based largely on what people are actually listening to ~ thankfully the days of moguls cajoling pre-teens into collecting CDs/MP3’s like coins or stamps, or multi-buying as a sign of their fevered adoration for their fave artists has come to an end - and with it the chart diarrhoea of the last 20 years~~ Edited June 1, 20169 yr by Ethan
June 2, 20169 yr the charts of 2016 are a REVELATION, based largely on what people are actually listening to ~ thankfully the days of moguls cajoling pre-teens into collecting CDs/MP3’s like coins or stamps, or multi-buying as a sign of their fevered adoration for their fave artists has come to an end - and with it the chart diarrhoea of the last 20 years~~ Arguably the power has instead shifted to the Spotify playlists (and similar things on other platforms) though which is the modern day equivalent of crediting 'sales' to a song because it came on the radio and you couldn't be bothered to show your disapproval by changing the station. Out of my friends, only the ones with more than a passing interest in music have their own playlists for current tracks, the others all just stick on the standard ones and listen regardless of whether they love the songs or not. The only playlists they do tend to make are their equivalent to 'all time favourites' or '80s'/'90s' etc which are not really that relevant to sales these days. I'd like to see Spotify shelve the 'top 50' playlists and focus on genre or new music ones instead so that people aren't lazily drawn to the same old songs over and over and over again. Even though I know that won't happen as I do accept that most Spotify fans don't care enough or want the hassle so it would only make the product less appealing. ALTHOUGH... I do agree with the general principle that it is good to get rid of mass fan buying of 20 different formats... however I miss the days when indie tracks (or even cult dance tracks) could chart highly in week 1 simply because most of their fans knew the single was coming out and bought it straight away, the high-ish peak and rapid descent reflected the popularity quite well I thought and wasn't really a distortion. Edited June 2, 20169 yr by dandy*
June 2, 20169 yr Well many of you didn't have to live through Westlife gaming the system release after release to get yet another meaningless #1 hit. THAT was depressing.
June 2, 20169 yr Well many of you didn't have to live through Westlife gaming the system release after release to get yet another meaningless #1 hit. THAT was depressing. Thankfully, most of those had very short chart lives.
June 2, 20169 yr Well many of you didn't have to live through Westlife gaming the system release after release to get yet another meaningless #1 hit. THAT was depressing. yep, I'd much rather have the chart as it is than have boybands flying to #1 all the time from fanbase buys (and we all thought JLS were bad for this, imagine Buzzjack's reaction to Westlife getting #1 after #1 at the time)
June 2, 20169 yr Well many of you didn't have to live through Westlife gaming the system release after release to get yet another meaningless #1 hit. THAT was depressing. To be fair they did release some very good songs (and some not so good). They may have played the game well as it were but who wouldn't. The fact they sold millions of albums shows they weren't a lucky act scraping number ones. Credit to them. Sorry if I'm repeating an old question but is the Drake Bieber song going to be out Tomorrow, could be big in iTunes. Edited June 2, 20169 yr by Lomadz
June 2, 20169 yr Well many of you didn't have to live through Westlife gaming the system release after release to get yet another meaningless #1 hit. THAT was depressing. At the time I think I'd have found it more depressing if they'd have all missed #1 yet endured for two to three times as long on the chart because of commercial radio airplay & safe song playlists as we'd have had to listen to them in the chart more often - at least the flash in the pan variety meant I could chuckle when they dropped quickly(ish) and they were consigned to history far quicker. Plus, as Lomadz points out, they were a big selling albums act so the chances are that people would have streamed their songs in pretty high and sustained numbers. The likes of A1 on the other hand when were never really very popular at all would have rightfully disappeared from the upper reaches of the charts. I really want a perfect scenario where songs don't hang around forever yet songs also don't continually enter at #1 - a bit like they were in the 80s when they grew in popularity like streaming but then went out of stock and slumped away quickly. Edited June 2, 20169 yr by dandy*
June 2, 20169 yr I think the perfect scenario (for me) would be an early-mid 1990s type chart with around 15-20 Top 10 debuts per year, the odd one at #1, most new entries entering between 21-40 and becoming fast climbers, and the biggest hits making around 12-15 weeks on the chart but the average around 6 and a good 20:80 ratio of fan base hits to enduring mainstream hits. To be fair, the climbs by “I Took A Pill In Ibiza” (69-42-11-3-2-1) , “7 Years” (24-6-1), and “One Dance” (21-1) were all pretty quick - we just need a greater roster of big hits and the fault with that lies with record companies and radio.
June 2, 20169 yr On the topic of Westlife, I've had a look at their first week sales to see whether they were actually deserving of #1. Some only made it by the skin of their teeth (the 90k 'If I Let You Go' sold was just 500 copies ahead of 'Better Off Alone'; 'the 92k Flying Without Wings' sold was 5k ahead of 'Genie in a Bottle'; and the 83k 'Fool Again sold was 1.5k ahead of 'Never Be the Same Again'); some went to #1 with very low sales (44k for the 'The Rose', 68k for 'Mandy', even 102k for 'Swear It Again' was low for 1999); some of them had arguably more popular/remembered songs behind them (hello to the 214k that 'It Wasn't Me' sold behind 'Uptown Girl'); and the majority of them had pretty quick chart runs. In fact, I'd say only 'Uptown Girl' (1-2-3-5-8-9-16-24-33-35-39) and 'You Raise Me Up' (1-1-2-2-2-4-4-10-15-26-29-39) had good chart runs for a #1. Funnily enough, the 230k that 'What Makes a Man' sold in its first week was not enough for #1 yet is more deserving of a #1 position than most of their actual ones.
June 2, 20169 yr I would much prefer to have Drake on top for 2 months rather than 8 different (crap) dance tracks Capital decides to hammer that week. 2013 was a nightmare. The only downside is that I doubt my faves like Britney will keep getting top 10s like Work Bitch and Hold It Against Me with streaming taking over
June 2, 20169 yr Unless they are tracks that actually impact with the public rather than fan base impacts
June 2, 20169 yr Arguably the power has instead shifted to the Spotify playlists (and similar things on other platforms) though which is the modern day equivalent of crediting 'sales' to a song because it came on the radio and you couldn't be bothered to show your disapproval by changing the station. Out of my friends, only the ones with more than a passing interest in music have their own playlists for current tracks, the others all just stick on the standard ones and listen regardless of whether they love the songs or not. The only playlists they do tend to make are their equivalent to 'all time favourites' or '80s'/'90s' etc which are not really that relevant to sales these days. I'd like to see Spotify shelve the 'top 50' playlists and focus on genre or new music ones instead so that people aren't lazily drawn to the same old songs over and over and over again. Even though I know that won't happen as I do accept that most Spotify fans don't care enough or want the hassle so it would only make the product less appealing. ALTHOUGH... I do agree with the general principle that it is good to get rid of mass fan buying of 20 different formats... however I miss the days when indie tracks (or even cult dance tracks) could chart highly in week 1 simply because most of their fans knew the single was coming out and bought it straight away, the high-ish peak and rapid descent reflected the popularity quite well I thought and wasn't really a distortion. there’s literally thousands of playlists within 2 taps/clicks of the start/browse page ~ the 12 currently pinned are: #ThrowbackThursday; The Pop List; Reggae Classics; Spotify + Chill; Late Night Love; Rap UK; Chillmatic; The Indie List; Dancehall Queen; One Week One Playlist; African Heat; Late Night Synths & Strings these are changed periodically every 6-24 hours~ the new releases section has: Fifth Harmony - 27/7; Flume - Skin; Claire Maguire - Stranger Things Have Happened; Gavin James - Spotify Sessions; Albin Lee Meldau - Lovers EP; Ciaran Lavery - Let Bad In; Miles Davis - Everything’s Beautiful; Guy Garvey - Open The Door; Beth Orton - Kidsticks; Charles Bradley - Spotify Sessions at the top~ then the discover section has hundreds of recommendations based on the music you listen to and save... so i don't think it's as bad as you've been led to believe ~ i mean you’d have to work very hard to not have a vaguely immersive experience on Spotify ~ so the 1 playlist crew are going to be spread extremely thinly...
June 2, 20169 yr I would much prefer to have Drake on top for 2 months rather than 8 different (crap) dance tracks Capital decides to hammer that week. 2013 was a nightmare. Amen to this. Especially having The Hits on at work and them playing Nick Jonas’ “Jealous” every hour and saying (you can't buy this yet because we're trying to get you all to buy it at once) 'will (this record that the ENTIRE industry - labels/radio/etc have collaborated to ensure that nothing else of note is out and that this will be this weeks number 1) be number 1'? We know what happened there though. :D
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