June 30, 20222 yr I know she wasn't credited on it at the time but it feels a little amiss that the article focuses so much on it being her debut when she had already had a top 10 hit with 'Afterglow' which goes entirely unacknowledged. Also remember when Becky Hill made / was featured on actually good songs, what a time to be alive x
June 30, 20222 yr Author Also remember when Becky Hill made / was featured on actually good songs, what a time to be alive x :basil: I still stand behind that being a big choon regardless of how generic it is
June 30, 20222 yr Afterglow and Gecko are both massive tunes. It’s a shame Becky Hill has become a bit of a poster girl for love island dance when her vocals deserve something more interesting.
September 24, 20222 yr JDKGWaCglRM https://www.officialcharts.com/chart-news/o...-a-pill__20576/ Many successful popstars credit reinvention as a key to their longevity. For P!nk though, the change from slick R&B star to growly pop-rock singer was more a necessity than a gimmick, unshackling herself from a persona she since said she felt uncomfortable with and took more creative control. While on the surface the change didn’t seem radical – just a short trip to the hair salon and a quick wardrobe clear-out, really – the switch in musical style and attitude was huge. By 2002, gone were the early R&B vibes of her debut album Take Me Home, released two years earlier. And while she kept her trademark sass, there was more of a bite to P!nk than there’d ever been before. By the time Just Like A Pill was released – the third single from her second record Missundaztood - Pink was already in the enviable position of having her first six singles all go Top 10. The first clue Pink was changing her outlook came with album leader Get The Party Started, before Don’t Let Me Get Me came along and confirmed this was a new Pink. Just Like A Pill, however, hammered the point home. Pink was angry, she was fed up and she was going to tell the world. The formula worked – it scored Pink her first solo Number 1 (she’d featured on the chart-topping Moulin Rouge version of Lady Marmalade the previous year). Just Like A Pill spent a week at Number 1 20 years ago this week in and to date has notched up chart units of 762,000, split between 200,000 physical sales, 196,000 downloads and 43.5 million streams. Just Like A Pill propelled sales of Missundaztood in the UK and it went on to become the second biggest selling album in the UK that year. To date, its chart units stand at 1.88 million. Elsewhere in the Top 40 that week in 2002, P!nk had knocked Atomic Kitten’s The Tide Is High (Get The Feeling) down to 2 after a three-week stint at the top, and pop-rock trio Busted arrived on the scene with their debut single What I Go To School For, landing at Number 3. The Top 10 also featured new entries from Eminem at 4 with Cleanin’ Out My Closet, Bon Jovi at 5 with Everyday (their 15th Top 10), British musician Aqualung at 7 with Strange And Beautiful, and Beenie Man at 9 with his Janet Jackson collaboration Feel It Boy.
September 30, 20222 yr 68ugkg9RePc https://www.officialcharts.com/chart-news/o...umber-1__37482/ They're Good (Blue)! In a fortuitous turn of events, 23 years ago this week Eiffel 65 was umber 1 on the Official Singles Chart with Blue (Da Bee Da)...just as, in the modern day, David Guetta & Bebe Rexha's 2022 re-work of the track sits at Number 1. Time, eh? Spooky. But let's pedal back slightly. The year is 1999 and Jeffrey Jey, Maurizio Lobina and Massimo Gabutti - the three members of Italian dance group Eiffel 65 (I know, they're not French! Shock) write Blue (Da Ba Dee) after hearing the opening paino hook as composed by Lobina. Wisely, they heard it and thought - this would make a great Eurodance song. But for those looking for deep introspection into the song's themes - the members have spoken about how the hook for the song, and the colour blue, were chosen seemingly at random, and the rest of the song was written with similar spontaneity. This week in 1999, Blue (Da Ba Dee) stayed steady at Number 1 with sales of over 164,000. It would beat nearest competition S Club 7 (out for a second Number 1 with S Club Party) into second place, while Shania Twain's iconic Man! I Feel Like A Woman had to settle for a new entry at Number 3. But, all things considered, a very iconic Top 3, no? Proving that nowhere was more crazy for dance music than the late 90s, thr week before this Blue (Da Be Dee) unseated the Venga Boys' We're Going To Ibiza! (Tune! But also, not how you pronounce Ibiza), debuting at the top of the Official Singles Chart with sales of over 226,000. In 2022, of course, Blue's manic energy has come back with a vengeance, thanks to the song being sampled in David Guetta & Bebe Rexha's I'm Good (Blue). Originally demo'd by the French DJ and Bebe in 2017, the track was never officially released at the time, before a resurgence on TikTok saw the song re-recorded and produced. As far as Blue's chart stats stand in the modern day; it's total chart units stand at over 1.6 million Eiffel 65 lay claim to a place in the most holy of chart accolade, with the single an official million-seller in the UK. It also has a very healthy standing on streams, with a combined total of 64 million streams, but expect that number to rise in the coming weeks. Elsewhere on the Official Singles Chart this week in 1999, we had further new entries from Britney Spears' energetic You Drive Me Crazy (5), David Bowie's Thursday's Child (16) and Idlewild's Little Discourage (24).
October 6, 20222 yr oJDGcxAf9D8 https://www.officialcharts.com/chart-news/o...classic__27427/ Back in the Noughties, when it came to British girl groups, there were only two that mattered - Girls Aloud and Sugababes. There was room for both: Girls Aloud were neon-bright, quirky and reckless, while Sugababes offered something moodier, often R&B-tinged and killer harmonies. However, the release of Push The Button marked a significant shift in the Sugababes brand. Their sullen attitude and deadpan delivery that had become the trio's signature style was still largely in tact, but the sound and image had undergone a significant primp and preen. The song - written by the group about Keisha's failed flirting with another singer - was produced by US hitmaker Dallas Austin, who had turned out global hits for TLC, Pink and Janet Jackson. The result was a dancey, joyous singalong that immediately stood out for sparse electropop production, and even drew comparisons to ABBA. Push The Button debuted at Number 1 on the Official Singles Chart 17 years ago this week and spent three weeks at the summit, selling 78,000 copies in its opening week and earned the group their fourth chart-topper. Its total chart sales to date (including physical, download and streaming equivalent sales) stand at 850,000 chart units. This includes 195,000 physical sales, 295,000 digital downloads and upwards of 42.8 million streams. All-time, Push The Button tracks as the babes' second-biggest song on the UK charts, trailing behind another Number 1 in the form of pop-rock anthem About You Now. Listening to the song and watching its hi-gloss accompanying video, there was always something off about Mutya Buena shaking her "sexy ass" at a man who was obviously not her type and - gasp! - being ignored. Two months after its release she quit the band ahead of their next single Red Dress, a song Mutya later said she "hated". Elsewhere on the Official Singles Chart the week Push The Button landed at the top, Sugababes had dethroned the debut single from The Pussycat Dolls, Don't Cha, down to Number 2, and the rest of the Top 40 was a heady mix of genres: Kanye West had scored his biggest hit to date with Gold Digger (4), Katie Melua's scientifically questionable Nine Million Bicycles was in the Top 10 (7), Charlotte Church had just released her gaudy pop extravaganza Call My Name (10), and S Club's Jo O'Meara blink-and-you'll-miss-it solo career began and ended with What Hurts The Most, a new entry at 13.
October 6, 20222 yr I can't stop listening to 17 [10] Aqua - Cartoon Heroes Q_LPJllaogU :lol: :dance: Cartoon Heroes is something close to genius
November 14, 20222 yr https://www.officialcharts.com/chart-news/o...in-1952__37773/ This coming week we're celebrating the 70th anniversary of the UK's Official Singles Chart - and what better way to do that than a look back at the first song to ever reach Number 1 officially in the UK? The song that holds this distinction is Al Martino's Here In My Heart, which ascended to Number 1 on November 14, 1952. For a little context: until this point, a song's popularity in the UK was not measured by physical sales, but by sales of its accompanying sheet music. But it was in 1952 that Percy Dickins, of the founders of NME (then known as the New Musical Express) decided to produce a sales-based chart. Therefore, the first-ever Official Singles Chart was published on November 14, 1952. Its results were compiled by Dickins ringing up 20 record shops up and down the country every week, tallying up their biggest-sellers. Don't worry, our methods are a lot more robust now. You may also notice that the Top 12 of the first Official Singles Chart is technically a Top 15, given that positions at Numbers 7, 8 and 11 were tied. The top spot was taken by Italian-American crooner Al Martino and his track Here In My Heart. It would remain at the top for nine consecutive weeks, a UK chart record that would go un-broken until the current record-holder, Bryan Adams, came along in 1991 with Everything I Do (I Do It For You), whose run of 16 consecutive weeks at Number has yet to be overcome. At Number 2 was US singer Jo Stafford with You Belong To Me. This track would also go on to make history, as Jo would become the first female artist to score a UK Number 1 single. The artist most dominant in the chart this week, however, was none other than the Forces Sweetheart, Dame Vera Lynn, with an impressive total of three entries; Forget Me Not (7), The Homing Waltz (9) and Auf Wiederseh'n Sweeetheart (10). In May 2020, Dame Vera would set an Official Charts record for the oldest person to appear on the Official Albums Chart Top 40, just one month before her death aged 103. The first-ever Official Singles Chart: November 14, 2022 POS TITLE ARTIST 1 HERE IN MY HEART AL MARTINO 2 YOU BELONG TO ME JO STAFFORD 3 SOMEWHERE ALONG THE WAY NAT KING COLE 4 THE ISLE OF INNISFREE BING CROSBY 5 FEET UP (PAT HIM ON THE PO-PO) GUY MITCHELL 6 HALF AS MUCH ROSEMARY CLOONEY 7 FORGET ME NOT VERA LYNN 7 HIGH NOON (DO NOT FORSAKE ME) FRANKIE LAIN 8 SUGARBUSH DORIS DAY & FRANKIE LAIN 8 BLUE TANGO RAY MARTIN 9 THE HOMING WALTZ VERA LYNN 10 AUF WIEDERSEH'N SWEETHEART VERA LYNN 11 BECAUSE YOU'RE MINE MARIO LANZA 11 COWPUNCHER'S CANTANA MAX BYGRAVES 12 WALKIN' MY BABY BACK HOME JOHNNIE RAY ©2022 Official Charts Company. All rights reserved.
November 15, 20222 yr The top spot was taken by Italian-American crooner Al Martino and his track Here In My Heart. It would remain at the top for nine consecutive weeks, a UK chart record that would go un-broken until the current record-holder, Bryan Adams, came along in 1991 with Everything I Do (I Do It For You) Not so: David Whitfield with Mantovani - Cara Mia first broke the record with 10 consecutive weeks in 1954, then Slim Whitman - Rose Marie did with 11 in 1955, which stood as the record until 1991.
November 15, 20222 yr Love all the names of the chart in 1952 all old crooners that are so historic nowadays!
November 17, 20222 yr 4Rg3sAb8Id8 https://www.officialcharts.com/chart-news/o...entions__21081/ There are successful pop music re-inventions, and then there is Christina Aguilera's Dirrty. Less of a front-to-back image re-calibration and more of a set everything that came before on fire and dance in the ashes while wearing leather chaps, Dirrty's star has burned bright and endured in the now 20 years (!) since first hitting Number 1 in the UK in November 2002. In fact, it's become one of the modern touchstones for any good pop girlie wanting to turn bad. But they have a lot to live up to, because quite frankly, no-one did it better than XTina. The first single from her landmark 2002 opus Stripped, Dirrty wears its lasciviousness on its sleeve. From the blasting synths of its gregarious R&B production, to its proactive lyrics and sleazy (and in parts, totally un-hinged) visuals by visionary director David LaChapelle that included motorbikes, the aforementioned chaps and some good old fashioned half-naked boxing, Christina had certainly let the genie out of the bottle on this one, and there was no putting it back in. But strip Dirrty of all its excesses, and what you have at the heart of it is still a fantastic pop song. In the years since its debut, it's often been misunderstood as just a pure grab at controversy on Christina's part. And while that may have shades of truth (let's be honest, she knew what she was doing!) it's insincere to just call Dirrty an exercise in publicity and nothing more. Plenty of pop artists have since attempted to pull off this same trick (as did Christina herself, with I'm Not Myself Tonight) but nothing has quite hit the same since, because they lacked the total and utter conviction that's at Dirrty's core. You can't get freaky if you don't want to get freaky in the first place. This week 20 years ago, Dirrty entered the Official Singles Chart for the first time, peaking at Number 1, a position it would hold for two straight weeks. Strangely, the track would not do so well in America - stalling outside the Top 40. It was Stripped's second single, the ballad Beautiful, that would see Xtina gain the most comeback success over the pond. The UK, it turns out, was down to get Dirrty! 20 years after its release, Dirrty has pushed 836,000 UK chart sales and counting; made up of 240,000 physical purchases and 168,000 downloads. It's also been embraced by a new generation in the age of streaming - with 51 million streams in total. Let's take a look at the rest of the Top 10 that week in 2002. Love on the Line (6) was Blazin' Squad's second ever Top 10, following debut hit Crossroads, their only Number 1. Sugababes scored a third Top 10 with new member Heidi Range with double-A side Stronger and Angels With Dirty Faces (7) – coming off the back of two straight chart-toppers with Freak Like Me and Round Round. Come Into My World (8) was the final single from Kylie Minogue's mega-selling Fever album and, like million-selling Can't Get You Out of my Head, was co-written by Cathy Dennis, while Coldplay were at Number 10 with The Scientist.
December 8, 20222 yr eegDtyrSUZw https://www.officialcharts.com/chart-news/c...goodbye__38040/ With the big battle for this year's Official Christmas Number 1 single imminent, we're feeling all nostalgic over festive seasons past. Throughout December, we'll be revisiting some of those seminal Christmas Number 1s from UK chart history. Now, we can be guilty of hyperbole from time to time, but when we tell you this particular week in 1998 was iconic, we ain't lying. That December, all eyes were on the new Spice Girls line-up. With five having become four in May of that year, when Ginger Spice Geri Halliwell announced her shock departure from the group, the girls had everything to prove. Could Goodbye - their first official release as a four-piece - provide Mel B, Victoria Beckham, Emma Bunton and Melanie C a third consecutive Christmas Number 1? In one of the more surreal chart battles (we bloody love Christmas Number 1 week), Goodbye went head-to-head with South Park's Chef and his Chocolate Salty Balls (P.S. I Still Love You). Making it a third festive chart-topper on the trot for the group - following 1996's 2 Become 1 and 1997 release Too Much - the Spice Girls came out victorious, leaving Chef's tune as runner-up. To date, Goodbye has shifted 977,000 UK chart units; 836,000 of those being physical copies. The track's also been streamed 8.8 million times in the UK. That same week, Sporty Spice Melanie C also remained Top 10 with Bryan Adams collaboration When You're Gone (8); having peaked at Number 3 weeks earlier. Elsewhere on the Official Singles Chart that week in '98, then-Big Breakfast hosts Denise van Outen and Johnny Vaughn were a new entry at Number 3 with their cover of Kylie Minogue and Jason Donovan's Especially For You. Other new entries in the Top 20 came from Jane McDonald with Cruise Into Christmas (10), Aqua's Good Morning Sunshine (18) and Alda's Girls Night Out (20). Meanwhile, Cher's Believe was down two spots (4), B*Witched's To You I Belong slipped four (5) and Steps' double A-side Heartbeat/Tragedy saw a lift, climbing two (6). Honeyz saw End Of The Line dip two spots (7), as the original Billie (Piper, not Eilish) stayed Top 10 with her third single She Wants You (9).
December 15, 20222 yr bWXazVhlyxQ https://www.officialcharts.com/chart-news/c...and-win__38096/ There are several watercooler moments in British pop music; Geri Halliwell quitting Spice Girls, Alexandra Burke duetting with Beyoncé on The X Factor Live Final...and a fan-organised campaign ending in Rage Against The Machine beating Joe McElderry to 2009's Christmas Number 1. First, a little context. By 2009, The X Factor was the biggest television show in the UK, reaching its peak cultural ubiquity. It was the prime-time Saturday night must-see, creating chart-topping careers for (at that point) Leona Lewis, Alexandra Burke and JLS, as well as helping judge Cheryl Cole assume superstar status in her solo career (although perhaps the programme's greatest achievements, the creation of One Direction and Little Mix were yet to come). By 2009, The X Factor had accounted for the last four years of the UK's Official Christmas Number 1s,; with the winners singles of Shayne Ward (That's My Goal, 2005), Leona Lewis (A Moment Like This, 2006), Leon Jackson (When You Believe, 2007) and Alexandra Burke (Hallelujah, 2008) all reaching the festive top spot. Clearly, some people thought it was time for a change, and for The X Factor's seeming monopoly on the Christmas Number 1 title to end. There had been several grassroots campaigns to un-seat Alexandra Burke's gospel take on Hallelujah by pushing Jeff Buckley's hallowed cover of the Leonard Cohen classic to Number 1, but they didn't come to fruition. Cut to the final of The X Factor 2009. Geordie Joe McElderry had surged to victory with a cover of Miley Cyrus' The Climb. but a question mark still hung over whether he could carry on the legacy and secure a fifth consecutive Christmas Number 1 for the Syco co-hort. Enter Jon and Tracey Morter. The then-married duo had tried in vain the previous year to Rick Roll the nation with a passionate campaign to get Rick Astley's Never Gonna Give You Up to Number 1. But for their next trick, they zoned in on a guttural rap-rock protest song, hardcore American rock band Rage Against The Machine's Killing In The Name. This was nothing personal to Joe McElderry either, with the campaign sowing its roots well before he had even been crowned victor, but suddenly the Official Christmas Number 1 for 2009 was comprised of a two-horse race; a fresh-faced wannabe pop idol and a track that mixed rap, alternative rock and hardcore metal that had reached Number 25 during its original 1992 release. Making full use of burgeoning social media platforms such as Facebook, the Morters succeeded in running one of the first truly viral campaigns; that spread from online forums to quickly being plastered all over the news. And it turns out, all the publicity paid off. Rage Against The Machine's Killing In The Name re-entered the UK Official Singles Chart at Number 1 on the week commencing December 20 2009, netting them the Official Christmas Number 1 in the process. Killing In The Name pulled together a mightily impressive 502,000 copies in seven days, while Joe wasn't actually that far behind, debuting at Number 2 with 450,000. According to Official Charts Company data, Killing In The Name as UK chart sales totalling 1.4 million, including 809,000 digital downloads and a very impressive 72 million streams. The Climb somewhat lags behind with 859,000 chart sales, although with 443,000 physcial sales, its the most-physically purchased of the two.
December 15, 20222 yr I'll never forget how intense and nail-biting that week was! What a moment in history.
December 15, 20222 yr We had the biggest ever viewing figures at that point for the chart show thread!
December 15, 20222 yr I remember it well and allegations Joe wouldn’t speak to Scott on R1 following the result 😂
December 15, 20222 yr There were phenomenal sales all round on both the singles and albums charts that week: SINGLES 502672 Rage Against The Machine 450838 Joe McElderry 61677 Lady Gaga 52605 Peter Kay 40742 3OH!3 38438 Robbie Williams (6) 36232 Cheryl Cole (7) 34094 Rihanna (8) 33337 Journey (9) 32517 Black Eyed Peas (10) 26571 Ke$ha (11) 24404 X Factor Finalists (12) 23415 Alicia Keys (13) 22243 George Michael (14) 21556 Chuckie & LMFAO (15) 19687 Timbaland (16) 18859 Cheryl Cole (17) 18457 Pogues (18) 18278 Jason Derulo (19) 17775 Chipmuink (20) 16449 Mariah Carey (21) 12865 Leona Lewis [sCYHO] (29) 12382 Saturdays (30) 11280 Miley Cyrus (31) 10062 Alexandra Burke [bH] (36) 9519 Leona Lewis [Happy] (38) 9250 Pet Shop Boys (40) 7286 Luther Vandross (48) 4051 The Glee Cast (75) ALBUMS 352612 Susan Boyle 251843 Michael Buble 143804 Black Eyed Peas 136480 Lady Gaga 131161 JLS 111599 Robbie Williams (6) 109730 Snow Patrol (7) 102750 Westlife (8) 100994 Leona Lewis (9) 100355 Take That (10) 97177 Will Young (11) 92114 Queen (12) 85938 Rod Stewart (13) 85059 Cheryl Cole (14) 74450 Paolo Nutini (15) 74009 Michael Jackson (16) 69076 Alicia Keys (17) 63492 Soldiers (18) 49896 Alexandra Burke (19) 47660 Rihanna (20) 37570 Beyonce (27) 36781 Paul McCartney (28) 16149 Cliff Richard & The Shadows (53) COMPILATIONS 195748 NOW 74 (1) (Total Sales: 819,850)
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