Eric_Blob

The record for most solo number-ones is different to the most number-ones as a lead artist (or the most number-ones as a lead artist without features).

It probably will one day, but Drake and Lady Gaga both broke through in 2009. Drake has done pretty well considering.

Her version of 7 Seconds is AMAZING! :wub: :cheer: YFKJv8UqeCY

If Do It Again makes the top 10 it'll make up for Lose Control by Keri Hilson, Lay It On Me by Kelly Rowland and Help Me by Tinchy Stryder missing the top 40. :lol:

This is probably my favourite new song at the moment! This decade's Why You Wanna. :lol: I'm glad to see it getting played so much.

I listened to a remix of the song on Spotify today, so doing my part. :lol: But I agree, it's strange. I'm sure it'll take off eventually, some songs take a while. Although I remember other songs like Crazy Stupid Love by Cheryl never really did THAT well on Spotify, despite doing much better in sales, so this might end up another case of that.

There was a while last year when I was hearing German Whip pretty much every day (you probably don't believe me, but I don't care, I'm not going to walk around video-taping my whole life just to prove that to you :lol:). But grime music is VERY local to the UK, I'd say local even to just specific areas of the country. It's getting more traction overseas recently however, due to some US artists promoting it.

Of course, I prefer songs I like to get to the A-List, however: - It's better than not play listing them at all - When you're listening to the station, it's better to have lots of songs getting a few plays than a few song getting lots of plays (like Capital FM) However, it can be quite funny, because some non-playlisted songs can get close to, or even more plays in one week than songs on the C-List. It probably just happens by chance. I remember people complaining that they didn't playlist Start Without You by Alexandra Burke, but there was actually one week where they played it about 5 times. I think on Radio 1 that they should cut down the amount of taking so that they can play more music (especially on the morning show, when I used to listen to that I'd sometimes spend my whole bus journey to work without getting to hear a song because Chris Moyles would just talk for ages... :drama:).

^ I'd say Heart is probably better than Capital atm since its most-played songs are at 38 spins, compared to Capital FM where they're 72 spins. Both stations have a similar amount of music/talking/adverts, so I'd assume this means on Heart FM there's a lot more songs that they give just a few spins to a week, where on Capital if you listen to the station for a whole day you're not going to hear any one-off tracks. Even a lot of the old songs they play over and over again, the gym I was using last month played Capital FM, and I heard Where Have You Been by Rihanna played 3 days in a row, despite there being 100-300 hit songs from 2012 that they could choose from...

Well, the song has been very successful, but realistically there is a small group of about a dozen artists who can "generate interest" on their follow-ups based on their name alone... I think it's perhaps a bit un-realistic to expect Fifth Harmony to join the leagues of Rihanna, Katy Perry, Taylor Swift and be artists who are able to get plays based off just their name. These kinds of artists come along once every few years, it's not something you can hope every break-through artist will achieve, and artists who do achieve that status might take years to do so. Even a hit as big as Somebody That I Used to Know or Uptown Funk! doesn't guarantee your follow-up will be a hit. The success of Worth It (and yes, it has been very successful) will, however, make it easier for their label to promote their next single. The hundreds of radio stations that have been playing Worth It are more likely to play the follow-up, and the millions of people who have been listening to Worth It are, likewise, more likely to check out a new Fifth Harmony song if it pops up on Youtube or something like that. The featured artist Kid Ink had a #13 hit with Show Me in the US and he's done well off the back of that. You can see that here, his singles before hardly every charted, now they nearly always make the chart: https://en.wikipedia.org/wiki/Kid_Ink_disco...#As_lead_artist Granted, his post-Show Me singles are generally a lot more commercial than the ones beforehand!

If you're one of those people who judge what's "remembered" by what still gets played on the radio in the future, then stuff like Christina Perri, Ed Sheeran, Bastille, Birdy, etc. will probably be remembered. Not sure about 50 years time, but Heart FM-type stations will probably be playing them in 20 years time.

I would've imagined album release week would've boosted it into the top 40 (due to higher cherry-pickings and higher streams from people streaming the whole album), since it was pretty close already. Yeah, a lot of these songs which peak "low" are going to rack up huge sales totals (as in 100,000, maybe some even 200,000+) since with the charts moving slower some of them hang around forever. Add on top of that now the #50 single is selling around 10,000 a week, compared to not long ago when they used to sell probably half that, and I think some sales totals could surprise us.

I think Zayn leaving One Direction has just brought new interest into the group tbh. Their singles usually miss #1, so this single doing better than usual right after the split suggests that Zayn leaving is the reason. I think we'll see in the long run if this is One Direction fans manipulating the chart to get #1. If it free-falls on Spotify after this week after it achieves the #1, then they were just streaming to get chart points. If it stays high after this week then they were streaming because they like the song (realistically a bit of both is probably going on, but in what ratios is the question). The only other songs I've seen climb Spotify this fast are Get Lucky by Daft Punk and Blame by Calvin Harris. I think other held-back songs have done it, but that's not quite the same.

How did I miss that he got a top 10 album? :o I was listening to a lot of his music just yesterday lol.

Probably somewhere in-between. No doubt most of their fanbase will have downloaded the song soon, so for the rest of the week after that it's going to rely on the general public hearing the song somewhere and enough of them wanting to download it. It's difficult to predict, but I think it will probably do better than She's Kinda Hot, at least on release week.

If Champagne Showers was by LMFAO ft. Lauren Bennett instead of LMFAO ft. Natalia Kills I think it would've been a huge #1 selling over 1 million copies.

I think other record labels will eventually just do on air, on sale, since eventually it'll be so difficult to get songs to debut at #1 through holding them back (when sales are lower and streaming is higher), that there'll just be no point in doing it anymore. So the other labels will continue to hold back songs for the next few years, but when it becomes pointless they'll stop doing it. Another thing is that it depends on the artist. Drake or DJ Snake or Kanye West can miss the top 40 all they want with their singles and nobody will care. But if One Direction or Lady Gaga debut at #3 with a single it apparently signals the end of their careers. I think most pop artists (except a few, notably Rihanna who can flop all she wants too) are stuck in this trap, whilst rock, dance, hip hop artists can flop more easily (usually in cases like Duke Dumont, Dizzee Rascal, Sigma or DJ Fresh who have a string of #1s, people are a bit surprised when they miss #1, but there isn't the same "Their career is over" rhetoric). Although I think it helps in those genres that a lot of the songs that "flop" in the charts are actually big hits in the real world, so they don't seem like flops, whilst in pop music it's all about the charts, so that's probably a big difference. There isn't an "underground pop scene" or anything lol. Honestly, if I were responsible for marketing a pop star in 2015, I might purposefully make sure their 2nd single flops and their 3rd single is a hit... And then after that make sure they have a flop single every now and then, so that when it unintentionally happens people won't care as much. It might sound ridiculous, but if you want a pop star that's going to be near the top of the game for 10 years, I think it'd be beneficial in the long run.

I don't know why This Summer's Gonna Hurt has done so poorly (by Maroon 5's standards) in the US. It's actually quite a decent song imo (to the point I've actually chosen to listen to it a few times in the past few weeks, something which I can't say for any other Maroon 5 song since One More Night, and before that Misery, although granted I haven't properly heard a fair few of their songs so they could be good). It seemed like they could get charts hits there with absolutely anything, since they scored massive hits with absolutely terrible songs like PayPhone, and some of their other songs, whilst not terrible, were just plain and forgettable yet still managed to be hits (I'm primarily thinking of Daylight, I listened to it once, probably because I liked One More Night and wanted to hear the follow-up, and it was so plain I can't remember what it sounds like at all, I just remember being shocked at how plain it was :lol:). Then all of a sudden this song, which in my opinion is actually fairly good, under-performs? So strange, I wonder what the reason is. I wonder what the UK success of the song will be like.

Wasn't somebody saying Glitterball wasn't getting Capital FM support? This shows it's been getting played the past 2 weeks at least (although it's possible it could've only been night-time plays?). Also, YOUNG THUG getting played on RADIO 2. Something I never thought I'd see. :lol: Also, Heart FM upping the rotation of Ain't Nobody recently is probably in reaction to Felix Jaehn's version of it being released (although it's a song they play a lot anyway). They've done this before, like when Mann/50 Cent - Buzzin' was out Heart played the original quite a lot. Same when Alyssia Reid - Alone Again was out, Heart FM played the original more (although in this case Heart played the new version too).

^ Don't know if this has been mentioned, but there's a Rita Ora remix of Freak Of The Week and a Krept & Konan remix of Poison. Rather coincidental. :lol: I can't really think of any other examples of this (where two singles released close together were each remixed by the other artist), but I'm sure there must be some.

I don't know, but think about it this way, would it have mattered what day of the week Latch was released? I don't think it would've made any significant difference. White Noise did really well too and that was released half-way through a week iirc.

1473. You Know You Like It (DJ Snake Remix) - AlunaGeorge & DJ Snake (4th September) Well, this is very old! :lol: But I'm happy to see it getting released, it's been around so long now I thought they were just going to ignore it. I think it would be the 3rd chart hit for both artists unless I'm forgetting something.

Spotify can't force you to listen to new songs, but new songs can play automatically in playlists, etc. Songs like Cheerleader, Lean On, Where Are U Now, Firestone and others took off on Spotify a very long time before radio started playing them and the sales picked up (to the point that it's almost suspicious to me, especially Cheerleader where I'd never heard of either artist before, how did that song get so many streams so fast?). However, I don't know if Spotify helped break those songs or if it was simply just being an early indicator that they'd be chart hits, like Shazam sometimes is. As for Capital FM, they didn't play Blame by Calvin Harris on its release week either. They played it after just a week or two though.

This song being re-released... AGAIN! :lol: I wish someone better than Avicii got to do the remix though. He did the remix for when Rapture got re-released too. With regards to Aston fans multi-buying, they could also multi-buy by downloading the song from different sites. However, I think very few would go through that much effort. Ella Henderson fans have a much easier time with multi-buying with that remix EP to cherry-pick from (although likewise I doubt many would go through all that). :lol:

Songs often go to #1 on those formats and not make the top 100 on iTunes. Also, The Hill's current airplay is negligible. So I don't think that's the reason. I think its the music video, general The Weeknd hype following Earned It and that thing that's been trending on Twitter for ages that uses the song which is keeping it high up the chart atm. I think it's going to be the next pop radio single too so it might be in the charts for a while.