superbossanova

Only two new releases showing at the moment: 160. Whos On The Panel (Explicit Version) - Ghetts 188. Rope - Foo Fighters Can't see anything else, correct me if I'm wrong.

You cannot compare it to the late 80s/early 90s. That was the physical era - where stock decreased, more newer records were giving presedence over older ones, some songs were even deleted, radio stations were nowhere near as slow and unreceptive as these days in moving on to newer hits, etc. Therefore the chart still moved very fast and, despite songs climbing to their peak being the norm, there was no such slow turnover. Now we're in the download/iTunes era where there is essentially "endless stock" which has already led to the dramatic slowing down of the chart in the last few years. Take away/minimalise the impact of several more front-loaded releases and it gets even slower (the higher you go). Basic common sense there. But you're right that stagnancy isn't the right word as such - although I don't believe I myself ever used that word - more an even further drop of high peaking hits as songs naturally peak lower due to having to lose sales over time and less songs front-loading. As such, the top 10 becomes more elite with only a small handful of newer songs making it in every month, and songs that would have peaked at, let's say, lower top 10 in a front-loading market would instead move something like 60-40-25-16-22-30 etc. The chart doesn't become stagnant, but the metaphorical well of newer hits does dry up somewhat. And I fail to see your point about Britney not debuting in the top 10. If she was a fanbase hit the first time she would be a fanbase hit the second time (unless you're implying all her fans desert her every February?), and then factoring in the casual fans who might not have heard it the first week she debuted there's no reason why she wouldn't debut at #6 or even higher again. The fact that it lasted five (likely six) weeks in the top 40 suggests it did make some connection with the public, however minimal, and I'm sure at least some of the several thousand that have bought it since its first week would also buy it if its sales were held back, in addition to her fanbase.

Oh, I don't think it's BORING. I like it overall, but the chorus is possibly their laziest ever, so that knocks it down a little for me. Kimberley's bit is amazing though - "Oh, boy I can't tell you how sad I feel/If tonight is just another kink in your steel" :wub: But considering they have superb pop songs like The Show, Biology, No Good Advice, Love Machine, Sexy! No No No, The Promise etc. in their catalogue it just doesn't stand up well against them. I'm sad that the first four won't be in any of these games! The British public have/had such appalling taste in Girls Aloud songs.

MECK please. Tacky dance remakes be gone. I do agree that Something Kinda Oooh is VERY poor by Girls Aloud's standards though, and I love them, so I wouldn't mind it leaving here either.

Three of my favourite chart hits of 2010. I guess the fact none of them even made the top 50 means I can probably officially say they all deserved MUCH better. Ha. And yeah, I know that Cee Lo Green was never going to go that high here due to only having, like, 12 weeks worth of points on his total. All The Lovers is glorious, mesmerising and incredibly relaxing. Kylie's vocal on it is PERFECTION and it would probably only be half as good in someone else's hands. It actually made me listen to her album, too (which I didn't like), but at least I can say I fulfilled my stereotypical gay aim by actually liking at least one Kylie song this time - I never usually do, even ones like Can't Get You Out Of My Head. I think the last one I really liked before ATL was Come Into My World, and before that probably Confide In Me!! So clearly I only like one Kylie song every 8 years, so that means no more until 2018. And Stay Too Long is just incredible - especially the ending. Which definitely isn't aggressive at all. It's beautiful music to my ears.

Well, I was never implying it'd stagnate the release schedule as such. Songs will still get released every week, as they do now, so that'd be still somewhat normal. The number of new entries overall in the top 100 probably won't be affected too much either. But the number of top 10 debuts will decrease to only a few per month, and that's only reserved for major acts like Lady Gaga or Britney Spears, or acts who manage to get huge radio and video play right from the outset like Jessie J. It's more the top of the charts that will stagnate, and people here will be moaning that songs like Grenade are still in the top 10. The number of top 40 entries will drop, too, as bands like You Me at Six last week rely heavily on front-loading. Just look at how they've bombed down the charts now because of that. They would never be able to sustain sales for long enough to make the top 40 without frontloading. So, my point was more related to new release watching as occurs in this thread and often in other threads on this forum (particularly on Sundays in the iTunes thread) will be much more boring with more "dry" weeks for new releases like this one as Bray so aptly put it. And the reason why I think March will be an exception to the new rule is that several of the more notable releases that month are actually being front-loaded from what it seems so far, compared to most of the major releases from this month (February) which were already released early, which has led to a rather slower drip of action at the top of the charts this month. Of course, it's early days though and it's subject to change. I'm interested to see how the April releases will take place though - if most of them are "on air, on sale" it could lead to March being even further packed. Also, in Australia most (all?) singles are released straight away there, and their chart is also 100% sales-based like ours, so IMO this is the model we are working towards: http://www.ariacharts.com.au/pages/charts_....asp?chart=1U50 By the way, I never said any of this was really bad. Personally I'm quite on the fence with air, on sale, so I wouldn't say it's the incorrect or correct way of releasing singles :)

Can you at least see how the first spat of on air/on sale releases HAS taken away from this particular period of weeks we're approaching now, though? :P I don't see how you can say at least five songs that would have debuted (at least top 20) around this time debuting earlier hasn't taken away from it. I'll PM you in June over this, by the way. The subject will be "Ha! I was right!" ^_^ :lol:

I disagree. If it wasn't for on air/on sale, we'd have Britney Spears, Avril Lavigne, Dr Dre, Noah and the Whale all debuting around this time, and all getting significantly higher than they would have done from their early release. The first three would be debuting in the top 10, and N&TW would be top 20, I think. Jessie J would also probably be debuting right now, likely at #1 (again). So there has been an impact in the activity in the top 10 at the current time, as all apart from Jessie J of these songs have either failed to get there now (although Dr Dre could still make it with push as his video has only just premiered) or had very short runs in the top 10 (see Britney). Not a huge one, but there's never been that many new entries in the top 10 before since downloads came in, anyway, so to take a few of them away does lead to this deadness. Of course it did make late January/early February slightly more interesting than normal, too. And I don't agree this dry time is a coincidence - IMO this *is* the norm from now on. The period at the beginning of the March is the out of the norm period with Jennifer Lopez, Wiz Khalifa and The Wanted all heading for (semi) front-loaded debuts as I already said. Of course I don't have any evidence of this yet as it's only just started - thus it's merely my observations - but come mid-2011 it'll be obvious if this was a normal patch or not.

Every week is dry in terms of new entries since the on air/on sale approach moved in. This is what the chart is going to be like all the time from now on with only one song debuting in the top 10 every now and then. I guess the only top 10 debuts in the next few weeks will be Jennifer Lopez (based on its success in Europe, Australia and the US already), Wiz Khalifa and The Wanted (which will surely debut at #1) - and is there any news of an "alternative" Comic Relief song this year yet? Although I guess there could be a few random surprises along the way as always. I'm sure E.T. won't peak next week - it hasn't even been added to Radio 1 yet? It's on air/on sale again as the Kanye version only premiered recently, so some people are jumping the gun a bit already predicting a flop. Although I didn't realise even those kind of remixes were going to be released early, too; surely that removes the entire point of them? :unsure: Of these, only Foo Fighters will make the top 40. Katy Perry will probably climb in later; the others never will.

Umm, neither have Clare's? :P Plus, Clare is a new act and thus has a less prominent fanbase, whereas Beady Eye is basically Oasis without Noel and thus has picked up a lot of their fans. I'll be very surprised if she managed to beat them. Neither will be THAT big though, obviously. But I'll say #6/7 for Clare. Beady Eye at #4/5, with the obvious Adele/Jessie J top 2. Does it really matter? It's not like anyone is confused over to who "Claire Maguire" is.

Of course it isn't a love song. Yes, there's a loose theme of love running through it (in that they entered the relationship, and are still in it, because they think they're in love) but that does not make it a love song when there are other themes more prominent. Most popular songs have some kind of theme of love running through it but for it to be a LOVE SONG it has to have more than that. A love song is a song about falling in love, being happy in love, saying how much you love someone, how much you're missing someone, etc. Basically, the positive side of it (hence the "light" subject matter), not about a couple in a f***ed up relationship staying together because they're apparently in love. Simple as that. Instrumentally, it may be a ballad, but there's more to a ballad than just instruments and the tempo of the song. It's in the lyrics. A song with some of the lyrics in Love The Way You Lie is not a ballad - it's too harsh. A ballad pretty much runs similar lyrics throughout and never strays from the concept of love. Look at the lyrics for songs like Just The Way You Are, I Will Always Love You, Your Song, etc. And when I was talking about light I was talking more in subject matter, not structure. If you seriously think a song about an abusive relationship is LIGHT than f*** knows what you're on. And don't even get me started on your view of it being romantic - that's some twisted concept of romance you've got there. And please don't talk to me like I'm ignorant. I know perfectly well that hip hop ballads exist, but Love The Way You Lie ISN'T one.

Love The Way You Lie is NOT a ballad. A ballad is specifically a love song. LTWYL is a slow-to-midtempo song but that doesn't make it a ballad when the lyrics are the total opposite of a traditional ballad and actually quite heavy and hard-hitting in terms of subject. Ballads are supposed to be much more lighter and generally 'mushier' than that. Just The Way You Are IS a ballad, however, as is Someone Like You as both are about love and are generally sentimental in subject. bal·lad    /ˈbæləd/ Show Spelled[bal-uhd] Show IPA –noun 1. any light, simple song, especially one of sentimental or romantic character, having two or more stanzas all sung to the same melody. 2. a simple narrative poem of folk origin, composed in short stanzas and adapted for singing. 3. any poem written in similar style. 4. the music for a ballad. 5. a sentimental or romantic popular song. http://dictionary.reference.com/browse/ballad And ballads have gone way out of fashion compared to how they used to. Look back in the 90s and a large handful of the biggest-selling songs were ballads - Bryan Adams, Wet Wet Wet, Whitney Houston, Celine Dion etc. They're still around but they're just not as popular as they used to be.

If Rihanna wins I think I'll throw up. It would have no chance if it wasn't by her (hate to sound cliché, but it's true in this case :(). I think Nelly Furtado will win with 'Maneater' but it's quite open I guess. Would be a deserving winner though. Someone Like You definitely sounds like a UK #1! Just because ballads are way out of fashion nowadays doesn't mean they always were. It already has that hallmark or timeless quality to be played 5/10 years down the line, a bit like another recent ballad #1 from Bruno Mars. I'd say the last one apart from Rage would be Kid Rock. Since when did country crossover stuff get to #1 here?! :drama: Such a random one. And I'd probably have it in my least 5 favourite #1s of the 2000s, but each to their own! I wouldn't have imagined you listening to Kerrang! :o

It's a Ministry of Sound one. The tracklisting is IMMENSE but I'm surprised it's doing so well considering it's quite "old skool" and mainstream-obscure in places. Very worthy of a purchase though (in fact I might buy it myself later this week - I'm a compilation whore and I already have quite a few of their other recent ones!!)

I echo the people saying Monster is amazing. It's my second favourite song here (and has been since the start) so I'd like it to get top 20. My favourite song here I thought might scrape top 10 but a few rounds ago it had quite a few votes (although it's since dropped to 0/1 votes per round so hopefully it can still get there, then I'll be happy). And I'll stop being all cryptic now, k? As for my least favourite three left... those would be Unfaithful, Welcome To The Black Parade and Hips Don't Lie. I've barely voted for them just because hardly anyone else is. I'm quite surprised that WTTBP isn't picking up votes but I always knew Unfaithful and Hips Don't Lie would make the top 10. There are also a large handful of others that I have much DISLIKE for, one of which would be One so that can gladly go.

Right you are! http://imgsrv2.tennisuniverse.com/wtaworld/images/smilies/hatoff.gif I never even realised they had that bit there until I just listened to it with this new information.

Lauryn Hill - Ex-Factor Savage Garden - Affirmation The Beautiful South - Pretenders To The Throne Supergrass - Richard III Portishead - Glory Box Moby - Porcelain Mya - Case Of The Ex All of these reached the top 20, and none of them have the whole title mentioned in the song (and I think only Mya has even a word of the title mentioned, iirc). Btw, perhaps the list in the first post should be put in alphabetical order by artist for easier reference? If it's not too much work...

SECTION A 01 Adele – Someone Like You 05 Alexis Jordan – Good Girl 26 Avril Lavigne – What The Hell 33 Britney Spears – Hold It Against Me 31 Clare Maguire – The Last Dance 72 Cassius – I <3 U So 32 Glee Cast ft. Gwyneth Paltrow – Singing In The Rain / Umbrella 27 Glee Cast ft. Gwyneth Paltrow – Forget You 56 Jodie Connor ft. Tinchy Stryder – Bring It 76+ Katy Perry ft. Kanye West – E.T. 06 Lady Gaga – Born This Way 73 Magnetic Man ft. John Legend – Getting Nowhere 76+ Tim McGraw & Gwyneth Paltrow – Me And Tennesee 68 Tinie Tempah, Labrinth & Eric Turner - We Bring The Stars Out: Live from the BRITs SECTION B Bonus #1: Who will be higher in the iTunes chart popularity bars (including combined versions within the top 100) at 23:59pm on Saturday 26th February 2011:- i. Adele - Someone Like You; ii. Jessie J - Price Tag; or iii. Lady GaGa - Born This Way? Bonus #2: Will P!nk – F***in’ Perfect chart at #11 this week? Yes Bonus #3: Will Take That – Kidz be higher than Justin Bieber & Jaden Smith – Never Say Never in the chart? Yes

Yeah, you're right, it did go top 3. Though I think it only sold modestly, really. Doing a covers album for the follow-up was a really bad commercial move though! And don't worry, my head is somewhere else too, apparently. Just remembered that Kasabian's album was their 3rd, not 2nd (I always forget they had an album out in 2006, it was a very forgettable era!) and that The Script are Irish (although that's not the worst mistake to make, giving how close Britain & Ireland are musically - but I better correct that in this post before any Irish posters start coming at me with pitchforks for trying to claim The Script as one of our own acts! :ph34r:)

Don't worry, everyone goes off-topic here! And more people have done it than just Paolo Nutini in recent years - Lily Allen, James Morrison, Kasabian, The Script, Plan B (ok, this one is stretching a bit, but it is his second album)... plus the chart pop acts like Cheryl Cole, JLS - but they were never going to struggle, really. P.S. When did Sharleen Spiteri ever have a successful album outside of Texas for any follow-up to be regarded as a flop? :unsure:

I'd rather Kanye NOT return to the top 10 as a rent-a-rapper, quite frankly. Especially not with frickin' Katy Perry, who I abhor. He might as well start contributing raps to a Miley Cyrus song next - same target audience, anyway. And on another note, I really don't think the Taylor incident really did THAT much damage to his career. I think Bray hit the nail on the head with the simple fact it's less commercial. He can easily come back if he wants to - but he's not someone who cares about hits that much anyway, at least not at the expense of what he wants to do artistically. But if his next album was more commercial it would smash - simple as that. He's way too big to just fade like that. Just look at Jay-Z and his sporadic UK career all over the place depending on how chart-friendly the stuff he's doing is. That said, the timing of it sucks, because now people keep saying the Taylor thing killed his career. I do want him to just smash with a song already so people stop saying this stupid $h!t.

+7 Ellie Goulding - Your Song +5 Rihanna - S&M +3 Avril Lavigne - What The Hell +2 Olly Murs - Thinking Of Me +1 Modestep - Feel Good -1 Wretch 32 - Traktor

Do It Like A Dude was kind of urban-pop - but Price Tag is out-and-out pop. I mean, it was produced by Dr Luke, for god's sake. These channels tend to always stick these artists in once they're already there regardless, anyway. Rihanna surely still gets played on them even when she's making obvious European-influenced songs like Only Girl and S&M.

Jessie J is pop. Heck, Adele is actually more urban than Jessie J, considering she sings Blue-eyed soul music, which has direct roots to rhythm & blues which evolved to what we now call urban music. Enough music history there though. Re:The question, I think Jessie J could beat Adele if she really is released the week after next. But it really depends how fast Adele drops after the BRIT affect this week - if she's down to like 60k by then then it's very much achievable for Jessie. Anything more seems a stretch to me. That said, like someone else already said, I can imagine Jessie entering at #2 but selling consistently over the next several months.

To be fair, that was exactly what I meant when I said that people might have actually learnt some information from that thread. I know that I did, anyway, and I know that from some of the replies to the stuff I posted in that particular thread suggested people might not have known the information before. So that was very much a bizarre restriction IMO, as most people here don't have goldfish memory and remember about Missing You leading in all the midweeks and still missing #1, etc, so I don't see what the point was of starting a thread just to name those examples. It's tiresome. I see your point about THIS thread, though, but for me personally when I went into this thread I was hoping to see some older examples, only to find it was supposedly "limited" to only the download era which I already know perfectly well having followed the charts and media throughout. I'm a bit of a fact freak myself so love to find out about things like this... and did indeed find out something new from one of the "off-the-kilter" replies in regards to the Westlife fans campaign re:Atomic Kitten!