Mark

Mark's Album Chart - 18/11/2022 1. (New) Queen - The Miracle 2. (01) Bruce Springsteen - Only The Strong Survive 3. (02) A-ha - True North 4. (03) Paul Heaton & Jacqui Abbott - NK Pop 5. (04) Howard Jones - Dialogue 6. (05) Betty Boo - Boomerang 7. (06) Carrie Underwood - Denim And Rhinestones 8. (07) Simple Minds - Direction Of The Heart 9. (08) Kylie Minogue - Impossible Princess 10. (09) Blue - Heart And Soul 11. (10) Debbie Gibson - Winterlicious 12. (11) Bananarama - Masquerade 13. (12) Bryan Adams - So Happy It Hurts 14. (13) The Fizz - Everything Under The Sun 15 (14) Michael Ball & Alfie Boe - Together Live In Vegas 16. (15) Daniel O'Donnell - I Wish You Well 17. (16) Steps - The Platinum Collection 18. (18) Altered Images - Mascara Streakz 19. (19) Tears For Fears - The Tipping Point 20. (20) Westlife - Wild Dreams

ubRBLAHjkTo

NyfYu4w23_M

He's back again for 2022 Video premieres 19th November at midnight from the look of the screen image he's joined by some friends in the video 2_e8zchx6_Y

Neighbours’ Is Coming Back! Amazon Freevee Swoops for New Season in 2023 https://www.digitalspy.com/soaps/neighbours...-channel-5-axe/ https://twitter.com/neighbours/status/1593182158683791360

Kenny Thomas is dropping a new single this Thursday Got It On Time https://twitter.com/kennythomas_uk/status/1...503195666100226

The last two Sundays BBC4 have been showing some old Kids shows Schedule for the next two weeks Sunday 20th November BBC Four 7.00pm Bagpuss 7.15pm Ivor the Engine 7.20pm Crackerjack Sunday 27th November 7.00pm The Magic Roundabout 7.05pm Rentaghost 7.30pm Vision On

https://www.theguardian.com/music/2022/nov/...or-it-to-retire The UK singles chart is 70. Is it time for it to retire? Once the top 40 was the undisputed soundtrack of a nation. But in an era when you can have a platinum record that gets to No 81, does it even make sense any more? Some enterprising soul has uploaded The Chart Busters to YouTube, a 1980 World in Action investigation into “hyping” singles that caused quite a commotion at the time. A saga of labels colluding with retailers to falsify sales figures, featuring palms greased with scotch and wine, it suggested three of the top five singles had, initially at least, been hyped into the charts: not to No 1, but just high enough to qualify for radio play and Top of the Pops. “The charts are in no way a guide to what’s accurately selling,” said one former label employee. “They’re a joke.” The evidence was damning and there was fallout: shortly after the show was broadcast, the managing director of one major label resigned, supposedly “coincidentally”. But the really weird thing was the impact The Chart Busters had on the popularity of the chart. It had none. Audiences didn’t turn off Radio 1’s Sunday evening countdown in disgust. There was no dip in TOTP viewing figures. Kids continued to sneak radios into school, to hear the new No 1 revealed at Tuesday lunchtimes. It was as if the Top 40 was just an impregnable fact of British musical life, too important and longstanding to be shaken even by accusations that it was, at least partially, fixed. The singles chart the BBC used established itself as market leader, triumphing over those compiled by the NME, Melody Maker and Record Retailer. (Actually, the BBC chart was initially just an aggregate of all the others, but from 1969 it was a separate entity – compiled, as Radio 1 DJs loftily reminded us, “by the British Market Research Bureau”.) From that moment on, the Top 40 more or less defined pop in Britain: “the single most important piece of promotion any record can get,” as one interviewee said. It was omnipresent. Walk into a record shop and there it was – pages pinned to the wall, singles racked out on shelves. Even if you professed to hate it and all it stood for, the chart still seemed totemic: the Top 40 was the thing “serious” rock bands – most famously Led Zeppelin – defined themselves against by declining to release singles. You could mock it, ignore it or dismiss it as a corruption-filled joke, but nothing could affect its position: The Only Chart That Counts, in the words of the bullish Radio 1 jingle. It’s like a piece of software that used to work but has now had too many updates, patches and bug fixes Until something – or some things – did affect it. This year, the UK Singles Chart is celebrating its 70th birthday in a noticeably different climate, one in which its grip on public imagination – and indeed the music industry – seems to have slackened completely. It no longer feels omnipresent. When was the last time you walked into a bricks-and-mortar record store and saw the Top 40, or read a news piece about a hotly contested “battle” for No 1? When was the last time you overheard music-mad teenagers talking about where a song was in the charts? Even the Christmas No 1, once the most prestigious placing of all, barely musters any attention. Perhaps it lost its lustre in the era of The X Factor, cannily positioned in the TV schedules so that the winner’s debut single was released a week before Christmas, almost guaranteeing it topped the festive chart. This fabulously cynical piece of marketing resulted in some of the least memorable Christmas No 1s of all time. Say what you like about Bob the Builder or Mr Blobby, but they were at least striking in a way that Ben Haenow’s cover of OneRepublic’s Something I Need wasn’t. For the last four years, the Christmas No 1 has been a charity single by a YouTube vlogger about sausage rolls, which seems to have provoked little more than a collective shrug. The sense that no one cares is hard to avoid. Part of the problem is that the traditional media outlets for the Top 40 have waned or vanished. TOTP was put out of its misery 16 years ago. Listener figures for Radio 1’s flagship Sunday countdown went into decline in the early 00s. In 2002, its audience had fallen by 300,000 to 2.6 million; by 2020, with the show relocated to the Friday evening drivetime slot, it was attracting only 1.4 million. By contrast, Radio 2’s Pick of the Pops – on which Paul Gambaccini runs down Top 20s from the 60s to the 00s – gets 2.5 million. A few years back, the Daily Mail reported this as evidence that “the old songs are the best”. It’s more likely that the only people listening to charts are those old enough to remember when they mattered. In fairness, the Official Charts company, which took over compilation in 1990, has done its best to maintain interest in a changed landscape: it has a snazzy website that runs news features, lists new releases and has a searchable database. It also makes a point of handing out a physical award to any act that makes No 1, which makes for a useful photo opportunity. But it feels like it’s fighting a losing battle to attract the attention of the charts’ traditional audience of tweens and twentysomethings, whose listening habits have changed completely as a result of streaming. The years since Spotify’s UK launch have given rise to an odd phenomenon, with artists being awarded gold and platinum sales certificates for singles that made hardly any impact on the charts. Alt-rockers Catfish and the Bottlemen have released three platinum-selling singles, the highest-charting reaching No 81; rapper Tyler, the Creator’s See You Again and singer-songwriter Rex Orange County’s Best Friend and Loving Is Easy managed to go gold without making the singles chart at all. It happens because these songs have been streamed an enormous amount over a long period of time. Nevertheless, the existence of Big Singles Artists who barely appear in the singles chart can’t help but make the singles chart look irrelevant. Chart compilers have tried to keep up, endeavouring to pull off an impossible balancing act in which streaming is reflected – 100 paid-for streams or 600 ad-funded streams count as one sale – while also attempting to keep the appearance of the singles chart the same as ever: largely dominated by recent releases, featuring a wide range of artists and a high turnover of songs in weekly motion. After what we might as well call the Ed Sheeran Incident – when the release of his 2017 album ÷ led to nine slots in the Top 10 being occupied by its tracks – the number of songs allowed in the chart by a single artist was restricted to three. That same year saw the introduction of Accelerated Chart Ratios, designed to ensure that certain songs don’t hang around for ever. After three weeks in the chart, the number of streams required to count as one sale doubles to 200 paid-for streams, or 1,200 ad-funded. It caused controversy earlier this year, when Kate Bush’s Running Up That Hill only reached No 2, despite selling and streaming substantially more than the No 1, Harry Styles’s As It Was. It transpired that the ACR rule applied to all songs over three years old. Faced with the prospect of denying a beloved British musical institution the No 1 she’d clearly earned, the rule was waived the following week. Overheated madness … the front cover of the NME in August 1995. You can understand why these rules were instituted, but the result is an increasingly Byzantine system that clearly doesn’t offer an accurate picture of what’s popular: there’s a sense the singles chart resembles a piece of software that used to work but has been subject to so many updates, patches and bug fixes over the years that it’s now barely fit for purpose. Perhaps understandably, labels are far less interested in the charts than they were in the days when the Top 40 was deemed so important they were bribing shop owners to fiddle the figures. Clearly, no label is going to turn its nose up at a No 1 single but, increasingly, the chart is less important as a metric of popularity than other measures of success, from analysing data about “rich engagement” (how streaming figures are spread across an artist’s entire catalogue) to the size and activity of fan communities on such websites as Discord. And then there is Spotify’s Global chart, which collates daily streaming figures from across the world. It’s a situation that would once have seemed unimaginable, even to the World in Action interviewee who deemed the charts “a joke”. At 70, the singles chart finds itself largely unloved, ignored and dismissed as irrelevant: to paraphrase the gloomy first world war song, it seems to still be here because it’s always been here. Without wishing to spoil the birthday celebrations, it’s hard not to wonder if it will be around to celebrate its 80th. The five greatest singles battles The Beatles – Strawberry Fields Forever/Penny Lane v Engelbert Humperdinck – Release Me (1967) A chart battle that tells you a lot about the pace at which pop music moved in the mid-60s and the fault lines that opened up as a result. Every new Beatles single since 1963 had gone to No 1: their most experimental and arguably greatest didn’t, bested by a ballad designed to appeal to those left behind by pop’s relentless, chemically accelerated progress: a victory for the forces of reaction. Sex Pistols – God Save the Queen v Rod Stewart – I Don’t Want to Talk About It (1977) The outrage caused by the Sex Pistols’ second single now looks oddly quaint and hilariously counter-productive: the impact of radio, television and most major retailers banning a single is bound to be nullified by it receiving daily publicity in every tabloid. Skullduggery was alleged – but never proven – in Rod Stewart’s eventual triumph. John Lennon – (Just Like) Starting Over v St Winifred’s School Choir – There’s No One Quite Like Grandma (1980) There was a theory that the Christmas No 1 was the most accurate reflection of Britain’s music taste: people who didn’t ordinarily buy singles felt compelled to do so. Perhaps that accounts for how a Stockport primary school temporarily overwhelmed the mourning for a recently murdered Beatle: normal service was resumed the minute the tinsel came down. Blur – Country House v Oasis – Roll With It (1996) There is perhaps no greater example of the overheated madness of the 90s than the Blur v Oasis war: contemporary coverage had it wrecking marriages (at least if you believed the Sun) and reflecting everything from Britain’s obsession with class to the north-south divide. That neither single was particularly good appeared beside the point. True Steppers feat Victoria Beckham and Dane Bowers – Out of Your Mind v Spiller feat Sophie Ellis-Bextor – Groovejet (If This Ain’t Love) (2000) The point at which it became apparent the Spice Girls’ solo careers might not work out as expected: Posh’s diversion into UK garage upstaged by a disco-house track with a vocal by a then-minor indie artist. Beckham’s frantic attempts to ensure her single reached No 1 – including dragging husband David along to a signing in Woolworths in Oldham – were made more piquant by Ellis-Bextor’s apparent indifference (“I feel like saying if you want it, just have it”).

Just out today Dene Michael ft Modern Romance - Can We Win It https://twitter.com/BLACK_LACE_PROM/status/...539043510415360

https://www.bbc.co.uk/news/entertainment-arts-63574453 Official Singles Chart turns 70: Seven historic controversies By Mark Savage BBC Music Correspondent As a teenage music nerd, I would sit in my bedroom every Sunday afternoon, listening to Bruno Brookes count down the Top 40 and writing the results into a thick lever-arch file. Somewhere in my parents' attic, those yellowing A4 sheets boast accolades from superstars like Madonna and Michael Jackson, alongside forgotten hits by Arnee And The Terminators or Twenty4Seven ft Captain Hollywood (I Can't Stand It, number seven on 6 October 1990). Back then, the charts were entering their middle age. There had been a big fuss on Top Of The Pops when T'Pau scored the UK's 600th number one with China In Your Hand. And the chart's inherent ranking system ("my favourite band is officially better than yours") led to a lifelong obsession. 1) The Beatles' vanishing number one The singles chart began in 1952, when Percy Dickins, one of the founders of the New Musical Express, decided to produce a ranked list of the UK's best-selling singles, by telephoning 20 record shops up and down the country every week and asking what they had sold. The first ever Top 12 was published in the NME on 14 November, with Al Martino's schmaltzy ballad Here In My Heart at number one. Pretty soon, rival publications wanted a piece of the action. Record Mirror started its top 10 in 1955, based on postal returns from record stores, Another magazine, Melody Maker, started its chart in 1956, and was the first to include sales from Northern Ireland. Then, in 1960, the music industry trade paper Record Retailer (now called Music Week) launched what is now recognised as the "official" chart, based on reports from a panel of 30 shops. But for almost a decade, those charts were only available to industry insiders, which led to one of the biggest chart anomalies of all time. In 1962, the Beatles cut their breakthrough single Please, Please Me at Abbey Road studios. When they finished the 18th, and final, take, producer George Martin said: "Gentlemen, you have just made your first number one record." And he was right - but only if you read the NME, Melody Maker, or Record Mirror. In the "official" chart, Please, Please Me was denied the top spot by yodelling crooner Frank Ifield and his song Wayward Wind. As the Record Retailer chart is now recognised as canon, The Beatles' historic run of 17 number one singles officially begins with From Me To You. 2) Ding-Dong! The Witch is Dead - Maggie Thatcher gives Radio 1 a headache In the wake of Margaret Thatcher's death in 2013, the song Ding! Dong! The Witch is Dead, from the Wizard Of Oz soundtrack, was downloaded enough times to reach number two. In doing so, it became engulfed in a storm of controversy, not least at the BBC. Rather than playing the song in full during the Official Chart show, Radio 1 played a report from Newsbeat explaining the song's significance. "I don't believe it's a shoddy compromise but it is a compromise," then-Radio 1 controller Ben Cooper told BBC 5 Live when asked to defend the decision. "You have got a record which is not a political record. It is actually a personal attack on someone. There is a grieving family here and they are yet to bury their loved one and... I need to take that into account. "But I am very much aware that, on the other side of the issue, if I ban that record, then there are questions about freedom of speech and about censorship. "So yes, I have compromised, but I believe it is the most logical compromise available to me." 3) The Joker's curse Although the first singles chart was supposed to be a Top 12, it actually featured 15 songs, thanks to ties in 7th, 8th and 11th places. But ties are pretty rare - and they have only caused a major controversy once in the chart's 70-year history. In 1990, the two songs at the top of the charts achieved exactly the same number of sales. One was Steve Miller's 1972 rock smash The Joker, enjoying a revival thanks to its use in a Levi's commercial. The other was Deee-Lite's Groove Is In The Heart, a giddily playful wedding disco classic. To much wringing of hands, the older song was given the number one spot - and John Pinder, chart manager for polling company Gallup, was wheeled out to explain why "A ruling was established in 1973 by the British Phonographic Industry that there are no equal positions in the charts," he said. "The guidelines recommend that the preferred single is the one that has increased its sales most in the course of the week." According to Pinder, The Joker's sales had gone up by 57%, and Deee-Lite's increase was only 37%. But Deee-Lite's record label still were not happy - protesting that their brand new signing would benefit more from the publicity of scoring a number one single. Their protest deflated, however, when it transpired The Joker had actually sold eight more copies than Groove Is In The Heart - 44,118 to 44,110 (a rounding error initially obscured the discrepancy). In 1991, the rules were changed to allow ties again - such as when The Prodigy's Out Of Space shared 19th place with Lisa Stansfield's Some Day I'm Coming Back in January 1993 - but they are still uncommon. 4) Hyping the charts As you would imagine, getting songs into the chart is pretty important to record labels; and sometimes the general public cannot be trusted to have good taste. So, at various points over the years, people have invested in alternative methods of cracking the Top 40. In 1978, the Mirror newspaper uncovered evidence that a network of housewives was being paid to go into record shops and buy multiple copies of songs like Sweet Sweet Smile by The Carpenters, or Right Time Of The Night by Jennifer Warne. "It is very important that you appear to be a normal customer making a genuine purchase," the record buyers were told. "Please do not quote the [catalogue] number of the record when asking for it." Cunningly, the idea was to help songs into the lower reaches of the chart, after which, the Mirror reported: "Natural, genuine sales will take over as the record gets the exposure on radio and television that follows automatically once it is established in the top 50." The paper's expose ended that particular scheme - but two years later, labels were at it again. Two separate documentaries, one by BBC Two's Newsnight and the other by ITV's World In Action, claimed record stores were being sent free gifts to encourage them to falsify chart reports for acts like Fleetwood Mac, Gary Numan, Queen and The Pretenders. One owner told World In Action they received items, including T-shirts and alcohol, worth as much as £237 in a single week (£911 in 2022 terms). Sometimes, record companies would even send over free copies of songs they wanted to chart. It was claimed that this resulted in a band called Shy earning a Top 75 single, despite retailers only ordering 82 copies of the song. The programmes led to a six-week investigation by the British record industry which found "a very thin dividing line between what is known as aggressive marketing and what is known as hyping". It said that, while the practice was not widespread, some shops had received a "supply of promotional records" and "other unrelated material" in an effort to persuade owners to cook the books; and recommended that record label staff were no longer paid bonuses based on chart positions. 5) A historic low Piracy plagued the music industry in the 2000s, as sites like Napster and Kazaa made millions of songs available for free, albeit illegally. In the space of a decade, global recorded music revenues plummeted from $23.4bn (£20bn) in 2001 to $15.6bn (£13bn) in 2010. The singles market was particularly badly hit, reaching a low point in March 2006, when US band Orson managed to top the charts with just 17,694 sales of their pop-rock radio hit No Tomorrow. Analysts speculated that it signalled the death of the single as a consumer format. Orson never reached the top 10 again, and split up in 2007. But band members George Astasio and Jason Pebworth have subsequently scored huge hits as writers for Girls Aloud (The Show), Iggy Azalea (Fancy) and Bebe Rexha (No Broken Hearts). Elton John holds the record for the UK's best-selling number one single. His Princess Diana tribute Candle In The Wind 1997 sold 1.5 million copies in its first week of release, and went on to triple that figure. 6) Ed Sheeran breaks the chart (and finds a loophole) The advent of streaming changed the charts forever. No longer did the Top 40 reflect the songs people were buying. Instead, it told you what they were listening to. In many ways, this was a blessing. It certainly broke the X Factor's stranglehold on the number one spot, because people generally bought the winners' singles as a souvenir, rarely listening to the musical monstrosities they contained (there is a reason why Little Mix airbrushed Cannonball from their official discography). But the popularity of streaming also broke the charts in new, unique ways. For one week in March 2017, Ed Sheeran had 16 singles in the Top 20, including nine in the Top 10. The reason? He had just released a new album, ÷, and fans were streaming it in their millions. The Official Chart Company responded by rewriting its rules. Since June 2017, artists have only been allowed three songs in the Top 100 at any one time. The changes are meant to "ensure the chart continues to be a showcase for the new hits and talent which are the lifeblood of UK music". "This is not a chart for album tracks; we want to remain the Official Singles Chart, for singles," chief executive Martin Talbot told NME. "It's tougher than ever for new music and developing artists to break through, and this is us doing our bit," he added. However, sneaky old Ed Sheeran has found a loophole. This August, the star had seven entries in the Top 100 - three as a solo act, and four as a guest vocalist on songs by Camila Cabello, Burna Boy, Fireboy DML and Russ. There's no stopping him, is there? 7) Ellie Goulding's suspicious number one The other way that streaming affects the singles chart is the avalanche of Christmas songs which appear every December, as everyone plays Now That's What I Call Christmas on a loop. Last year, 29 of the top 40 singles on Christmas week were festive favourites like Last Christmas, Santa Baby and Let It Snow, But 2020 threw up a strange anomaly: Ellie Goulding's cover of Joni Mitchell's River soared to the top of the charts, beating all of those perennial favourites. On the face of it, the feat seemed impossible. The song was exclusive to Amazon - meaning the only way to it was to stream or download it on their Music app, or to play it on Ellie's YouTube channel. River was not available on Spotify or Apple Music, and you could not buy it in the shops. Even so, it clocked up 78,000 sales. But, as many people pointed out, she had an unfair advantage. Amazon gave River a prominent place on its Christmas-themed playlists. So every time someone said, "Alexa, play me Christmas music" while they boiled their sprouts, they inevitably heard Ellie's song. And each of those plays counted towards the chart. What is more, the charts are weighted in favour of new songs - meaning River earned one "sale" when it was streamed 100 times on Amazon's subscription service; while Mariah Carey's All I Want For Christmas Is You needed 200 streams before a "sale" was counted. So while Ellie's number one was not a fix, it certainly felt suspicious - and the debate over whether active streams (where the listener selects a song and presses play) and passive streams (where the song plays automatically) should be counted differently still rages today. Some other chart statistics Most number ones: Elvis Presley, with 21 First foreign-language number one: Serge Gainsbourg and Jane Birkin, Je T'aime... Moi Non Plus (1969) Longest song title: Rod Stewart's You Can Make Me Dance Sing Or Anything (Even Take The Dog For A Walk, Mend A Fuse, Fold Away The Ironing Board, Or Any Other Domestic Shortcomings) Shortest song duration: Jonny Trunk and Wisbey's The Ladies Bras, at 36 secs Longest song duration: The Orb's Blue Room, at 39 mins 57 secs The Abba anomaly: Abba's SOS is the only palindromic hit by a palindromic artist.

Mark's Top 40 weekending 11th November 2022 1 (2) Queen - Face It Alone 2 (3) Tiffany - I Like The Rain 3 (1) Music 4 Ukraine - Heal This Broken Land 4 (6) Meghan Trainor - Made You Look 5 (4) Jessie Ware - Free Yourself 6 (7) Bananarama - Running With The Night 7 (New) Louise - Super Magic 8 (5) A-ha - You Have What It Takes 9 (13) The Fizz - Everything We Do, We Do It For You 10 (14) Howard Jones - Celebrate It Together 11 (10) Dean Lewis - How Do I Say Goodbye 12 (9) Jeannie Mattias - Don't Watch TV 13 (8) Betty Boo ft Chuck D - Miracle 14 (18) Ashanti - Falling For You 15 (26) Bruce Springsteen - Do I Love You (Indeed I Do) 16 (27) Adele - I Drink Wine 17 (28) Carrie Underwood - Hate My Heart 18 (34) Owen Paul - Waterflow 19 (30) T'Pau - World On Fire 20 (11) Daniel James - Do You Remember Me 21 (20) Razorlight - You Are Entering The Human Heart 22 (19) Mimi Webb - Ghost Of You 23 (17) Ten City - Love Is Love 24 (15) Lizzo - 2 Be Loved (Am I Ready) 25 (23) Shania Twain - Last Day Of Summer 26 (24) LeAnn Rimes - Spaceship 27 (39) Olly Murs - Die Of A Broken Heart 28 (16) Lewis Capaldi - Forget Me 29 (12) Tom Jones - I Won't Crumble With You If You Fall 30 (New) Debbie Gibson and Joey McIntyre - Heartbreak Holiday 31 (21) Arctic Monkeys - I Ain't Quite Where I Think I Am 32 (22) Reverend And The Makers - Heatwave In The Cold North 33 (New) Richard Marx - Shame On You 34 (25) Kenny Thomas - Contagious 35 (New) Paul Carrack - Crying Won't Help You 36 (New) Kool And The Gang - Let's Party 37 (New) Ralph McTell - The Unknown Soldier 38 (New) Mungo Jerry - Let's Do It Again 39 (New) Cliff Richard - It's The Most Wonderful Time Of The Year 40 (33) Mark Owen - Magic https://open.spotify.com/playlist/6yst2lApw...9d7e0e79e204ede

Mark's Album Chart - 11/11/2022 1. (New) Bruce Springsteen - Only The Strong Survive 2. (01) A-ha - True North 3. (02) Paul Heaton & Jacqui Abbott - NK Pop 4. (03) Howard Jones - Dialogue 5. (04) Betty Boo - Boomerang 6. (05) Carrie Underwood - Denim And Rhinestones 7. (06) Simple Minds - Direction Of The Heart 8. (07) Kylie Minogue - Impossible Princess 9. (08) Blue - Heart And Soul 10. (09) Debbie Gibson - Winterlicious 11. (10) Bananarama - Masquerade 12. (11) Bryan Adams - So Happy It Hurts 13. (12) The Fizz - Everything Under The Sun 14. (14) Michael Ball & Alfie Boe - Together In Vegas 15. (13) Daniel O'Donnell - I Wish You Well 16. (15) Steps - The Platinum Collection 17. (16) UB40 ft Ali Campbell and Astro - Unprecedented 18. (17) Altered Images - Mascara Streakz 19. (18) Tears For Fears - The Tipping Point 20. (19) Westlife - Wild Dreams

18. Louise - Super Magic

He had one out last year too 2EIRVknkLtA

23. Louise - Super Magic YuOPMbe8i6U

Oh this is good YuOPMbe8i6U

Mark's Top 40 weekending 4th November 2022 1 (1) Music 4 Ukraine - Heal This Broken Land 2 (3) Queen - Face It Alone 3 (5) Tiffany - I Like The Rain 4 (4) Jessie Ware - Free Yourself 5 (2) A-ha - You Have What It Takes 6 (16) Megan Trainor - Made You Look 7 (8) Bananarama - Running With The Night 8 (7) Betty Boo ft Chuck D - Miracle 9 (13) Jeannie Mattias - Don't Watch TV 10 (15) Dean Lewis - How Do I Say Goodbye 11 (9) Daniel James - Do You Remember Me 12 (6) Tom Jones - I Won't Crumble With You If You Fall 13 (19) The Fizz - Everything We Do (We Do It For You) 14 (20) Howard Jones - Celebrate It Together 15 (17) Lizzo - 2 Be Loved (Am I Ready) 16 (22) Lewis Capaldi - Forget Me 17 (25) Ten City - Love is Love 18 (27) Ashanti - Falling For You 19 (30) Mimi Webb - Ghost Of You 20 (31) Razorlight - You Are Entering The Human Heart 21 (18) Arctic Monkeys - I Ain't Quite Where I Think I Am 22 (10) Reverend And The Makers - Heatwave In The Cold North 23 (26) Shania Twain - Last Day Of Summer 24 (28) LeAnn Rimes - Spaceship 25 (11) Kenny Thomas - Contagious 26 (12) Bruce Springsteen - Do I Love You (Indeed I Do) 27 (New) Adele - I Drink Wine 28 (New) Carrie Underwood - Hate My Heart 29 (14) Anne-Marie ft Aitch - Psycho 30 (New) T'Pau - World On Fire 31 (21) Billy Idol - Cage 32 (24) John Carr - Cafe Al Fresco 33 (34) Mark Owen - Magic 34 (New) Owen Paul - Waterflow 35 (23) Cliff Richard - Sleigh Ride 36 (35) Elton John and Britney Spears - Hold Me Closer 37 (36) Mickey Dolenz - My Heart Is Failing Me 38 (38) Harry Styles - Late Night Talking 39 (New) Olly Murs - Die Of A Broken Heart 40 (New) Cliff Richard - Rockin' Around The Christmas Tree https://open.spotify.com/playlist/1eiMQi7Zk...1db6a1afaf94ebb

Mark's Album Chart - 04/11/2022 1. (01) A-ha - True North 2. (02) Paul Heaton & Jacqui Abbott - NK Pop 3. (03) Howard Jones - Dialogue 4. (04) Betty Boo - Boomerang 5. (05) Carrie Underwood - Denim And Rhinestones 6. (06) Simple Minds - Direction Of The Heart 7. (07) Kylie Minogue - Impossible Princess 8. (08) Blue - Heart And Soul 9. (New) Debbie Gibson - Winterlicious 10. (10) Bananarama - Masquerade 11. (11) Bryan Adams - So Happy It Hurts 12. (New) The Fizz - Everything Under The Sun 13. (New) Daniel O'Donnell - I Wish You Well 14. (New) Michael Ball & Alfie Boe - Together In Vegas 15. (14) Steps - The Platinum Collection 16. (15) UB40 ft Ali Campbell and Astro - Unprecedented 17. (16) Altered Images - Mascara Streakz 18. (17) Tears For Fears - The Tipping Point 19. (18) Westlife - Wild Dreams 20. (20) Natalie Imbruglia - Firebird

27. Heart - Alone (Strictly)

I don't think i've even heard ACR mentioned on the chart show.

https://radiotoday.co.uk/2022/11/former-cha...-on-boom-radio/ Former chart show presenters to host countdowns on Boom Radio Source: RadioToday Boom Radio will mark the 70th anniversary of the record chart on Sunday 20th November with a day of special programmes featuring former chart show presenters. The celebrations on Boom will also include playing the first-ever record chart in full from 1952. The first record chart was compiled in 1952 when Percy Dickens from the New Musical Express approached a selection of record stores to ask which were selling the most copies. The best seller for that first Top 12 chart was Al Martino’s Here in My Heart. The full listings: 12pm Boom’s John Peters plays the chart from this week in 1967 – voted the most popular year for music by Boom listeners. 1pm John Peters plays the first-ever music chart – from 1952 2pm Simon Bates plays the biggest Number Ones from each year, kicking off in 1958 and working through the years. Simon hosted the chart on the BBC from 1978-79 and again in 1984. 4pm Mike Read plays One Hit Wonders – Or Were They? Those huge hits which could have been the start of long careers – but weren’t! Mike’s chart pedigree is well known – as one of the founder editors of the UK chart reference book Guinness Book of British Hit Singles. 6pm Kid Jensen – the host of commercial radio’s first official chart ‘the Network Chart’ – returns to play the songs that were nearly hugely famous – but just missed out on the treasured Number One position. The top 12 from 1952: 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 High Noon (Do Not Forsake Me) Frankie Laine 7 Forget Me Not Vera Lynn 8 Sugarbush Doris Day And Frankie Laine 8 Blue Tango Ray Martin 9 The Homing Waltz Vera Lynn 10 Auf Wiederseh'n Sweetheart Vera Lynn 11 Cowpuncher's Cantata Max Bygraves 11 Because You're Mine Mario Lanza 12 Walkin' My Baby Back Home Johnnie Ray

Mark's Top 40 weekending 28th October 2022 1 (2) Music 4 Ukraine - Heal This Broken Land 2 (1) A-ha - You Have What It Takes 3 (12) Queen - Face It Alone 4 (3) Jessie Ware - Free Yourself 5 (14) Tiffany - I Like The Rain 6 (5) Tom Jones - I Won't Crumble With You (If You Fall) 7 (15) Betty Boo ft Chuck D - Miracle 8 (13) Bananarama - Running With The Night 9 (4) Daniel James - Do You Remember Me 10 (6) Reverend And The Makers - Heatwave In The Cold North 11 (8) Kenny Thomas - Contagious 12 (7) Bruce Springsteen - Do I Love You (Indeed I Do) 13 (20) Jeannie Mattias - Don't Watch TV 14 (16) Anne-Marie ft Aitch - Psycho 15 (39) Dean Lewis - How Do I Say Goodbye 16 (New) Meghan Trainor - Made You Look 17 (9) Lizzo - 2 Be Loved (Am I Ready) 18 (New) Arctic Monkeys - I Ain't Quite Where I Think I Am 19 (33) The Fizz - Everything We Do, We Do It For You 20 (40) Howard Jones - Celebrate It Together 21 (11) Billy Idol - Cage 22 (18) Lewis Capaldi - Forget Me 23 (17) Cliff Richard - Sleigh Ride 24 (19) John Carr - Cafe Al Fresco 25 (New) Ten City - Love Is Love 26 (New) Shania Twain - Last Day Of Summer 27 (New) Ashanti - Falling For You 28 (New) LeAnn Rimes - Spaceship 29 (10) Bananarama - Forever Young 30 (New) Mimi Webb - Ghost Of You 31 (New) Razorlight - You Are Entering The Human Heart 32 (21) Paul Heaton and Jacqui Abbott - Two Much For One (Not Enough For Two) 33 (24) Richard Marx - Same Heartbreak Different Day 34 (26) Mark Owen - Magic 35 (28) Elton John and Britney Spears - Hold Me Closer 36 (27) Micky Dolenz - My Heart Is Failing Me 37 (23) Shania Twain - Waking Up Dreaming 38 (22) Harry Styles - Late Night Talking 39 (25) Mungo Jerry - Happy 40 (29) Robbie Williams - Lost https://open.spotify.com/playlist/43xMw3qnt...c55c165b47f417a

Mark's Album Chart - 28/10/2022 1. (01) A-ha - True North 2. (02) Paul Heaton & Jacqui Abbott - NK Pop 3. (05) Howard Jones - Dialogue 4. (03) Betty Boo - Boomerang 5. (04) Carrie Underwood - Denim And Rhinestones 6. (New) Simple Minds - Direction Of The Heart 7. (New) Kylie Minogue - Impossible Princess 8. (New) Blue - Heart And Soul 9. (New) Arctic Monkeys - The Car 10. (08) Bananarama - Masquerade 11. (10) Bryan Adams - So Happy It Hurts 12. (09) Suede - Autofiction 13. (06) George Michael - Ladies & Gentlemen: The Very Best Of 14. (07) Steps - The Platinum Collection 15. (11) UB40 ft Ali Campbell and Astro - Unprecedented 16. (12) Altered Images - Mascara Streakz 17. (14) Tears For Fears - The Tipping Point 18. (16) Westlife - Wild Dreams 19. (18) Manic Street Preachers - The Ultra Vivid Lament 20. (19) Natalie Imbruglia - Firebird

NOW THAT'S WHAT I CALL MUSIC 113 Released 18th November 2022 https://twitter.com/NOWMusic/status/1585233965656309761

Loved it, Tegan and Ace shone in this episode, and i loved how they incorporated the other Doctors and it was nice Tegan and Ace reunited in scenes with their own Doctors too. And the "companions anonymous" bit at the end was a nice surprise i heard a rumour Bonnie Langford was doing a cameo but didn't know it was in this episode. So good to have some surprises that were not spoiled in the trailers. Of course Katy Manning has returned before in the Sarah Jane Adventures so it was nice to her again. And 97 year old (98 next month) William Russell back as Ian Chesterton how brilliant! I hear David Tennant is back for three episodes next year with Ncuti appearing in this year's Christmas Special. Be interesting how they do that probably in some sort of "waiting zone"