Chart Feed – 20.02.12

Queen Mother of Vocal Pop – the late Whitney Houston – stormed the singles and album charts this week.

There was little to no doubt in any living being’s mind that Whitney ‘Nippy’ Houston was one of the most important female pop stars of our time. Her sudden passing last week sent the masses into a vortex of Bodyguard rewatching and dramatic lip synch performances not experienced since the diva’s hey day. Brace yourself for a rather comprehensive Australian, UK and US Whitney chart watch this week, y’all.

Here’s a quick flash of what we’re working with. In America, Whitney pretty much sold more in one day posthumously than she did an entire year.

The diva clocked 101,000 albums in the week she died – most of these sales would’ve been off the back of one day’s sales following her death. Contrast this with the 97,000 sales she took all of 2011 and so far in 2012 (up to last week) to accrue.

Y’all can read my little tribute to Whitney, if you missed it last week.

Check out this week’s Chart Feed:


 
Whitney Houston‘s expansive greatest  hits compilations vaulted into the Australian Top 20 this week with The Greatest Hits leaping to #3, The Ultimate Collection at #12 and The Essential at #20. None of Nippy‘s individual studio albums did as stunningly, though. The Bodyguard soundtrack unsurprisingly being the next strongest seller – returning at #33 – while Whitney‘s debut, self-titled album re-enters at #81.

Over at the singles bar, the legendary diva’s take over was much more prominent. ‘I Will Always Love You’ (see above) rose head and shoulders above the rest to hit #8 while ‘I Wanna Dance With Somebody’ shows up at #25 and ‘I Have Nothing’ returns at #47.

Outside the Top 50, Whitney‘s clocking the following: ‘Greatest Love of All’ (#56), ‘How Will I Know’ (#67), ‘Saving All My Love For You’ (#90), ‘I’m Every Woman’ (#95) and ‘Didn’t We Almost Have It All’ (#96).

Watch the video for ‘I’m Every Woman’:


 
Over in the UK, The Greatest Hits compilation returns at #7 while the Top 40 singles chart glistened with three smashes: ‘I Will Always Love You’ (#14), ‘I Wanna Dance With Somebody (#20) and ‘One Moment In Time’ (#40).

Out in America, The Greatest Hits compilation returns to #6  on the Billboard 200 chart for the week ending 12 February – with just 64,000 copies sold. Mind you, this is only accounting for one full day of sales following her death. The immediate sales surge in that period also saw the following return to the Top 200: Whitney Houston (#72 with 8,000 copies), The Bodyguard soundtrack (#80 with 8,000 copies), I Look To You (#118 with 5,000 copies) and The Preacher’s Wife soundtrack (#183 with 4,000 copies).

22 Whitney tracks appeared in the US Billboard Top 200 digital songs chart a day after she died. I’ll spare you the details but just know that ‘I Will Always Love You’ made #3 on the digital charts with 195,000 downloads. The mega hit is projected to sell around 250,000 to 300,000 copies between 13 to 19 February.

Hang on to your lace fronts because next Monday when I report on what a full week’s worth of posthumous Whitney sales are worth, it will blow your mind.

Watch the video for her last single ‘I Look To You’:


 
Gym Class Heroes‘ ‘Ass Back Home’ featuring Neon Hitch races 15 spots up to #2 in Australia this week. A remarkably quick up take for a song that’s been on the charts for just two weeks but not completely surprising given that it’s the biggest gainer on the Aussie airplay chart (in week 9 to 15 February). This is Neon Hitch‘s first appearance on the Aussie charts.

Chris Brown‘s ‘Turn Up The Music’ is the biggest selling new single in Australia this week, debuting at #13. The douche royale’s rumoured collaboration on Rihanna‘s nipped album track ‘Birthday Song’ invited a mother load of backlash on the Barbadian pop princess. I’m sure you can read all about it on any given pop music blog but I’mma point you to The Prophet Blog‘s boycott Rihanna post)

One Direction‘s ‘One Thing’ swings into the Aussie Top 20 this week, making it the British wonder boy band’s second smash Down Under. 1D recently said they wanted to work with Ed Sheeran again for their second album and this time, they want the direction to be “grungier”.

Madonna‘s ‘Give Me All Your Luvin’ (featuring Nicki Minaj and MIA) drops to #44 in its second week. Over in the States, ‘GMAYL’ registers a 44% sales increase and leaps to #6 on the US Billboard Digital Song chart with 165,000 downloads. L-U-V it or loathe it, it sounds like MDNA is gonna deliver much stronger tracks than ‘GMAYL’.

Here’s a preview of ‘Girls Gone Wild’, ‘Give Me All Your Luvin” and ‘Turn Up The Radio’:


 
Jessie J‘s ‘Laserlight’ featuring David Guetta‘s already getting its ass dimmed. The pauper’s copy of ‘Titanium’ drops 20 places to #68 after peaking at #48 last week. The British pop sensation’s not set to release ‘Laserlight’ in the UK until 7 May, conveniently coinciding with her judging gig on The Voice UK.

Ricki-Lee‘s ‘Raining Diamonds’ exits the ARIA Top 100 after successfully clocking platinum sales last week. For those playing at home, that’s sales of over 70,000 copies in Australia. The girl has teased that a new single’s just around the corner and a making-of-the-album video is on the way.

Watch Ricki-Lee performing ‘Raining Diamonds’ and ‘Can’t Touch It’ at Fluffy:


 
Lana Del Rey‘s Born To Die slips to #2, after just one week on top. The good run can’t possibly last any longer now that she’s cancelled her tour. ‘Video Games’ falls to #39 on our singles chart while the title track plummets to #59 this week. Over in America, it’s a bigger slap in the bee-stung lips with Born To Die sinking from #2 to #13 in its second week.

Adele‘s 21 cancels the competition and returns to #1 in Australia for its 28th non-consecutive week, making this the sixth longest charting album in Aussie chart history. All that post-Grammy euphoria keeps fuelling the British soul siren’s star power. Stand back and brace yourself for a sales surge in the States following the awards hysteria.

Roxette‘s Hits compilation debuts at #39 in Australia this week following their much-loved comeback tour around the nation. Them old timers have a new album out but it’s not like anyone’s really paying attention when there’s an entire back catalogue of gems to be revisited such as ‘Listen To Your Heart’, ‘It Must’ve Been Love’ and ‘Dangerous’.

Reminisce on Roxette‘s ‘Dangerous’:


 
Aussie indie hip hop band Hermitude‘s Hyperparadise album sinks from #37 to #71 in its second week. Chart gravity is also weighing down on the likes of M83 and Drake with Hurry Up, We’re Dreaming and Take Care falling to #77 and #93 respectively. M83‘s hit single ‘Midnight City’ plummets from #77 to #91 this week while Drake‘s title track featuring Rihanna sits at #12.

Sharon Corr‘s Dream of You album debuts at #67 in Australia this week. Who exactly is buying this?

Emeli Sandé‘s Our Version of Events hits #1 in the UK while the accompanying new single ‘Next To Me’ soars to #2, selling 113,000 first week copies. Down here in Australia, Our Version of Events enters at #46 while ‘Next To Me’ debuts at #100. Not bad given that she’s still relatively unknown and unattended to by local media here.

Watch Emeli doing an acoustic version of album track ‘Mountains’:


 
Gotye‘s Making Mirrors makes a remarkable debut at #4 in the UK this week to be the second biggest new album in the country. Old Wally‘s hit single with Kimbra ‘Somebody That I Used To Know’ drops to #3 after spending a week at #1. The song is still the second most played song on British radios (behind Jessie J‘s ‘Domino’).

Nicki Minaj‘s moderately acceptable new single ‘Starships’ enters at #16 in the UK and #72 in Australia this week. The RedOne produced Eurodance-inflected track is pandering at its most blatant, especially following the aural dirrhoea that was her last two buzz singles ‘Roman in Moscow’ and ‘Stupid Hoe’.

Marcus Collins‘Seven Nation Army’ climbs to #22 on the UK airplay chart, building it up for Top 10-worthy sales when the single drops in two weeks. Speaking of X Factor – the gobby Cher Lloyd, who’s been busy coming for everyone from Cheryl Cole to Marcus, drops her fierce single ‘Want U Back’ (featuring Astro) today. Check back next week to see where it lands on the charts.

fun.‘s ‘We Are Young’ (featuring Janelle Monae) tops the US Billboard Digital Song chart with 296,000 downloads. The song’s popularity is thanks in great part to a placement on some Chevrolet commercial. ‘We Are Young’ managed to debut at #41 in Australia, making this the American indie band and Monae‘s first singles chart placement in our country.

Watch the video for ‘We Are Young’ – the lead singer has some Del Rey lips going on there:


 
Katy Perry‘s new single ‘Part of Me’ is on course to give the popstar her biggest ever opening week sales in America. Billboard predicts that ‘Part of Me’ will rack up anywhere between 400,000 to 420,000 copies when the new week’s chart is revealed on Wednesday. Queens, this will be the biggest weekly singles sales America has clocked since Lady Gaga dropped ‘Born This Way’ last year. In Australia, ‘Part of Me’ enters at #22 this week.

Monica and Brandy‘s reunion duet ‘It All Belongs To Me’ debuts at #66 on the US Billboard R&B/Hip Hop song chart. This is the 90s R&B goddesses’ first collaboration in 14 years.

Check out their soulful and confident performance on Jay Leno:


 
Blush – the delightfully low rent “pan-Asian” girl band – hits #1 on the US Billboard Dance/Club play chart with ‘Dance On’. This chart never ceases to amaze me. Meanwhile, Havana Brown‘s ‘We Run The Night’ has impressively risen to #3 there.

Dev and Enrique Iglesias‘ new single ‘Naked’ is the biggest new cut on the dance/club play chart this week, debuting at #30. The future AM club anthem – produced by The Cataracs – is the third single lifted from Dev‘s debut The Night The Sun Came Up.

Get ‘Naked’ with Dev and Enrique:

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4 Comments

  1. Your Sharon Corr diss made me LOL. I am a serious Corrs fan and even I can’t bring myself to support this project.

  2. Yo, just an FYI that Whitney’s last single was ‘Million Dollar Bill’, not ‘I Look To You’

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