11 Songs That Were Perfectly Appropriate to Have Been #1 on Valentine’s Day

My colon is clean. I don’t have two-shits to give about Valentine’s Day but since I woke up this morning with a sudden, uncontrollable desire to revisit Celine Dion‘s love songs compilation (and have been merrily screeching along to all the top notes), I started to wonder what songs happened to have been #1 on Valentine’s Day over last 30 years or so.

February 14th is such a major date in the marketing calendar and no “””holiday””” has been better constructed with the sole purpose of exploiting romance and loneliness quite like this one, so it actually made sense to look back on what records were being pushed to death around this time of the year.

For every strategically timed single release that failed to top the charts, (Hi ya, Victoria Beckham ‘A Mind of Its Own’ circa 2002!) there were plenty who hit the mark and either had us all giddy with euphoria or weeping into a tub of Häagen-Dazs.

Here are 11 perfectly spot on Valentine’s Day chart-toppers:

Whitney Houston ‘How Will I Know’ (1986, US)

Believe it or not Whitney‘s first banger was actually a Janet Jackson reject. This joyous, fluorescent pop tune brings all my favourite elements of 80s pop, yearning and sentimental lyrics with really vibrant synths, big drums and big vocals. It doesn’t matter where in the world I am, I’ll feel instantly at home at any gay dive bar that plays this.

Cher ‘Believe’ (1999, Australia)

Speaking of gay dive bars! I guess we are where we are. I’m picturing a sea of blonde highlights in cargo pants in a heaving nightclub, green laser lights catching the sweat on heavily plucked brows. Everybody here is picturing someone they’d love to sing these words to. A survivalist dance anthem like ‘Believe’ and ‘I Will Survive’ really only comes around once every 10, 20 years or so – if we’re lucky. It took less than two months for this to become the biggest-selling hit of 1998 in the UK, and the excitement soon poured over internationally the following year when Australia made ‘Believe’ it’s Valentine’s Day anthem of 1999.

No Doubt ‘Don’t Speak’ (1997, Australia)

A gut-wrenching and quintessentially 90s rock break-up classic. I’m surprised to learn that despite this being the most played song on radio in 1996 in America, it never charted on the Billboard Hot 100 because ‘Don’t Speak’ was not released as an actual commercial single there. The single did however hit #1 in several international charts including Australia when we were all nursing heartbreaks that year to Gwen Stefani‘s aching tones.

George Michael ‘Careless Whisper’ (1985, US)

I get chills every time I hear that sax intro. Seriously, what a bloody god-sent masterpiece. ‘Careless Whisper’ topped the US charts in February 1985, six months after it was already a huge #1 hit in the UK. George would go on to have another Valentine’s Day #1 two years later with Aretha Franklin in ‘I Knew You Were Waiting For Me’.

Kylie ‘I Should Be So Lucky’ (1988, UK)

We all know the story behind this career-launching hit that almost wasn’t to be. But all I can say is thank god for Kylie sticking around the Stock Aitken and Waterman lobby and not storming out in a huff when those guys completely forgot she was scheduled to work with them, because the few minutes they had to scramble something together for her became ‘I Should Be So Lucky’. Who knew 30 years later it’d remain such a bittersweet and persistent metaphor for our perpetually unlucky in love pop princess?

Toni Braxton ‘Un-Break My Heart’ (1997, US)

Did I ever tell you guys that my father was obsessed with this song? Like capital ‘O’ obsessed. Like, Beyoncé playing a woman dressed by Target Obsessed. He had the Secrets album on cassette and would literally only rewind back to this song every single time. Then when CDs became popular, I think he went out and bought the album on CD because it was easier to keep the track on repeat in this format.

Macklemore and Ryan Lewis featuring Mary Lambert ‘Same Love’ (2013, Australia)

A beautiful and political declaration of equal love that very much reflected the cultural shift of the time. It’s so beautiful to see that this was #1 in Australia where sadly, the fight for marriage equality still continues. It’s actually odd looking back and seeing how much Macklemore was killing it at the time. Through all the years I’ve looked back on Valentine’s Day #1s, I’ve not come across one artist who had total dominance on US, UK and Australian charts like Macklemore and Ryan Lewis did in 2013 (‘Thrift Shop’ was #1 in US and UK that week).

Atomic Kitten ‘Whole Again’ (2001, UK)

I will never not have time for Atomic Kitten. It’s just one of those things. I won’t even call it a guilty pleasure because I don’t feel any way guilty for liking it, and neither should you. I literally screamed when I found out ‘Whole Again’ was #1 this week… 16 years ago! To think these girls were hanging onto their record deal barely by the tips of their acrylic nails before the label agreed to release ‘Whole Again’ is ludicrous. They had ‘Whole Again’ the whole time but chose to release four other tracks, which got virtually zero-cares from everyone. Thank god common sense prevailed!

Sinead O’Connor ‘Nothing Compares 2 U (1990, UK)

It’s been seven hours and fifteeeeeeen days… DEAD. I am dead. I forgot Prince actually wrote this one. This is may be a Prince song but it is a Sinead O’Connor classic, you feel me? The super chilling and despondent ballad was a massive fuck-off global hit for the Irish singer, shifting platinum sales in the UK and becoming the biggest selling single of 1990 in Australia. Part of me wishes Prince had written more break up songs for other people.

Jennifer Lopez ‘All I Have’ (2003, US)

That scene in the video where J.Lo is wiping her nose and lugging all her shit through the snow is literally what comes to mind every time I picture myself in post-break up glamour!     2002-2003 was the era where J.Lo was literally killing everybody in the game. She was dominating the box office with films like Maid in Manhattan, she had launched a successful fragrance collection, the tabloids were lapping up her Hollywood fairytale romance with Ben Affleck, she was massive on the radio with hits like ‘Jenny From The Block’ and this one… we didn’t quite catch it at the time but we were witnessing the building of one of America’s most enduring pop entertainers and media moguls with an empire that would keep expanding 15 years on. I’m literally too embarrassed to ask myself what I’ve done with my life in that time.

Whitney ‘I Will Always Love  You’ (1993, US and Australia) 

An appropriate and painfully obvious Valentine’s Day chart-topper. It spent a mind-blowing 14 weeks at #1 on the US Billboard chart. Oh yes… all through Christmas, Boxing Day sales, Hanukkah, NYE messiness and New Year’s resolutions that were broken before she came back for the big final chorus. The iconic song made a return on sadder terms this time five years ago after Whitney’s death. The surge of emotional purchases saw ‘I Will Always Love You’ top the iTunes charts and return to the US Billboard Hot 100 for the first time in 20 years.

Here is a playlist of 40* best Valentine’s Day #1 hits. All in one convenient music streaming receptacle. *’Nothing Compares 2 U’ is not on Spotify though….  ¯\_(ツ)_/¯

Carelessly whispering on Twitter as always – @feedlimmy.

 

 

 

Feed Limmy’s 40 Songs of 2016

In keeping with this annual tradition that stretches back to a land before Snapchat and Gigi Hadid, I am here to present you Feed Limmy’s Songs of The Year.

Over the years it has become more of a documentation of songs released in the past 12 months that I have really enjoyed or have soundtracked a special memory. I think for that reason, these lists of the more intimate nature perhaps carry a bit more meaning and weight, as they’re not critically-inclined but are measured by the standard of one’s enjoyment and personal connection. Which after all, is what music is all about.

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Limmy’s Hot Take: Kanye and M.I.A. come for Beyoncé, and New Music by Bruno Mars, ZAE and Kate Miller-Heidke

This week on Limmy’s Hot Take: Kanye simply living his truth – hashtag no filter – continues to be one of the most entertaining things happening in music right now. It’s so rock and roll.

Yesterday he arrived at his Sacramento show reportedly an hour and a half late, only to scrap the whole thing after performing just two songs. But not before adding some real value to the evening with an epic rant aimed at pals Beyoncé and Jay Z.

As NME reports, he called out Bey over her alleged condition that she would only perform at the MTV Video Music Awards if she was awarded Video of The Year over rivals Kanye and Drake.

He tells the crowd: “Beyoncé, I was hurt! ‘Cause I heard that you said you wouldn’t perform unless you won Video of the Year over me, and over ‘Hotline Bling.’ In my opinion — now, don’t go tryin’ to diss Beyoncé, she is great. Taylor Swift is great. We are all great people, we are all equal. But sometimes, we be playing the politics too much and forgetting who we are — just to win. Fuck winning! Fuck looking cool! Fuck looking cool! Fuck being cool! Fuck all that!”

I mean I do see a few points here that aren’t at the end of a finger. But fuck that, everybody wants to win, everybody wants to be cool. I don’t think Beyoncé’s alleged request is that outrageous, do you? You’d almost expect it. I definitely would if I were her. I mean, you won’t see it come from me via email, text or DM but I’d definitely make sure someone in my team gets on the phone and takes care of that. Also, how you gon’ have Beyoncé bring the kind of elaborate performance she always does to your show and not honour her in some way?

I know she was up for 11 VMAs this year, which by the way is the most amount of nominations she’s ever gotten in a single year, but let’s face it Video of The Year is the one. Also, let’s be real, out of Adele’s ‘Hello’, Bieber’s ‘Sorry’, Kanye’s ‘Famous’ and Drake’s ‘Hotline Bling’, ‘Formation’ was surely hands down Video of The Goddamn Year, mate.

Ye’s rant trying to expose Beyoncé as a greedy, game-playing, scheming corporation is not exactly a new angle. And better yet, the reality of that is not something you can change by being mad about it either. There are tons of super talented musicians and entertainers that fall to the wayside. Talent is not enough. You need more to slay in the game. You need great business acumen (thank you Mathew Knowles), power and influence. This empire was not built in a day. And it sure as hell wasn’t built on unprofessionalism and cancelling shows 10 minutes into it. But you know what, they’re both different artists and Kanye has real moments of greatness that is undeniable. What he does have, in place of Video of The Year, is a real candid quality about him. For better or worst he is himself, and that is actually really entertaining and refreshing in a world of heavily media-trained and overly cautious stars.

In other news, M.I.A. has also called out Beyoncé (and other A-listers like Madonna  and Rihanna) for stealing from her. According to Idolator, here’s what the British rapper and producer told Q Magazine:

“I’m fine with Madonna or Beyoncé or Rihanna being ‘inspired’ by my work. But I would like them to then go, ‘Yeah, this immigrant who came out of nowhere influenced us, so maybe not all of them are fucking terrible’. They don’t even think like that. They go ‘Yeah, maybe me stealing the stuff says she’s all right. She should be thankful we’re stealing it’. But sometimes you just think, ‘Fuck, I have to pay some bills,’ you know? Beyoncé comes from the school of Michael Jackson-ness. Where the family built an entire world to support you. From when you were a child. I never had that luxury. If you’re working class, music doesn’t belong to you like it used to – it would be really hard for Oasis to happen now. I’m just fodder. A template for pop stars to create more content. We constantly feed the top of the pyramid.”

I’m dead curious to know which tracks she is specifically referring to now. But overall, this is giving me pains circa Kat Deluna when J.Lo hooked up with RedOne and started jacking her sound for the very lucrative, career CPR-ing ‘On The Floor’/Love? era.

We’ve seen this happen over and over again, and it isn’t fair. It must be hard for an artist who is, I suppose, ‘not mainstream’ by nature, with very brilliant and occasional commercial crossovers, to straddle those worlds. It must be soul-crushing to be in those circles and see the money and opportunity, and be on the radar where people are watching, listening and having their creative team pin your shit to Pinterest boards, and you are not getting any recognition for it. It is also shit when you’re repeatedly told you’re ‘underrated’. That shit can take a toll – case in action, aforementioned Kat Deluna and the artist formerly known as Wynter Gordon, now relaunched under her real name Diana Gordon, who I’m very happy is winning now (you should read her interview with Fader).

I know this won’t help pay the bills but I take comfort in knowing that the age of the internet has opened so many more doors for artists. Real talent always shines, and I believe when you’re creating something of great quality that is also truthful to you, there will be an audience there. In a time where genres are breaking down and listeners are more guided by recommendations and artists that sound similar to the ones they like, things like playlists and those ‘Related Artists’ steer our consumption a lot. Perhaps there might be something in fostering a network of like-minded artists on your level that respect your craft and complement your artistry and brand, and pull each other up together. Collaborate! Create cool shit together! Do promo together! Go on tour together! Unite your fanbase! People seem to only be out for themselves now, trying to be the next mononym star. But seriously, come together!

Update: This thread by a songwriter, which came into my periphery after Guyliner retweeted it, is a good read.

 

Top tunes of the week

Bruno Mars’ entire 24K Magic album

I’m genuinely surprised I’ve chosen the new Bruno Mars album over Little Mix‘s. You know I love my pop girl bands. But to be honest, Bruno’s 24K Magic is everything. Nine tracks of hedonistic, solid 90s R&B and funk. I went through a phase of immersing myself in lots of New Jack Swing earlier this year so this couldn’t have come at a better time.

ZAE ‘Letting Go’

If you like Banks, chances are you’re gonna enjoy West London singer ZAE‘s ‘Letting Go’. She told The Line of Best Fit that the song was directly influenced by the singer and was in fact the very first song she wrote. Not a bad place to start, mate. Although that story is almost too good to be true. But what is good and certifiable true though is the intimate music video that comes with it, portraying a two young men in a volatile and emotionally-fraying stage of their relationship.

Kate Miller-Heidke ‘You’ve Underestimated Me, Dude’

I’ve always loved me some Kate Miller-Heidke. Unquestionably, the Professor Dumbledore of what she does, which is cleverly observant and sensitive lyrics and, every now and then when the mood calls for it, a theatrical performance like this one. ‘You’ve Underestimated Me, Dude’ is a nails down the back, bluesy rock clapback at misogyny.

Jhene Aiko ‘Maniac’

The camp-as-tinsel-on-Alan-Carr kid in me immediately thought of the Michael Sembello/Flashdance song but no this is something more of a sexier outing. ‘Maniac’ could have easily been mistaken for a Tinashe banger or a very slick Kelly Rowland comeback single (Sis, take notes!). It doesn’t sound like the Jhene Aiko I know but it’s definitely closer aligned to her joint album with Big Sean as Twenty88. “I’m a low-key freak you don’t know me yet”, she coolly sings over crystalline trap beats. That may be the case.

For more of my favourite tunes, check out my NEWEST playlist.

And finally…

Quite a few tweets this week reminiscing on the great pop songwriting output of Cathy Dennis, who of course, is responsible for Britney‘s ‘Toxic’, Kylie‘s ‘Can’t Get You Out of My Head’, Sugababes ‘About You Now’, and a couple of good Heidi Montag tracks you should not be ashamed to say you like (this is a safe space). So here’s a playlist of songs she has written for other artists and some performed by Cathy herself.

Tweet me your fave pop songwriters over at @feedlimmy.

The Vamps “Meet The Vamps”

British pop rock band The Vamps makes a bright first impression with their debut Meet The Vamps.

THE VAMPS MEET THE VAMPS ALBUM COVER

The bar must be set somewhere in the stratosphere after these boys struck up three consecutive UK Top 3 singles, but if the tracks on their eagerly anticipated album are anything to go by, The Vamps could well do us another three.

Meet the boys of The VampsBrad Simpson (lead singer and guitarist with Harry Styles hair), James McVey (lead guitarist and, I guess, second lead vocalist), Connor Ball (bass guitarist) and Tristan Evans (drummer).

We all know the importance of establishing individual quirks and personalities in pop groups, so until that becomes apparent, they all simply look like River Island models to me.

As far as solid debut pop albums go, The Vamps sits right on the money.

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Chart Feed – 12.12.11

Reece Mastin‘s ‘Good Night’ has been booted off the #1 spot by previous chart topper LMFAO‘s ‘Sexy and I Know It’. The teen X Factor winner’s been out promoting his mandatory cover’s album so we should see that effortlessly enter our Top 5 next Monday.

Watch them pitch Reece as just a regular rock band front man in the ‘Good Night’ music video:


 
Pink‘s ‘Bridge of Light’ is the biggest new single in Australia this week, debuting at #26. Just further proof that Aussies will lap up anything Pink these days, however beige and redundant the single may be.

Ricki-Lee‘s ‘Raining Diamonds’ isn’t seeing fortunes turn around after the music video finally dropped. She’s looking flawless as ever but the video has only garnered over 6,200 views in five days. Meanwhile, not that it’s necessarily fair to compare, Reece Mastin‘s video managed over 46,000 views in almost the same amount of time.

‘Raining Diamonds’ picks up to #34 on the ARIA singles chart this week but fails to secure any more radio support. The runaway smash sunk from #25 to #31 on the Aussie airplay charts (between 1 to 7 December).

Listen to ‘Raining Diamonds (Kreap’s Italo Disco Hammer Mix)’ done by Melbourne producer Kreap:


 
Timomatic‘s ‘Set It Off’ cracks our ARIA Top 50 at #39 this week. The Jason DeRulo-style dance/pop track is also the biggest gainer on our airplay charts (between 1 to 7 December), rising to #35.

Cher Lloyd‘s ‘With Ur Love’ (featuring Mike Posner) finally cracks our ARIA Top 50 at #48 this week. Meanwhile her series mates One Direction‘s ‘What Makes You Beautiful’ holds on at #11 and their album Up All Night drops to #10. I wouldn’t have believed it if y’all told me this time last year that we’d have two UK X Factor contestants in our Top 50.

The Potbelleez‘s new single ‘Feed Off Me’ debuts at #42 on our ARIA club charts. Surely this would have to be it from the album, right? Watch the gang’s video for ‘Feed Off Me’:


 
Adele‘s 21 has now been certified 10x platinum sales in Australia, so that’s over 700,000 copies for those counting on fingers and toes. Her first tour DVD Live at The Royal Albert Hall is #1 on our ARIA Music DVD chart for the second week running.

Over in the US, Live At The Royal Albert Hall is now the best-selling music DVD of 2011, cancelling all its competitors after just one week on the shelves. Live At The Royal Albert Hall managed to sell 96,000 copies in the last week, making it the biggest one-week sales for a music DVD in four years. Coming in next best in this year’s music DVD race is AC/DC‘s Live at River Plate (73,000 copies) and Beyoncé‘s I Am… World Tour (63,000 copies).

Beyoncé‘s Live at Roseland debuts at #4 on our ARIA music DVD chart this week. Meanwhile, Lady Gaga‘s The Monster Ball Tour holds tight at #2, Kylie‘s Aphrodite Les Folies – Live in London drops from #3 to #7 and Britney‘s Femme Fatale Tour fizzes from #8 to #21.

Over in the US, Live at Roseland remains at #2 on the DVD charts while Gaga‘s The Monster Ball slides to #3 and Britney‘s Femme Fatale business dips to #5. Kylie‘s Aphrodite Les Folies has interestingly debuted at #17 to be one of the biggest new music DVDs out in the week.

Watch Kylie slaying ‘Cupid Boy’ with her pack of gays – this should’ve been a single:


 
Susan Boyle can probably put in a down payment for a private jet now with her album sales steadily climbing in the Christmas buying period. The new album Someone To Watch Over Me   sits tight at #3 on our ARIA charts while her first album I Dreamed A Dream climbs back up to #52 and The Gift to #83.

Over in the US, Someone To Watch Over Me moves back up to #16 on the Billboard 200 while its predecessor The Gift leaps from #45 to #29.

Amy Winehouse‘s first posthumous album Lioness: Hidden Treasures debuts at #8 in Australia this week. Further down, Back to Black re-enters at #89. Over in the UK, Lioness enters at #1 to become the fourth biggest debut this year, with 194,966 opening week sales. The project’s new single ‘Our Day Will Come’ debuts at #29.

Glee‘s Glee: The Music Volume 7 debuts at #18 in Australia this week, making this their lowest charting compilation yet of the seven. I am, of course, excluding their Christmas albums and other supplementary records. Over in the UK, Volume 7 debuts at a disappointing #58.

Meanwhile in the States, the Glee gang sent five new entries into the Billboard Hot 100 and it reads as such: ‘Perfect’ (originally by Pink) at #57, ‘Girls Just Wanna Have Fun’ at #59, ‘I Kissed A Girl’ at #66, ‘I’m The Only One’ (originally by Melissa Etheridge) at #86 and ‘Constant Craving’ (originally by k.d. lang) at #89. Glee Cast‘s cover of ‘Perfect’ is the most downloaded new song on the digital charts. Check back next Monday to see where Volume 7 lands on the American album charts.

Check out Glee’s cover of ‘Fuckin’ Perfect’:


 
Kelly Clarkson‘s Stronger bows out of the ARIA Top 20 after seven weeks. Meanwhile over at the singles bar, ‘What Doesn’t Kill You (Stronger)’ edges up to #41 while ‘Mr Know It All’ plummets to #35.

Elsewhere, Stan Walker‘s Let The Music Play nosedives from #27 to #61 on our ARIA Top 100 in its third week while Sade‘s The Ultimate Collection re-enters at #85 after playing several dates around the country last week.

Lady Gaga‘s ‘Marry The Night’ finally bounces back into our ARIA charts at, well, #100 this week. *Snortcackles* Her massively successful Born This Way album also made a move back up from #71 to #53 this week while the remix album slumps to #79.

Over in the US, ‘Marry The Night’ manages a mighty leap from #59 to #32 in its fourth week in the Billboard Hot 100. Meanwhile her live Christmas EP – A Very Gaga Holiday – tumbles from #52 to #135 on the US Billboard Hot 100 and Born This Way: The Remix sinks to #188.

Listen to ‘Marry The Night (Dimitri Vegas & Like Mike Remix)’:


 
Rebecca Ferguson‘s Heaven made a formidable debut at #3 on the UK charts with 128,458 first week sales. Amazon has revealed that Rebecca‘s album has garnered more pre-orders than any other contestant from the UK X Factor 2010 cast. Heaven beat advance sales of Matt Cardle‘s Letters by 181%, One Direction‘s Up All Night by 11% and Cher Lloyd‘s Stick + Stones by 571%. Bam! Becca, you better werk.

Beyoncé‘s 4 picks up pace in the UK after ITV aired her amazing pre-recorded special: A Night With Beyoncé, sending the album from #49 to #26 with 24,115 copies sold during the week. Further down, I Am… Sasha Fierce also comes bolting back up at #81.

Looking at the singles bar, Bey‘s euphoric ‘Love On Top’ rises to a new peak of #22 in the UK while ‘Countdown’ ascends to #54 and ‘Best Thing I Never Had’ re-enters at #71.

Watch Bey deliver an emotional rendition of ‘I Care’ and ‘I Miss You’ for A Night with Beyoncé *crying and shaking*:


 
Kelly Rowland‘s Here I Am has thankfully picked up to a new peak of #43 on the UK charts before the end of her X Factor run. The smash single ‘Down For Whatever’ drops to #13 in its third week.

Olly Murs‘ moment of validation is finally here. His new single ‘Dance With Me Tonight’ finally claims the UK #1 slot after being cock blocked by Rihanna and the X Factor charity single in the last two weeks.

Mariah Carey‘s ‘All I Want For Christmas Is You’ makes its annual appearance on the charts, rising to #12 in the UK this week. Further down there are a tonne of other seasonal numbers showing up too. Highlights include: Coldplay‘s ‘Christmas Lights’ entering at #66, Michael Buble‘s ‘Have Yourself A Merry Little Christmas’ shooting up to #99 and Kylie‘s old ‘Santa Baby’ debuting at #100.

Meanwhile, I’ve rewatched this like a thousand times in the last 24 hours. That’s Christmas spirit for ya!


 
Michael Buble‘s unbeatable Christmas album clocks its second week on top of the US Billboard 200, with overall sales now passing the 1 million mark. It’s now the seventh album to sell over a million copies in the US this year.

Mary J. Blige‘s My Life II… The Journey Continues (Act 1) [Editor’s note: what a fucking indulgent album title] slides to #6 in its second week, suffering a 54% sales drop. Meanwhile, Mary‘s new singles move up the US R&B/Hip Hop chart: ’25/8’ rises to #39 and ‘Mr Wrong’ (with Drake) edges to #41.

Rihanna‘s Talk That Talk cops a 66% sales drop in its second week in the US. ‘We Found Love’ may still be the #1 single for six weeks running, but the album has slumped from #3 to #7, registering 68,000 second week sales.

‘We Found Love’ is the first song by any artist to stay at #1 for six or more weeks in both the US and UK since ‘Umbrella’. That’s two massive long-staying chart toppers for RiRi in this century. Could she possibly be the biggest singles artist in the Western world?

Meanwhile, ‘You Da One’ rises to #18 on the US Billboard Hot 100 while title track ‘Talk That Talk’ sinks from #31 to #77.

Listen to ‘You Da One (Liam Keegan Remix)’:


 
Robin Thicke‘s Love After War album should start charting on the US Billboard 200 later this week but if it’s any indication of interest, both its singles are steady rising up the R&B/Hip Hop charts: ‘Love After War’ making #20 and ‘Pretty Lil’ Heart’ featuring Lil Wayne at #70.

Katy Perry‘s ‘The One That Got Away’ drops to #7 this week after peaking at #5 on the US Billboard Hot 100. Well, show’s over – I guess. Nothing left to see here. But wait, from what I’ve heard, the song has been discounted to 69 cents on the US iTunes store and if you couple this with the increased radio airplay, things should technically improve for ‘The One That Got Away’ in the coming week. Plus, Katy‘s hosting of Saturday Night Live should generate enough publicity to help this single get back its footing.

Listen to ‘The One That Got Away (R3hab Remix)’:


 
Bruno Mars‘ ‘It Will Rain’ sits at #3 on the US Billboard Hot 100 but goes on to top the digital charts. The ballad, which was featured on The Twilight Saga: Breaking Dawn Part 1, is the first song from a movie soundtrack to go #1 on the US digital charts since Taylor Swift‘s ‘Today Was A Fairytale’ (which was launched from the Valentine’s Day soundtrack).

Jay-Z and Kanye West‘s ‘Ni**as in Paris’ leaps to #8 on the US Billboard Hot 100 after 17 weeks on the charts. Impressively, this is now Jay’s 18th US Top 10 hit. His first appearance was all the way back in 1997 as a feature rapper on Foxy Brown‘s I’ll Be’. Where is she now?

T-Pain featuring Wiz Khalifa and Lily Allen‘s ‘5 O’Clock’ rises to #8 on the US Billboard Hot 100, making this Lily Allen‘s first ever appearance in the American Top 10. I mean, it’s not like they don’t know who she is over there – her first album Alright, Still managed to go #20 and 2009’s It’s Not Me, It’s You made #5 on the US Billboard 200.

Watch the music video for ‘5 O’Clock’:


 
Nicki Minaj‘s buzz single ‘Roman in Moscow’ may be a muhfuggin’ hot mess but it’s managed to debut at a decent #64 on the US Billboard Hot 100 and #84 in the UK. This is the first a few new material we can expect on Pink Friday: Roman Reloaded – the beefy repackaged edition of her hit album that’s due on 14 Febuary.

Will.i.Am‘s ‘T.H.E. (The Hardest Ever)’ nosedives from #36 to #90 in its second week on the US Billboard Hot 100. Here in Australia, it falls out of the Top 100 altogether after just a week. Bye, bitch.

Check out the big budget music video for ‘T.H.E. (The Hardest Ever)’:


 
Enrique Iglesias clocks his fourth US #1 Dance/Club play smash from the Euphoria era with ‘I Like How It Feels’ (featuring Pitbull and The WAV.s) ascending to the top. Past club chart toppers include: ‘Dirty Dancer’, ‘Tonight (I’m Lovin’ You)’ and ‘I Like It’.

Wynter Gordon‘s ‘Buy My Love’ ascends to #4 on the US Dance/Club play chart. This is now mah gurl’s third top five dance smash following ‘Til Death’s placement at #3 and of course, ‘Dirty Talk”s reign at #1.

Deborah Cox is back, bitches, and her new single ‘If It Wasn’t For Love’ is the biggest new entry on the dance/club play charts this week, entering at #27.

Listen to ‘If It Wasn’t For Love (Mixin Marc & Tony Svejda Original Mix)’:


 
Other notable debuts in this neck of the charts include Ultra Nate and Michelle Williams‘ ‘Waiting On You’ (#41). Fuck yeah, Tenitra! Plus, David Guetta and Sia‘s ‘Titanium’ crashing in at #42 while Britney‘s ‘Criminal’ remixes arrive at a lowly #50.

Chart Feed – 17.10.11

LMFAO has the biggest selling single in Australia this week with the charming and timeless jam ‘Sexy and I Know It’. The American dance duo managed to dethrone Kelly Clarkson after her one-week reign on top with ‘Mr Know It All’. This is LMFAO’s second #1 hit here following the massive ‘Party Rock Anthem’. Fun fact: ‘Party Rock Anthem’ is the second longest running #1 single Australia has had in this century – reigning for 10 whole weeks. The longest staying #1 single we’ve had since 2000 is still Eminem‘s ‘Lose Control’, clocking 12 weeks. That’s the one to beat.

Beyoncé‘s ‘Love On Top’ rises to a new peak of #21 in Australia this week. We remain as the only territory to have picked up this track and run with it. Over in the US, ‘Love On Top’ makes its way back up to #82 on the US Billboard R&B/ Hip Hop charts. Other Bey singles to be making waves right now include ‘Party’ (featuring André 3000) – cracking the US Billboard Hot 100 at #93 and seeing this success naturally reflected on the R&B/Hip Hop charts, where it rose to #9 – and ‘Countdown’, her third official single, rising to #66 on the American R&B charts. Over in the UK, ‘Countdown’ leaps from #171 to #77.

Ed Sheeran‘s ‘The A Team’ debuts at #32, becoming the highest charting new entry on our ARIA Top 50 this week. Elsewhere, major pick up from the following three singles who all managed to crack the Top 50 in their second week – Simple Plan ‘Can’t Keep My Hands Off You’ (#45), Katy Perry ‘The One That Got Away’ (#48) and Nicole Scherzinger ‘Wet’ (#49).

Watch Katy Perry performing an acoustic run down of ‘The One That Got Away’ on X Factor:


 

Cody Simpson‘s ‘On My Mind’ enters at #51 in Australia this week. It must really irk his minders to not see this at least crack the Top 50 after all the promo and Skyping he’s had to endure in the last seven days. On the plus side, the blonde teen’s album Coast to Coast rises ten spots to #16. I suppose he is winning after all.

Speaking of winning Aussies, Vanessa Amorosi‘s ‘Amazing’ finally cracks the Top 100 at #83 this week – no doubt thanks to the X Factor performance last week. Meanwhile, other Australian pop new releases like Natalie Bassingthwaighte‘s ‘All We Have’ and Stan Walker‘s ‘Light It Up’ have yet to show up in the ARIA Top 100. Change might be coming Nat Bass’ way, though. ‘All We Have’ suddenly enjoys some radio pick up, becoming the fifth most added new song to our airwaves this week. Shannon Noll‘s ‘Switch Me On’ plummets to #71 this week. People probably stopped buying it because they knew the album was coming [Editor’s note: in fact, A Million Suns as it is called came out on Friday].

Wynter Gordon‘s stunning ‘Buy My Love’ finally cracks the ARIA Top 100 at #77 after what has seemed like an eternity since the single was first issued to radios. I am not sure what’s inspiring the sudden pick up of late, but I’m sure glad it’s happening. It would be great to see this go Top 20 eventually just like its predecessors ‘Til Death’ (certified gold sales) and ‘Dirty Talk’ (last summer’s #1 which went on to be certified four times platinum sales). The album With The Music I Die shamefully remains well outside our Top 100.

Watch Wynter Gordon‘s ‘Buy My Love’ video:


 
360‘s debut album Falling & Flying tumbles to #10 in its second week. Meanwhile, over on the ARIA Top 100 – two of his tracks surface: ‘Boys Like You’ featuring Melbourne singer Gossling (#81) and his current single ‘Killer’ (#88).

Lana Del Rey‘s eagerly anticipated breakthrough single ‘Video Games’ debuts straight in at #98 this week. We all kinda saw this doing well ever since it started appearing on the iTunes charts based on pre-orders alone. ‘Video Games’ comes out in the UK this week, so check back next Monday to see where she lands on the British charts. LDR really is one of the best discoveries 2011 has brought to date. You can peruse reviews and pick up so many great descriptors of her style (eg. “gangster Nancy Sinatra“) but the package is probably best first experienced by watching the ‘Video Games’ video.

Here it is, in case you haven’t already been clued in on the Lana Del Rey movement:


 
Gotye‘s Making Mirrors remain as the biggest selling Australian album out there right now – sitting at #4 this week with a shiny new double platinum accreditation. The ‘Somebody That I Used To Know’ warbler has earned seven 2011 ARIA Awards nominations including Single of The Year, Best Male Artist and Highest Selling Single for the aforementioned track with Kimbra. Gotye has also been confirmed to perform at the award ceremony on 27 November. Looking on the UK release schedule, I was surprised to find ‘Easy Way Out’ etched in for a 28 November release. Dude, this song is like less than two minutes long.

Sneaky Sound System‘s From Here to Anywhere debuts at #11 in Australia this week – becoming the third biggest new entry here. Other debuts ahead of the Aussie duo include Chris Isaak‘s new one Beyond The Sun coming in at #3 and Evanescence‘s much-touted self-titled comeback at #5. Meanwhile, the Sneaky’s current smash single ‘Big’ moves to a new peak of #58. It’s actually the second week in the row that the song has jumped ten places up the chart. At this rate, they should be well in the ARIA Top 50 by this time next week – right?

Bjork‘s Biophilia enters at a humble #48 this week in Australia and #21 in the UK – making this the lowest charting positions ever for her in both territories (I am, of course, only comparing this with her other studio albums – not greatest hits package, remix albums etc). Biophilia wound up with only 9,872 first week sales in the UK. I’ve come to expect a bit more from Bjork given all the publicity and attention she has garnered for this project’s multimedia elements. The experimental artiste definitely has more of a cult following, which usually means heavy first week sales, then you fall off the charts. If this is as good as it gets for the first week then we might be in trouble.

Watch the video for Bjork‘s newest single ‘Moon’:


 
Steps scores a comeback #1 album with their Ultimate Steps collection scorching up the UK charts this week, meaning the band can now proudly say they’ve had a #1 album in every one of the last three decades. But before we start toasting, Ultimate Steps pulled a humble 34,200 first week sales to go #1 – making it the second lowest selling #1 in the UK this year. Back in their hey day, Steps managed three million-selling albums – Step One (1.39 million, even though it never actually made #1), Steptacular (1.28 million) and Gold: The Greatest Hits (1.11 million). Could the Ultimate Steps collection gather enough momentum to reach those heights come their April reunion shows?

Evanescence‘s self-titled third album looked so certain to go #1 in the UK when the midweeks came in but by the week’s end, it finished the race at #4 with a total of 26,221 copies sold.

Adele is still canceling every other ho in the game here. The British soul siren is on course to become the first artist to score both biggest selling album and single in both the US and UK since The Beatles did it in 1964. Over in the US, ‘Rolling In The Deep’ is still unmatched as the biggest selling single of the year so far. ‘Someone Like You’ is hands down the biggest selling single of the year so far in the UK – clocking over 1.2 million copies. Y’know, at this rate, I don’t even think this year’s British X Factor winner has a chance of outdoing that come the finals in December. If you wanna compare, last year’s series winner Matt Cardle managed 810,000 copies to go #1.

Looking on the album charts, Adele has not only got the biggest selling album in UK this year with 21 (hitting 3.1 million sales), she’s also got the second biggest in its predecessor: 19. The third biggest selling album in the UK so far in 2011 is Bruno MarsDoo-Wops & Hooligans. Rihanna‘s mega hit album Loud and Lady Gaga‘s Born This Way rank at fourth and fifth place respectively.

Watch Gaga getting caught up in a little ‘Bill Romance’ just for Bill Clinton’s Decade of Difference Concert:


 
Rihanna‘s ‘We Found Love’ surprisingly holds on to the #1 spot for its second consecutive week. This is basically the first time since July that we’ve had a single stay longer than a week at #1. The Brits are going hard for RiRi. ‘We Found Love’ registered at 20% sales increase in its second week, taking home over 106,553 sales. Meanwhile, Maroon 5 and Christina Aguilera‘s ‘Moves Like Jagger’ clocks its seventh week at #2. Apparently this is only the second single in history to have spent seven weeks at #2 (and never go #1). The last one was All-4-One‘s ‘I Swear’ back in 1994.

Gym Class Heroes and Adam Levine have the highest selling new single in the UK this week with ‘Stereo Hearts’ debuting at #3 with 68,287 first week sales. This is Gym Class Heroes‘ highest charting position there since their breakout single ‘Cupid’s Chokehold’ in 2006. That one also made #3.

X Factor winner Matt Cardle didn’t go stomping into #1 after all. His new single ‘Run For Your Life’ – which was written by Gary Barlow – debuted at #6, selling 39,633 copies to become the second biggest new release on the charts. Consider this, the previous year’s winner Joe McElderry also clocked #6 with his first original single ‘Ambitions’.

Watch Matt Cardle performing his next single ‘Starlight’ at an album showcase gig:


 
One Direction sees their hit single ‘What Makes You Beautiful’ drop to #10 in its fifth week. The X Factor formed boy band is primed to launch their second single ‘Got To Be You’ on 14 November in the UK, a week before their debut album Up All Night arrives. The album features a track titled ‘Tell Me A Lie’ which was reportedly co-written by Kelly Clarkson. There’s also a RedOne produced track called ‘Save You Tonight’.

This year’s UK X Factor finalists will release their charity single – a cover of ‘Wishing On A Star’ – on 21 November. These charity records have all gone #1 and traditionally sold quite generously as well. The very first one, a cover of Mariah Carey‘s ‘Hero’ recorded by the 2008 finalists, went double platinum in the UK.

Scotty McCreery – the latest American Idol winner – has made history in his own way, y’all. The 18-year old’s debut album Clear As Day enters at #1 on the US Billboard 200, making him the youngest man to have a debut album enter at #1. The last record holder was R&B singer Omarion who saw his first album O debut at #1 in 2005 when he was aged 20.

Amazingly enough, Scotty is also the first American Idol winner since 2003 to have a debut album enter at #1. Clear As Day sold a meek 197,000 copies to top the charts. The last Idol winner to have an album debut at #1 – Ruben Stannard – pulled off 417,000 first-week sales. Just saying.

Gloria Estefan‘s comeback album Miss Little Havana made something of a death drop, y’all. After debuting at #28 – selling something like 17,000 first week copies – the Latin dance/pop album sank to #129 in its second week. I mean, damn. It’s almost enough to make a girl vow to never dance again. I love how the forums are crying murder now, blaming the album’s “Target exclusive” deal for the commercial floppage. Basically, if she had done a Walmart exclusive – which a lot of stars manage – instead of a Target one, things wouldn’t have looked this dismal. There are reportedly over 4,700 Walmart stores around the US and only 1,800 Target branches. There you go. Less Mami Gloria CDs to go around. Meanwhile, looking on the US dance/club charts, Gloria’s current single ‘Wepa’ tumbles from #1 to #7.

Watch Gloria going on The View to promote the new record and perform ‘Wepa’:


 
Taio Cruz‘s new single ‘Hangover’ (featuring Flo Rida) debuts at #62 on the US Billboard Hot 100. Meanwhile, further down, J.Lo‘s ‘Papi’ returns at #96 – possibly pushed by stronger club plays? The ‘Papi’ remixes move up to #3 on the US Billboard Dance/Club charts. Speaking of dance hits, Nervo‘s debut recording artist single ‘We’re All No One’ moves up to #31 on the US Billboard Dance/Club charts.

Monica‘s new single ‘Until It’s Gone’ makes a surprising leap in its second week to #55 on the US R&B/ Hip Hop charts. Its superb predecessor ‘Anything (To Find You)’ has done pretty well for a buzz single to reach #25 there. Old Mo’s seventh studio album New Life will drop on 29 November in the US.

Kelly Rowland‘s ‘Lay It On Me’ drops a few place back to #47 on the US Billboard R&B/Hip Hop. Wait a minute, shouldn’t it be moving up and not the other way? Here I Am [International Version] is slated for a UK release on 7 November, a week after the dance/pop single ‘Down For Whatever’ drops. Make what you will of this “international version”. She told That Grape Juice that it’ll be a revised tracklisting with more dance-oriented material but who knows, there hasn’t been any more information teased.