RSS Feed
Sep 12

Charts – 9 September 2022

Posted on Monday, September 12, 2022 by Paul in Music

The regular Radio 1 chart show didn’t air on Friday for the obvious reason, but the charts were published as usual.

1. Eliza Rose & Interplanetary Criminal – “B.O.T.A. (Baddest of Them All)”

Two weeks. The main challenger this week is David Guetta featuring Bebe Rexha’s “I’m Good (Blue)” at number 2, although the midweeks have a new Lewis Capaldi single entering at number one. We’ll see if that holds up – records that enter really high tend to be fanbase records, and fanbase records have front-loaded sales.

20. Tom Odell – “Another Love”

Hmm. This is a number 10 single from 2013 which has been floating around the bottom reaches of the top 100 on and off for over a year now. It’s done well enough in the last couple of weeks to justify the record label asking for a chart reset, which is why it’s re-entering this week. Quite why it was reviving is less clear – it seems to have been a combination of some organic traction on social media. I mean, there’s a fairly dreadful Tiesto remix, but that’s been out since May. (And to be fair to Tiesto, what was he meant to do with this track?)

Odell hasn’t had a hit single since 2016 – and that was a single week at number 40. He hasn’t had a hit single of any significance since “Real Love” reached the top 10 in 2014. But he still does very respectably on the album chart, where he’s yet to miss the top 5.

29. The 1975 – “I’m In Love With You”

Also curious – this is the third single from the 1975’s next album, but the first to make the top 40. Which presumably means it’s not here just on the fanbase vote, despite the 1975 being the sort of band who you’d expect to have transitioned to the album chart by now. They can still get a single from each album into the chart, though.

37. Harry Styles – “Matilda”

This is an album track from “Harry’s House”, but it seems to be in line to be the next single. There’s a general surge in interest in Harry Styles tracks this week: “Late Night Talking” climbs 14-5 this week, and “As It Was” climbs 22-18. The likely cause is the promotion for his film Don’t Worry Darling, which had its premiere this week.

38. Lizzo – “2 Be Loved (Am I Ready)”

The follow-up to “About Damn Time” has been floating around in the lower reaches since the parent album came out in July, and the video’s been out for nearly a month, but it’s been slow to really take off. It climbs from 58 this week, though, so something seems to have woken up.

39. Bugzy Malone & MIST – “Energy”

Bugzy Malone had his last top 40 hit at the start of 2021 when “Notorious” got to 30, but he’s had a few singles miss the chart since then. MIST had a top 10 hit in 2019, “So High”, which I confess to having completely forgotten about. This is pretty good.

This week’s climbers (and there’s a lot of them):

  • “I’m Good (Blue)” by David Guetta featuring Bebe Rexha climbs 7-2. Guetta’s had a few top 3 hits recently, but this becomes his highest placing hit since “Lovers on the Sun” was a number 1 in 2014. Bebe Rexha also passes her previous best of number 5, which was in 2014. Guetta’s other current single, “Crazy What Love Can Do”, is still at 10.
  • “I Ain’t Worried” by OneRepublic climbs 4-3. That’s enough to become their highest placed single since, um, 2014. Again.
  • “Super Freaky Girl” by Nicki Minaj climbs 11-6. It’s a bona fide hit, and she hasn’t had one of those in a while.
  • “Ferrari” by James Hype & Miggy Dela Rosa climbs 8-7.
  • “Big City Life” by Luude & Mattafix climbs 10-9.
  • “Bad Habit” by Steve Lacy climbs 15-12.
  • “Under the Influence” by Chris Brown climbs 21-14.
  • “Snap” by Rosa Linn reaches 21, two weeks after peaking at 23.
  • “There’d Better be a Mirrorball” by Arctic Monkeys climbs 38-26, which I wouldn’t have predicted in a million years.
  • “Mary on a Cross” by Ghost climbs 33-28.
  • “Turn on the Lights Again” by Fred again.. & Swedish House Mafia climbs 34-30.
  • “Ku Lo Sa – A Colors Show” by Oxlade climbs 36-32.

The five tracks leaving the top 40 are:

  • “Stay the Night” by Sigala & Talia Mar, which peaked at 11 but lasted a respectable 12 weeks in the top 40.
  • “Remind Me” by Tom Grennan, which peaked at 27 but also hung around (mostly in the 30s) for 12 weeks.
  • “21 Reasons” by Nathan Dawe featuring Ella Henderson, which peaked at number 9 in July.
  • “Man in the Mirror” by D-Block Europe, after a single week at 40.
  • “Where Did You Go” by Jax Jones featuring MNEK, which peaked at number 7 in March, finally leaves the top 40 after a 30-week run.

On the album chart:

1. YUNGBLUD – “Yungblud”

His third album, his second number 1. One of those odd acts where the music seems obviously designed for the singles market, but his only significant hit single was guesting on a KSI track.

3. Megadeth – “The Sick the Dying and the Dead”

“Introducing Megadeth’s CYBER ARMY 3.0, a web3 ecosystem dedicated to Megadeth fans and collectors. The first collection, RATTLEHEADS, is coming soon and will feature a generative collection of Vic Rattleheads highlighting nearly 40 years of iconic themes & imagery.” Oh dear.

This is their sixteenth album and, surprisingly, their highest placing. Their previous best was number 5, with 1992’s “Countdown to Extinction” – this is the first time a Megadeth album has made the top 10 since 1994.

13. Tom Jones – “Surrounded by Time”

This was a number 1 album last May – though it only lasted three weeks in the album top 40. It seems to have re-entered after he performed one of the songs on The Voice UK last week. Whatever you make of the set-up, it’s a hell of a performance for a man of 82.

19. Tom Chaplin – “Midpoint”

Third solo album by the lead singer of Keane. The first reached number 3 in 2016, the second was a Christmas album so it doesn’t really count (it placed at 21, though).

28. Steve Hackett – “Genesis Revisited Live: Seconds Out & More”

Live album from his 2021 tour. “Seconds Out” was Genesis’s second live album, from 1977, at the tail end of Hackett’s tenure with the band. He’s released previous “Genesis Revisited” albums in 1997 and 2012-2014.

34. Nina Nesbitt – “Älskar”

Erk. Nesbitt’s 2014 debut “Peroxide” got to number 11; her 2019 follow-up got to 21; and now we’re in the 30s. She does place well in the Scottish charts, but since those are based solely on sales, I’m not sure how seriously I’d take them.

Bring on the comments

  1. Mark Coale says:

    Do you think the next #1 will be related in some way to the Queen’s death and/or Charles?

    I heard someone say they should release the woman singing God Save the King at the cricket as a single, since it was first time it was sung on a large public scale.

    Or god forbid its Candle in the Wind again.

  2. Paul says:

    No, it’s not the sort of event that prompts mass streaming of a single track (and in this day and age, you really do have to have people *listening* to it, not just buying it as a gesture). I could just about see something weird like Spotify’s first answer for “God Save The Queen” scraping the bottom end of the charts but even that would surprise me.

  3. Eric G says:

    I don’t use spotify, but surely the first result for “God Save the Queen” there would be the Sex Pistols?

    My American view of the British charts (largely shaped by your articles) would be surprised if it didn’t make the charts, although not necessarily very high.

  4. Omar Karindu says:

    I was thinking about some of what I’d seen on social media about, say, The Smiths or the Sex Pistols getting back onto the charts because of the recent news.

    I think a lot of us, uh, not-so-young folks — me included, from time to time — get excited about the way streaming can break down timeline differences, and older hit or a cult hit can briefly become a “moment” in contemporary cultural consensus. It seems like modern music consumption creates more room for revivals than the old monoculture/sales music market and consumption model did.

    But I still definitely get the sense from these posts that musical acts such as Beyonce, BTS, Harry Styles, Rihanna, Taylor Swift, and Ed Sheeran reach a majority of music consumers, forming part of a generation’s shared popular memory of this era.

    I wonder how much that is true in the UK or Europe as compared to the U.S., though. Are the claims that the monoculture is dead overblown, or at least very U.S.-centric?

Leave a Reply