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2015 in british music charts

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Ask anyone other than a music obsessive who any of those artists are and the chances are you will draw a blank. Just click on any year in the list below.

In the 1970s the required number of sales needed to top the chart was roughly 150,000. The calendar year that has featured the most UK number ones is 2000, which featured 42 singles reaching the top spot; the years with the fewest number ones are 2016 & 1954, both with 11, just ahead of 1956, 1962, 1992 and 2019 with 12.

To put it into context, Adele’s first week album sales were more than those of the previous 19 British chart-topping albums combined. Released in November, her third album, 25, has broken all kinds of sales records around the world.

The sources, in accordance with the official canon of the Official Charts Company, are the New Musical Express chart from 1952 to 1960; the Record Retailer chart from 1960 to 1969; and the Official UK Singles Chart from 1969 onwards. The year will also be remembered for the awful scenes at Paris’s Bataclan venue, a direct attack on music by forces of terror. Festivals remain buoyantly successful, massive attractions for all the family, even if, in the background, you can hear the faint sound of promoters fretting about where the next generation of headliners are going to come from.

But most of this kind of music is locked out of the pop streaming party.

Promoters can complain about business rates and lack of government support, but the bottom line is surely that audiences  are uninspired by fading local and national scenes. Since July 2014 it has also incorporated streaming data, and from 10 July 2015 has been based on a Friday to Thursday week. In fact, before Adele, the biggest sellers of the year had all been released the year before. Indeed, if they can get enough subscribers for paid services, then it may yet prove to be the financial saviour of a music business that has been struggling since the internet came along. The UK Singles Chart is a weekly record chart which for most of its history was based on single sales from Sunday to Saturday in the United Kingdom. According to John Seabrook’s behind-the-scenes look at modern pop production, The Song Machine, the peculiar sameness and banality of singles are a result of the huge teams of songwriters and producers required to craft even the most insignificant hit. When it comes finding a young musician with mainstream ambitions and artistic aspirations set higher than being the face of a fashion brand, it is hard to recall a year so bereft of possibility. From, See the list of Number One songs for a specific year, The charts we use from November 1952 onwards are compiled by the Official Charts Company which produces the UK Singles Chart for the music industry, including the BBC. “Hello, it’s me,” was the simple greeting that erupted into a global sensation.

It is a singles market, in other words. The latest offers and discount codes from popular brands on Telegraph Voucher Codes, Released in November, her third album, 25. Prepare to wave the Union Jack and turn up the bloody volume.

Framed Birthday Number One vinyl records for any date from 1947 to 2020.

NME's chart was published each week in its eponymous magazine. It is the one album everyone will have heard or heard about. This is because older listeners still favour albums and you don’t actually need to sell many to get into the charts (Faithless hit number one with just over 12,000 sales, barely enough to have gone top 40 in their glory days). The Beatles' first chart-topper, "From Me to You", reached number one in May 1963. It is a form of internet radio, a competitive listening arena where the idea is to grab attention by any means possible.

If listeners don’t care passionately about the music then markets will continue to shrink, and the endless online stream will turn into something that gushes past our ears unremarked.

Last edited on 10 November 2020, at 13:35,, Creative Commons Attribution-ShareAlike License, This page was last edited on 10 November 2020, at 13:35. [3] In 2000, when turnover of number ones was high, tracks could often sell between 100,000 and 200,000 copies in a single week. [2] During 1992, when few releases were reaching number one, sales of CD singles were low: songs needed to sell only 60–70,000 each week to remain at the top. Instead, streaming promotes individual tracks, often from curated playlists.

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