A Stillness Falls…


Except for December each year, when A Fairytale of New York makes its annual pilgrimage, I pay virtually no attention to the British Pop Charts. It is many long years, indeed decades, since the music was of any genuine interest to me (which is as it should be), and except for December, it’s exceedingly rare if there be one track on the top 100 with which I’m even passing familiar.

I like it that way.

But old habits die hard, especially ones that you’ve been nurturing since 1970, and I still check the chart every week, eve though it is a list of titles and artists that are practically meaningless to me. Admittedly, since they brought the date forward to Friday evening, as opposed to Sunday, I’m late in ‘catching up’ more often than not. I’ve only just checked this week’s chart, and it makes for some interesting reading.

Number 1 for a third week is Mike Pozner and ‘I took a pill in Ibiza’. I realise that I could, at any moment, go on YouTube and access this, and any other song I chose, but I have no intention of doing so. The mere title suggests all manner of things horrible to my ear, and I’m not concerned to learn what diference there may be to my prejudices.

What causes me to write is something other. Pozner’s been at no. 1 for thtree weeks, and before that one Lukas Graham was top for five weeks. In fact, we’re now in April, and there have only been five no. 1s all year thus far. There were only twenty-three in the whole of 2015, as opposed to thirty-seven in 2014, thirty-five in 2012 and thirty-five again in 2010.

Alright, that proves nothing of itself, given that the alternating years each produced less than thirty, but there’s more evidence to consider. For a second successive weeks, there are no new entries directly into the top 40. In fact, the highest new track is at 61, and the next at 84. There are five further entries between 91 and 100, but three of these are re-entries.

And taking the top 40 in isolation, there are only two ‘new entries’, and the lower of these, at 38, is a re-entry. Only Meghan Trainor, at no 30, is actually new to the top 40.

It gets worse: there are joint highest climbers, at 26 and 11, both of which have only risen seven places, and the fastest faller is at 36, down 9. Practically the whole top 40 has changed places since last week by three places or less.

Now, I may not be interested in the contents of the chart, but I remain fascinated by its mechanics. In 1970, when I first grew interested, the charts – then a top 30, that expanded to a 50 – were in a static phase: no new entries directly into the top 20, long-running no 1s (four consecutive no 1s took up twenty weeks in the summer/autumn, and one of those only lasted one week).

But even those staid days were volatile compared to what I’m seeing here. And the comments under the Chart on its official website make it plain that the natives are growing restless.

There is seemingly a simple answer: the inclusion of streaming in creating the charts. One commentator alleges that record companies are exploiting a new form of manipulation, paying people in call centres to stream certain songs 24 hours, and that this will soon be exposed publicly. Most people are blaming the increasingly unchanging charts on the inclusion of streaming, and calling for a return to sales only.

According to one source, The Pet Shop Boys’ latest single, ‘The Pop Kids’, a self-referential song I’ve actually heard, when I can’t be arsed to switch off Radio 2 after Sounds of the Sixties and run on into Graham Norton’s Show, is at no 2 in the Physical Chart and in the mid-90s on the Sales Chart (which I assume is the one that adds in the downloads) but is yet to appear in the top 100.

If this is correct, it’s hardly surprising. The moment chart music was unhitched from purely physical formats, the Music Industry lost control. People were no longer restricted to only what was printed. Deleted singles ceased to have any meaning. To buy a physical copy of my beloved ‘Something in the Air’ in a record shop. I have to go hunting in second hand shops and stalls. But I can download it any time I want, as often as I want.

Enough of us, responding to, say, its use in a popular TV drama, can send it back into the Charts without any record company being able to stop us.

But the smothering of new music, even if it isn’t what I want to hear, in this fashion isn’t good for music. Nor was the breaking down of the single, when an enthusiastic fan base can download an entire album’s track-listing into the Chart, at once, by concerted purchase of individual tracks.

I shall watch developments with interest. Pop doesn’t do standing still very well. It’s something about the genes, as opposed to the jeans.

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