Last Christmas finally tops the UK Chart!

[DiBiase is Good]

It took 36 years but Wham’s festive masterpiece has finally reached the top of the chart.
It was originally released as a Double A Side with Everything She Wants in December 1984 but as it was up against the original version of Do They Know it’s Christmas (which George sang on), it peaked at #2. George also donated all the royalties to the Band Aid appeal, so it topped up the amount of money made for the Ethiopian Famine.
However, a piece of UK music trivia has been laid to rest today. Last Christmas was the best selling single never to top the chart. Now it’s Moves Like Jagger by Maroon 5.

[Mr PONYMANIA Mr Jenzie]

from mariah to sausage rolls and now wham ... what a journey!

[Spider2024]

But the very next week... it falls to #89.

[DiBiase is Good]

Jan 1, 2021 15:09:02 GMT -5 Spider2024 said:

But the very next week... it falls to #89.

The song that was #1 last week fell to #78 this week.

[karl100589]

Jan 1, 2021 15:13:13 GMT -5 DiBiase is Good said:

Jan 1, 2021 15:09:02 GMT -5 Spider2024 said:

But the very next week... it falls to #89.

The song that was #1 last week fell to #78 this week.

Good. LadBaby and his sausage roll obsession stopped being funny after the second listen, let alone three years

[DiBiase is Good]

Jan 1, 2021 16:13:20 GMT -5 karl100589 said:

Jan 1, 2021 15:13:13 GMT -5 DiBiase is Good said:

The song that was #1 last week fell to #78 this week.

Good. LadBaby and his sausage roll obsession stopped being funny after the second listen, let alone three years

It’s awful but at the very least, it makes a ton of money for charity and he hasn’t tried to piggyback a career off it. He just turns up at Christmas, makes an awful song and promptly pisses off again.

I’m not one of those people who gives any song a free pass as it’s for charity though, as a shit song is a shit song.

[thirteen3]

Good.

Now let's get "Christmas Time (Don't Let the Bells End)" to top next year.

[Jaws the Shark]

I don't even like "Last Christmas" that much and yet it's still the least offensive number one single of the past four weeks.

[SmashTV]

As good a story as this is, do the charts even count anymore?

I’m 45 years old, so I’m old enough and of the right generation to ask the question.

[DiBiase is Good]

Jan 2, 2021 15:16:45 GMT -5 SmashTV said:

As good a story as this is, do the charts even count anymore?

I’m 45 years old, so I’m old enough and of the right generation to ask the question.

I suppose to some they still do.
I know times have changed but I still don’t think watching a song on YouTube should count towards a chart placing. Have a separate chart for that.
If you buy it in any form where it’s yours to keep and listen to without an internet connection, then it should count.

[Jaws the Shark]

Jan 2, 2021 15:16:45 GMT -5 SmashTV said:

As good a story as this is, do the charts even count anymore?

I’m 45 years old, so I’m old enough and of the right generation to ask the question.

It will to the suits in the industry, I think it matters less than ever to the general public. Streaming has pretty much trashed the singles charts and the concept of traditional singles anyway, because a song doesn't even have to be released as a single to chart provided it gets enough plays, so it's harder than ever for a new emerging artist to chart without some serious major label hype, because they're so easily squeezed out when a well-known song from twenty or thirty years ago can easily chart again, or Ed f***ing Sheeran can have fifteen songs in the top twenty by himself.

Christmas number one in particular has been meaningless ever since that twat Cowell managed to get a virtual monopoly on it. I still remember how he whinged over Rage Against The Machine getting it in 2009, and complained about the "cynical" campaign because it was preventing him getting his way.

So short answer, no.

[DiBiase is Good]

Jan 2, 2021 17:01:02 GMT -5 Jaws the Shark said:

Jan 2, 2021 15:16:45 GMT -5 SmashTV said:

As good a story as this is, do the charts even count anymore?

I’m 45 years old, so I’m old enough and of the right generation to ask the question.

It will to the suits in the industry, I think it matters less than ever to the general public. Streaming has pretty much trashed the singles charts and the concept of traditional singles anyway, because a song doesn't even have to be released as a single to chart provided it gets enough plays, so it's harder than ever for a new emerging artist to chart without some serious major label hype, because they're so easily squeezed out when a well-known song from twenty or thirty years ago can easily chart again, or Ed f***ing Sheeran can have fifteen songs in the top twenty by himself.

Christmas number one in particular has been meaningless ever since that twat Cowell managed to get a virtual monopoly on it. I still remember how he whinged over Rage Against The Machine getting it in 2009, and complained about the "cynical" campaign because it was preventing him getting his way.

So short answer, no.

The Rage Against the Machine thing was cynical though. There was something laughable about people claiming they wouldn’t do what Cowell wanted them to do by buying a song that has “I won’t do what you tell me” because of a social media campaign. It’s a shame as a song as good as that is now reduced to being best-known as part of a ploy to stop some long-forgotten pop singer from getting a #1 (which he achieved a week later anyway).
Why didn’t any big bands actually go out and record a good, new Christmas song and people would buy it because they actually enjoyed it? We had The Darkness recording a song that was clearly written in minutes and designed purely to line their pockets every year (and an excuse for Justin Hawkins to shout “Bell’s end” at a bunch of kids). Coldplay recorded a Christmas song that was so dismal, it made their other stuff somehow seem exciting.

Cowell was able to monopolise the Christmas song with his series of bland, uninspiring, colour by numbers cover versions because other bands allowed it to go that way.

[Jaws the Shark]

Jan 2, 2021 17:16:41 GMT -5 DiBiase is Good said:

The Rage Against the Machine thing was cynical though. There was something laughable about people claiming they wouldn’t do what Cowell wanted them to do by buying a song that has “I won’t do what you tell me” because of a social media campaign. It’s a shame as a song as good as that is now reduced to being best-known as part of a ploy to stop some long-forgotten pop singer from getting a #1 (which he achieved a week later anyway).
Why didn’t any big bands actually go out and record a good, new Christmas song and people would buy it because they actually enjoyed it? We had The Darkness recording a song that was clearly written in minutes and designed purely to line their pockets every year (and an excuse for Justin Hawkins to shout “Bell’s end” at a bunch of kids). Coldplay recorded a Christmas song that was so dismal, it made their other stuff somehow seem exciting.

Cowell was able to monopolise the Christmas song with his series of bland, uninspiring, colour by numbers cover versions because other bands allowed it to go that way.

It was a bit silly, I didn't buy it personally. And you're right, most other Christmas singles are absolute shit and clearly lazy cash-ins; one of my friends to this day hates Cliff Richard's "Millennium Prayer". I think what stuck in my craw was Simon Cowell of all people complaining about cynicism, a man who made a fortune and turned himself into a celebrity by making a television programme almost celebrating the cynicism and nastiness of the music industry.

[DiBiase is Good]

Jan 2, 2021 17:43:02 GMT -5 Jaws the Shark said:

Jan 2, 2021 17:16:41 GMT -5 DiBiase is Good said:

The Rage Against the Machine thing was cynical though. There was something laughable about people claiming they wouldn’t do what Cowell wanted them to do by buying a song that has “I won’t do what you tell me” because of a social media campaign. It’s a shame as a song as good as that is now reduced to being best-known as part of a ploy to stop some long-forgotten pop singer from getting a #1 (which he achieved a week later anyway).
Why didn’t any big bands actually go out and record a good, new Christmas song and people would buy it because they actually enjoyed it? We had The Darkness recording a song that was clearly written in minutes and designed purely to line their pockets every year (and an excuse for Justin Hawkins to shout “Bell’s end” at a bunch of kids). Coldplay recorded a Christmas song that was so dismal, it made their other stuff somehow seem exciting.

Cowell was able to monopolise the Christmas song with his series of bland, uninspiring, colour by numbers cover versions because other bands allowed it to go that way.

It was a bit silly, I didn't buy it personally. And you're right, most other Christmas singles are absolute shit and clearly lazy cash-ins; one of my friends to this day hates Cliff Richard's "Millennium Prayer". I think what stuck in my craw was Simon Cowell of all people complaining about cynicism, a man who made a fortune and turned himself into a celebrity by making a television programme almost celebrating the cynicism and nastiness of the music industry.

I’m no fan of Cowell but I think the UK music scene got a bit lazy in a “you can’t compete, why bother?” that did more damage than Cowell’s latest cash machine.
In 2003, someone did bother and the Michael Andrews/Gary Jules cover of Mad World beat Cowell’s latest crop of pop idols and The Darkness to be an unlikely Christmas #1 but other than that most years it was the latest Cowell TV winner or a charity ensemble.
I’m not really that bothered by bands trying to cash-in on the Christmas market. I’m bothered when they try and claim it’s for reasons other than that, like when The Darkness were trying to get a Christmas number 1 to “bring the importance back”.

I was talking about Cliff Richard the other day. I can’t stand the guy but I saw an interview where he discussed the accusations of him only releasing songs for Christmas. He honestly answered that he did that because it’s when the market is open and you don’t do it when the market is closed. Several other bands for years did the same thing without getting anywhere near the amount of shit Cliff got for it. At least he was honest.

[Jaws the Shark]

I wouldn't blame the artists so much as the industry, I think acts are just doing what the labels expect them to do, which is churn out insipid music for people to play in the car or hear at Asda while doing the big shop. The industry has always valued disposable acts as long as its existed, but moreso than ever now that they don't really need to try to discover interesting new artists when they can just take someone with connections, or from a TV programme, or the BRIT School or Youth Music Theatre or whatever, and shape them into the "perfect" artist; even the Darkness fall into this category with their early success coming from Justin Hawkins being a well-connected advert jingle writer, which sort of explains their being little more than an irritating novelty act. So I'm totally with you on the Darkness, far from turning it into something "important" again they were as much a part of the industry hit mill as Cowell's latest project. And I probably shouldn't pick on Cowell here because there are dozens of them, like Simon Fuller and Louis Walsh who are all as bad as each other.

I've gone on a real rant there so I hope that's all stayed coherent. I'm probably sounding like a proper grumpy bastard here or like I'm having a go at you (which I'm not at all), but it does bother me because I love pop music and always have, and it upsets me to see the worst, ugliest parts of it become more and more prevalent, and for it to become as boring as it has.

[Natural Born Farmer]

Jan 2, 2021 15:16:45 GMT -5 SmashTV said:

As good a story as this is, do the charts even count anymore?

I’m 45 years old, so I’m old enough and of the right generation to ask the question.

I live in Texas and what tops the UK charts Christmas Day is still pop culture news in this country.

Usually it's because it's something outrageous like Rage Against The Machine, but this is somewhat neat too.

Song itself always seemed questionable to me.  Who tells someone they love them through a note?  Especially if it's someone who doesn't even know them?

[FinalGwen]

Every year that keeps it away from The Pogues is fine by me.

[DiBiase is Good]

Jan 2, 2021 19:53:55 GMT -5 Jaws the Shark said:

I wouldn't blame the artists so much as the industry, I think acts are just doing what the labels expect them to do, which is churn out insipid music for people to play in the car or hear at Asda while doing the big shop. The industry has always valued disposable acts as long as its existed, but moreso than ever now that they don't really need to try to discover interesting new artists when they can just take someone with connections, or from a TV programme, or the BRIT School or Youth Music Theatre or whatever, and shape them into the "perfect" artist; even the Darkness fall into this category with their early success coming from Justin Hawkins being a well-connected advert jingle writer, which sort of explains their being little more than an irritating novelty act. So I'm totally with you on the Darkness, far from turning it into something "important" again they were as much a part of the industry hit mill as Cowell's latest project. And I probably shouldn't pick on Cowell here because there are dozens of them, like Simon Fuller and Louis Walsh who are all as bad as each other.

I've gone on a real rant there so I hope that's all stayed coherent. I'm probably sounding like a proper grumpy bastard here or like I'm having a go at you (which I'm not at all), but it does bother me because I love pop music and always have, and it upsets me to see the worst, ugliest parts of it become more and more prevalent, and for it to become as boring as it has.

Oh trust me, I agree with you on the state of pop music. It’s absolutely not a case of “we’re older now, so everything modern is shit”, pop music has always been manufactured but in recent dimes it’s become so sterile and insipid, it’s barely recognisable.

And steaming a song is absolutely not the same as buying a song and should never be treated as such. When I was younger, if you heard a song on the radio or you heard it on a TV show, that never counted towards a chart position. You went out and bought the single, that counted. Or even later in my music-buying days, if you bought a digital copy of that song on a platform like iTunes, that counts. Watching a video on YouTube isn’t a sale (or even part of a sale or however they do it).

My issue with Cowell stems with how quick he discards these acts that he builds up on his shows. They’re undeniably talented because the vast majority of X-Factor winners can actually sing pretty well (when they’re not over-singing a song and making a three letter word have nine syllables).

Being number one still has meaning, it’s just not the same meaning it once was.

[Bo Rida]

Jan 2, 2021 17:43:02 GMT -5 Jaws the Shark said:

to this day hates Cliff Richard's "Millennium Prayer".

As they should, one of the worst crimes against music ever commited.

[Jaws the Shark]

Jan 3, 2021 13:54:02 GMT -5 DiBiase is Good said:

Oh trust me, I agree with you on the state of pop music. It’s absolutely not a case of “we’re older now, so everything modern is shit”, pop music has always been manufactured but in recent dimes it’s become so sterile and insipid, it’s barely recognisable.

And steaming a song is absolutely not the same as buying a song and should never be treated as such. When I was younger, if you heard a song on the radio or you heard it on a TV show, that never counted towards a chart position. You went out and bought the single, that counted. Or even later in my music-buying days, if you bought a digital copy of that song on a platform like iTunes, that counts. Watching a video on YouTube isn’t a sale (or even part of a sale or however they do it).

My issue with Cowell stems with how quick he discards these acts that he builds up on his shows. They’re undeniably talented because the vast majority of X-Factor winners can actually sing pretty well (when they’re not over-singing a song and making a three letter word have nine syllables).

Being number one still has meaning, it’s just not the same meaning it once was.

Absolutely. The X Factor basically blows the exploitative nature of major labels wide open for everyone to see; it lures people with promises of fame and fortune and then chews them up, getting what it can while they still have novelty value and then dropping them when the next flavour of the month comes along. There are a few quite damning stories about how horribly it exploits contestants and auditionees, and none of them are remotely shocking. I'd be very interested to see what kinds of contracts artists sign with Syco too, because I suspect they're not paid anywhere near as much as they earn, and I would wager that most of it goes into Cowell's pockets.

And you're right about streaming contributing to the meaninglessness of charts, and the current state of pop music, the industry controls trends more than trends control the industry and even things like mumble rap and drill, which people point to as examples of new musical trends, aren't really that popular, it's not like say, 25 or 30 years ago when alternative rock was huge and even bands as decidedly uncommercial as Mudhoney or the Melvins had major label contracts because the entire industry wanted to cash in on "grunge". Today those bands probably wouldn't even exist, because for a working or middle class person to live in the places these bands came from without being independent very wealthy is pretty much impossible, let alone for them to do it on low wages while supporting a burgeoning music career. Music has been gentrified, to the point that I can think of a band that has a literal aristocrat among its members. But that's probably a discussion for another day.