Discussion in 'Charts, rates etc' started by Ironheade, Mar 3, 2018.
I am sure my autocorrect is already geared up...
I might not submit my scores depending on how many things I find worthy of a six, so you may very well be bottom by default.
Or you know, your average in the last round might be an anomaly, but that's not as fun.
Well, there's Crêpe by TLC, no dignity, mmm opportunity? (Heaven knows where it got that) by Han solo, Irish by goo goo dolls, balsamic by Enrique...
These are all real potentials indeed!
When did this turn into the Relationships thread?
Brace yourself for heterophobia and sassy gifs.
Somebody's clearly got something on their mind.
It may have reminded me of something @Hudweiser said to me after he gave my Patty Smyth entry a 12 in PJOPS...
I'm up to 7 10s currently.
(That might be all.)
Oh gosh. Should I leave already or wait until I'm chased out with pitchforks?
Please don't hurt any of my potential 11s @Ray (although I anticipate you will stab Shawn at least...)
I'll thank you to speak for yourself.
Need a proper listen through. I'm sure of my 11, my 10s and my zero (I've settled on only one, and it's not Have You Ever Really Loved A Woman which I fully expect to come last anyway) but everything in between needs sorting. And there are a couple in there I don't recall ever hearing.
Ah, try mid-30s. I was from the ages of 12 to 16 for this which was my peak time of "OMG, I've got to watch TRL when I get home" and "record the hit-list from radio onto a cassette" days.
I knew that (and I can name a half dozen more of you who are at least 30, including me!) - I was just trying to be generous!
Oh, then I appreciate that.
I have voted.
Live footage of @Ironheade receiving my ballot via PM:
OK, so we're coming up on four weeks until the deadline. I'll do another tagging round within the next couple of days. So how about some more SONGS WE ALMOST HAD TO RATE in the meantime?
And this time, it's one for the bumpkins: yep, we're looking at some country music! I've mentioned this before, but in the early 90's, country was dominated by very traditional-leaning artists, whose material was usually not primed for playing on pop radio, and whose Hot 100 presence was often stymied by the fact that they frequently didn't release physical singles (the country chart at this time was airplay-only, so they didn't have much incentive to do so). But in the latter half of the decade, that completely changed. A new wave of more polished and mainstream country artists had emerged, and they weren't shy at aiming their music directly at pop and adult-contemporary radio over pleasing the honky-tonk crowds. Of course the country purists grumbled at this development (though they usually view this style more favourably now), but hey, you can't argue with success. And as far as the ladies of country go, you don't get any more successful than these two...
YOU'RE STILL THE ONE – SHANIA TWAIN
For example, here's the one who had the highest-selling album by a female artist of all time, and the ninth highest-selling album of all time in the US! “You're Still the One” was the third single from Come On Over, but the first to be released to pop and international markets, and in commercial terms, it was an incredible introduction to the record; released as a single in January 1998, it had ascended to its #2 peak by the beginning of May. It would ultimately spend nine non-consecutive weeks there, behind both "Too Close” and “The Boy is Mine”, solely due to a lack of stock of physical singles (though that didn't stop it achieving a double platinum certification). Naturally, it topped the country charts, giving Shania her sixth #1 there – only for one week in May, but it lasted 24 weeks on the chart, her longest country chart run yet – as well as topping the Adult Contemporary chart, where it spent eight non-consecutive weeks at the top and a total of 81 weeks on the chart. Altogether, this secured “You're Still the One” the #3 position on the Year-End Hot 100 for 1998, and #34 on the decade-end Hot 100. Unlike a lot of her country contemporaries, Shania saw worldwide success on an unprecedented level. The song got a #2 in Canada, a chart-topper in Australia, a #10 in the UK, and a #9 in New Zealand. At the 1999 Grammys, “You're Still the One” took home two awards (Best Country Song and Best Country Female Vocal Performance), but lost both Song of the Year and Record of the Year to “My Heart Will Go On”.
HOW DO I LIVE – LEANN RIMES
I told you late 90's female country-pop was big... but before looking at the numbers, I hadn't quite remembered that it was THIS big. Presenting for your consideration, “How Do I Live” - the biggest hit of the decade, and the fourth-biggest hit of ALL TIME. Whoa.
Sure, it had some substantial worldwide achievements. For one thing, it was the sixth highest-selling single in the UK in 1997, and spent 30 weeks in the top 40 there, even though it only reached #7. But who cares about that? Just LOOK at those numbers it racked up in the States! Released in June 1997, having been originally written for, of all things, the soundtrack to Con Air (though it was ultimately not used), “How Do I Live” may never have topped the Hot 100, but it sure made up for it in longevity. It spent five non-consecutive weeks at #2, and would go on to log a staggering 25 weeks in the top 5; this record would be broken in 2017 by the Chainsmokers with “Closer”. To put this into perspective: Usher released “You Make Me Wanna” and “Nice and Slow” SEVEN MONTHS apart, and both those songs were in the top 10 alongside “How Do I Live”! It set two further records for the longest run in the top 10 (32 weeks) and the longest run on the Hot 100 (69 weeks), and earned a nomination for the Academy Award for Best Original Song, which it lost to "My Heart Will Go On". It sold over three million singles, making it the highest-selling country single ever at the time (Taylor Swift has since beaten it with “Love Story”), and was named #9 on 1997's Year-End Hot 100 and #5 on the 1998 Year-End. It topped the Adult Contemporary chart for eleven straight weeks, and, of course, we must return to LeAnn's home base on the country charts, where it was a massive world-conquering smash success that reached... #42?!
What the hell happened there? Well, the execs at Walt Disney Pictures (the studio behind Con Air) were concerned that the song's subject matter was too mature for a 14-year-old, so an alternate version was recorded by Trisha Yearwood, with LeAnn's management rush-releasing the song to pop radio once they became aware of this. Nevertheless, Trisha's version became one of the biggest hits of her career, making #2 on the country charts. While it was her biggest pop crossover, climbing rapidly to #23 on the Hot 100, the single was quickly pulled from market for fear of cannibalizing album sales, so it ended up with a truncated chart run of 12 weeks. Record labels are dicks. (Oh, and here's another bit of trivia. Both LeAnn and Trisha's versions were nominated for the 1998 Grammy for Best Country Female Vocal Performance, the first time the Grammys ever nominated two artists for the same song in the same category! Trisha took it.)
Wasn't it Trisha's version that was used in Con Air?
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