I don’t listen regularly to the Top 40 any more, so its move to Friday afternoon instead of Sunday evening is just another “well, back in my day” to add to my brain, but one thing I loved (and still love) about the Top 40 is that no matter what the song was, it was always played in the countdown. It was one of the few chances to bypass the pluggers and pickers of the national pop music station and get airplay. Be it Status Quo, The London Philharmonic Orchestra, or that year’s winning Eurovision Song Contest, if it made the Top
The common refrain is that younger music fans are turning away from Radio 1 and getting their new music from online sources as sa YouTube, Spotify, and Soundcloud. Which is why I raised my eyebrow at this Guardian article where Nadio Khomami sits in with a bunch of managers sitting around a room, pouring over statistics from YouTube, Spotify, Facebook likes, and Twitter shares to power the Radio 1 playlist. Oh the irony.
I’ve been quiet about my Eurovision activities on this blog over the last two or three weeks (on the assumption that you all know where to find me, or saw the Twitter action), but I want to highlight this little fact. Four Eurovision songs reached the Top 40 yesterday, and 12 tracks made the Top 100. The power of social media and the ability to instantly buy digital music online has once more been able to show that the music does have an impact. The old-school gatekeepers might not hand tracks like ‘Undo’ or ‘Calm After The Storm’ a physical
Is that the noise of laughter as Radio 1’s Head of music, George Egatoudis, tells Digital Spy Radio 1 has no influence on the charts and always acknowledges the public’s lead? A lot of people believe we have total control over what gets in the charts and what is popular, but this simply isn’t the case. Of course we do have influence, but the public know what they like and if we don’t acknowledge that they’ll soon turn us off and go elsewhere. So Mr Egatoudis, can you think of a song that goes Top Ten in thirty different countries,