Blackout2006

Geese was pretty big but I can see their controversy as alleged industry plants probably rubbing the committee the wrong way. Most likely, it's going to Ella Langley anyway

169k is actually MASSIVE for an EP by a girl group in the 2020s. Can you imagine the NUMBERS they'd actually pull if they locked in, had all their members back from their sabbaticals, put out stellar non-slop vocal-serve pop bop anthems, and released a full-fledged album? Atp, it sounds like a dream with the sort of music H*be gives them I just wish most of their music now was way better because these girls are sooo talented and they could deservingly be the most definitive girl group of our era.

Wait, didn't someone here a few pages ago predict her making an entire visual thing/documentary out of ts?

Wow, i think my brain is playing with me but for some reason, I thought Massive Attack had more work on Bedtime Stories

i've loved all her work with Massive Attack, so yea

Pack it up

Every time I read up on albums put out by celebrities who were already popular by the time these said albums came out, I never understood why they always debuted outside the top 10 before having to rise through consistent sales and eventually ascend to the top. I can imagine sales accounting prior to the Nielsen Soundscan era was vastly different, but what sort of rule could've disabled or prevented albums that were already successful upon release a high debut? For example, Like a Prayer was released by Madonna at the height of her commercial power and success. Yet, it only charted in the top 40 before it reached the top of the charts. It just doesn't make sense to me. For example, I couldn't imagine Olivia Rodrigo releasing an album as successful as her last one and it not having a hot-shot debut. So why was this the charting norm for all A-list artists of the era? I find it hard to pinpoint shift in consumer behaviour because the moment the Nielsen Soundscan era began, the Bodyguard soundtrack debuted at #1 with 300k+ sales. Such a change would be too instantaneous for it to have been influenced by changes in music consumption. Would appreciate a response on this since the chart geek inside me always thinks about it

Even the CDs couldn't handle the 9.9 motherquake packed in that tiny disc

Only!? Are you kidding me?? That's one of her best songs, it shouldve been over 1b by now

I'm one of those Gen Zs lol, I find this style so comforting and cozy. But I can see why the same millennials who got to grow up with these homely interiors ended up fathering the putrid minimalist "grey/white everything" trend and ruining every old house's soul with it 🙄

Oh no, I thought Olivia was getting a third #1 because everyone was saying she was safe till Madonna's release

Britney's house VERY much gives Tuscan, so I think yes

It's a great and wonderfully-sung song by Sam Fender and Olivia Dean. It's certainly worth a listen imo

Screaming at Ariana inadvertently contributing to this drama at the time

I'm not surprised, considering this was preceded by YouTube's search engine gradually becoming really poor. I used to find 20-30 videos related to my search on YouTube but nowadays, I'm lucky if I even find 10 before it devolves into irrelevant videos and stupid YouTube shorts. I know it's to manipulate our attention-span, but it still contributed to the search facility downgrading overtime

OMGGG YESSS I LOVE Graham Norton, I actually need to watch this, they'd both fit in like a glove (no pun intended)

Well yes!

Ughh this album makes me feel old I remember 12 year old me was obSESSED with We Found Love, You Da One (!!! I loved this song), Talk That Talk, We All Want Love, Farewell, and I think Fool in Love. I was still a bit too young to get into Cockiness and Birthday Cake, but I think the last one was sort of tainted for me after I found out she collabed with Piss Brown on it. Anyway, great album with great streams for something that came out way before streaming

I just don't get how this song wasn't massive when it came out in 2016, but then again, that timeline was completely soaked by the popularity of hip-hop, trap, and rap music; so I guess it was ahead of its time. If she came back with it now tho...5 weeks at #1 guaranteed MINIMUM.

This is something I've noticed on my 172nd listen of this amazing album, but the Honeybee reference in Cigarette Smoke doesn't seem to be the only call-back she makes to the album itself on the song. She mentions about the five beers left in her fridge after her ex left, and it instantly reminded me of "I hope you never finish that beer" from Drop Dead. She technically gets what she secretly hoped for — her bf never finishing that beer — but in the worst way possible with him leaving them unfinished at her home I'm getting sick, her songwriting has become so polished and powerful, especially in how gut wrenching it all is in the simplicity of lyrics like this I don't know how much of a reach it is but an interesting inference, nonetheless

She's looking straight out of 2001

What?? How does that matter Taylor was a streaming artist in 2024 as much as she is now, and has subjected us to two albums since with the biggest debut streams in Spotify history. It's irrelevant what she was two decades ago.

I don't know what's impressive about that figure for an album not released even a year ago, HMHAS was still pulling over 10 million streams daily by this time so???

Why are you shifting the goalpost on your own thread? Wasn't this about the charts? — which btw doesn't even make sense cuz how did TTPD "outlast" HMHAS when they both r still charting — So why are you suddenly talking about sales in the top 3 music markets and whatnot Gosh