Charts analysis: Lewis Capaldi maintains lead at singles summit

Returning to growth, with consumption of 65,177 units on its fourth week at No.1 – including 55,059 from sales-equivalent streams – Lewis Capaldi’s Someone You Loved heads up a familiar top three in which Calvin Harris & Rag‘N’Bone Man’s Giant ...

Charts analysis: Jack Savoretti scores first No.1 album

Bellissima! For the first time in chart history, Anglo-Italians are numero uno on the singoli and album chart simultaneously, with Lewis Capaldi’s Someone You Loved spending its fourth week atop the former, while Jack Savoretti tops the latter list for the first time, with his sixth long-player, Singing To Strangers. Singing To Strangers racked up first week consumption of 32,264 units (including 1,068 from sales-equivalent streams). His third consecutive Top 10 album, it arrives 12 years and two weeks after the 35-year-old singer-songwriter’s debut album, Between The Minds, made its one and only appearance in the Top 75, at No.70. His second album Harder Than Easy (2009) and third album Before The Storm (2012) fared even less well than his first, with the former failing to make the Top 200 and the latter peaking at number 109. But Savoretti's fourth album, 2015’s Written In Scars, debuted at No.13 and eventually peaked at No.7, while his most recent, Sleep No More, opened at No.6 on sales of 15,215 copies in 2016. Despite his album chart success, Savoretti’s one and only appearance in the Top 75 singles chart came five weeks ago, when Candlelight flickered briefly, reaching No.70. Nevertheless, his album success is powered by singles, of which no fewer than 16 have made the Top 75 of the radio airplay chart, including three from Singing To Strangers – Candlelight (No.24), Music’s Too Sad Without You (No.36) and What More Can I Do, which jumps 49-33 this week. Music’s Too Sad Without You is a duet with Kylie Minogue who also co-wrote the track with Savoretti, while Bob Dylan, no less, was his co-writer on another track on the album, Touchy Situation. Rapper Dave’s Psychodrama, which topped the list last week, now dips to No.2 (14,286 sales) while Tom Walker’s What A Time To Be Alive, which debuted at No.1 a fortnight ago, rebounds 5-3 (13,653 sales).  With Savoretti’s album being the only new release with enough clout to breach the Top 10, several existing hit titles regain loss ground. They include: The Greatest Showman soundtrack (6-4, 13,336 sales), Queen’s Bohemian Rhapsody (7-5, 10,691 sales), Staying At Tamara’s (9-6, 10,198 sales) by George Ezra and Thank U, Next (8-7, 9,436 sales) by Ariana Grande. Lady Gaga & Bradley Cooper’s A Star Is Born soundtrack returns to the Top 10, advancing 11-8 (7,345 sales). The rest of the Top 10: Still On My Mind (3-9, 7,103 sales) by Dido and Everything Not Saved Will Be Lost, Part 1 (2-10, 6,585 sales) by Foals. Falling out of the Top 10: Sucker Punch (4-12, 5,311 sales) by Sigrid and Other Aspects: Live At The Royal Albert Hall (10-36, 2,297 sales) by Paul Weller. Comprising new, orchestrated versions of her best-known recordings – solo, with Spiller and even with Theaudience – Sophie Ellis-Bextor’s seventh album, The Song Diaries, debuts at No.14 (4,795 sales). Ellis-Bextor’s hit-studded debut solo album, Read My Lips, debuted at No.4 (23,023 sales) in 2001 and peaked 41 weeks later at No.2, and has to-date sales of 838,619, whilst her last album, Familia, sold 5,107 copies debuting and peaking at No.12 in 2016, and has thus far sold just 13,617 copies.  A week ahead of the start of their 40th anniversary tour, UB40’s new album, For The Many, debuts at No.29 (2,792 sales). It is the 34th chart album in total to bear the UB40 brand, but none of those involved in its making had anything to do with A Real Labour Of Love, which opened at No.2 last March and was credited to UB40 feat. Ali, Astro & Mickey. A Real Labour Of Love was the third album that Ali (Campbell), Astro and Mickey (Virtue) released as a trio following 2014 No.18 album Silhouette and Unplugged, which reached No.17 in 2016. An alternative UB40, featuring the other five of the band's other original members, is the one behind For The Many. Campbell and Mickey both left the original UB40 in 2008, while Astro only jumped ship after 2013 album Getting Over The Storm, which reached No.29. Ali Campbell's brother Robin continues to lead the other UB40, alongside fellow original members Jimmy Brown, Earl Falconer, Norman Hassan and Brian Travers. To further complicate matters, his and Ali's other brother Duncan - who played no part in the original band and only joined after Ali's departure - now serves as their lead vocalist.  We Talk Too Much (No.65, 1,662 sales) is Francis Rossi’s collaboration with vocalist/violinist Hannah Rickard. Having fronted 46 Top 75 albums for the band, it is his first such success outside the band. His only solo albums, King Of The Doghouse (1996) and One Step At A Time (2010), peaked at No.95 and No.84, respectively. Also new to the chart: To Believe (No.19, 4,147 sales), the third Top 75 album and highest charting release to date from nu-jazz act The Cinematic Orchestra after a 12-year sabbatical; Reckless Heart (No.20, 3,929 sales), the third chart album from blues/rock singer/guitarist Joanne Shaw Taylor; Keep Hauling (No.27, 2,914 sales), the third chart album from Cornish piscators and singers of sea shanties Fisherman’s Friends, from their eponymous biopic; Seven Days Walking: Day One (No.31 2,495 sales), Italian composer/musician Ludovico Einaudi’s seventh charted album; Still Working (No.33, 2,403 sales), the debut release of London grime artist Slim; Lux Prima (No.35, 2,339 sales), the first collaboration between edgy Korean/American singer Karen O and Brian Burton aka Danger Mouse; Trust In The Lifeforce Of The Deep (No.50, 2,067 sales), the second album by London nu jazz trio The Comet Is Coming, whose 2016 debut, Channel The Spirits, was nominated for the Mercury Prize and won widespread acclaim but failed to chart; and The Very Best: So Far (No.51, 2,067 sales), the first compilation from singer/songwriter Newton Faulkner, who has charted all six of his studio albums, twice reaching No.1. Now That’s What I Call Music! 101 is knocked off the top of the compilation chart for the third time, with Sing Your Heart Out! 2019 debuting at the summit on sales of 6,210 copies. It is the sixth album in the Sing Your Heart Out! franchise since its 2015 inception, and the fourth to reach No.1. Overall album sales are down 1.42% week-on-week at 1,713,684, 5.16% above same week 2018 sales of 1,629,583. Sales-equivalent streams accounted for 1,124,752 sales, 65.63% of the total. Sales of paid-for albums are down 2.60% week-on-week at 588,932, 14.19% below same week 2018 sales of 686,327.

Opinion: The beauty of the beast - in support of the Copyright Directive

Here, in the run-up to Tuesday's crunch vote in the European Parliament, a cross-section of trade bodies argue why the Copyright Directive should be adopted now as a package... We are artists, authors, composers and their independent partners – music managers, labels and publishers, representing Europe’s music in its full diversity. Next week in Strasbourg, the European Parliament will vote on new copyright rules that will define the tools of our trade for decades to come, including in the UK, Brexit or no Brexit… As tensions mount ahead of the vote (well, it's not just the UK Parliament that has all the fun), it’s time for new questions about the debate.  There is a myth that this directive is only about big corporate interests. Nothing could be further from the truth. They can use muscle. We need a framework so all creators flourish, regardless of their size or where they come from. This is really about the artists and composers you haven’t heard of yet.   Parliamentarians are being pressured to sign a pledge that they will oppose Article 13 otherwise citizens will be told not to vote for them. Yesterday, they got a message entitled “Next week your biography on Wikipedia will change” with this threat:  “We will just see to it that anyone searching for you on Google will find out immediately if you vote for or against the freedom of the World Wide Web. They will find out when they make up their minds on 23-26 May; they will find out later in your career, whatever you do and wherever you go”. Is that the kind of democracy we want? The next European elections and their importance for the future of Europe deserve better. Other anti-Article 13 positioning continues with a vengeance, with Germany bearing the brunt of the attacks. Wikipedia closed down there yesterday for example, even though they and countless other services are specifically excluded from the directive. Some parliamentarians want to get rid of article 13 altogether. Let’s not kid ourselves. At this stage of the process, going against Article 13 cuts through the whole directive. Without this article, the directive – approved by more than 20 EU Member States after years of negotiations - would most certainly never be adopted. And let’s not forget that alternatives have already been examined – in nearly three years, we have been around the houses on this one. So why does the debate continue to be centred around Article 13? Why do we rarely hear about the other provisions in the directive? Have you heard what the European Parliament achieved to include unprecedented harmonised provisions for the benefit of all authors and performers, for example? Do you know what the parliament was able to win in the text with these clauses, or that they need Article 13 to have full effect? Are you aware that the directive also includes new copyright exceptions in the areas of text and data mining for research, education and preservation of cultural heritage?  And what about the facts on Article 13? Why don’t we hear how it improves the position of citizens, by shifting responsibility for their uploads to platforms and making copyright exceptions like parody, pastiche, criticism and review mandatory in all member states? Has anyone told you that you don’t need upload filters to apply Article 13, as technologies can identify content without them? Do you know that the rules vary depending on the platform’s size, age, etc or that there is a special regime for small startups? Do you know that services like Wikipedia, GitHub, eBay, DropBox aren’t affected at all because the directive specifically excludes them? Do you know that the text actually bans general monitoring and upholds freedom of expression and other fundamental rights? We have all seen how YouTubers have been orchestrated by Google/YouTube's campaign, employing their own audiences in their propaganda machine.  Has YouTube abused its dominance? No other media company in the broadcast business would be allowed to use its airwaves to get a competitive advantage over others in terms of advertising, or to resort to political messaging in that way. Has YouTube abused its dominance? The answer is surely yes and this flags a much broader issue than copyright - who wields power in today's online world and the extent to which it can be abused. This is a fundamental question for truth and democracy in Europe and the rest of the world. To get the ball rolling, creator groups have asked YouTube to support a fair and democratic debate by allowing the Europe for Creators campaign #Yes2copyright to message YouTubers and place banner ads before the vote.   Let’s take a closer look at the process that has led us to where we are today. The text we have on the table is the result of years of work - thousands of hours of discussions, hundreds of amendments, numerous votes. The final work is down to the fine art of democratic compromise... It is the beauty of the beast. That’s why the directive manages to improve protection for citizens significantly and at the same time establish new rules for platforms, but with a flexible model and a light regime for start-ups. That’s why it also sets out sweeping reforms (Articles -14 to 16a) for authors and performers. And let’s not forget these provisions and Article 13 are two sides of the same coin. The overarching objective is twofold. First, it boosts the user generated economy. Second, it puts those who create and invest in creativity in a position where they can continue to do so, including online, and be fairly rewarded for their work. By updating copyright rules for the digital age, the directive essentially ensures that European cultural and creative sectors, which produce €509 billion in value added to GDP and provide 7.5% of the EU’s work force, can continue to flourish to the benefit of all European citizens. It is the whole package that is key. Here it fosters the unique relationship between authors, artists and their fans online and recognises the importance of encouraging innovation. That’s important because YouTube and other platforms are a vital part of our ecosystem and the current version of article 13 shows that balance is possible. According to a recent poll, 80% of Europeans are in favour of the EU implementing rules to guarantee the remuneration of artists and content creators for the distribution of their content on internet platforms, so let’s get on with it… It’s time to be proud of Europe leading the way. Time to say yes to copyright reform. Signatories: All Members, the Council of Music Makers (CMM) Paul Pacifico, CEO of the Association of Independent Music (AIM) Alfons Karabuda, President of the European Composer and Songwriter Alliance (ECSA) Nacho Garcia Vega, President of the International Artist Organisation of Music (IAO) Per Kviman, Chair, European Music Managers Alliance (EMMA) Pierre Mossiat, President, Independent Music Publishers International Forum (IMPF) Helen Smith, Executive Chair, Independent Music Companies Association (IMPALA)

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