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Charts analysis: Tones And I holds off Dua Lipa at singles summit

No.1 for a record-breaking 14th straight week in her native Australia, Dance Monkey is No.1 here for the sixth time in a row for 19-year-old Toni Watson from Melbourne, under her recording alias of Tones And I. Consumption of the ...

Charts analysis: Jeff Lynne's ELO takes No.1 as Children In Need LP is switched to compilations

Now trading as Jeff Lynne's ELO - Lynne and keyboards player Richard Tandy, both 71, are the only members of the group on board at present - The Electric Light Orchestra's first album of new material in four years, From Out Of Nowhere, debuts atop the artist album chart. It is Lynne’s fifth No.1 – ELO’s eighth and ninth studio albums, 1979’s Discover and 1981’s Time topped the chart, as did their 2005 compilation All Over The World: The Very Best Of when re-promoted in 2016, and Lynne was a member of supergroup Traveling Wilburys, whose Collection was No.1 in 2007.  Despite its lofty debut, From Out Of Nowhere’s first week consumption of 21,062 units (including 298 from sales-equivalent streams) it a mere 34.25% of the 61,497 copies that ELO’s last album, Alone In The Universe, sold when debuting and peaking at No.4 in 2015. The only other surviving member of The Traveling Wilburys – Roy Orbison died in 1988, George Harrison in 2001 and Tom Petty in 2017 – is 78-year-old Bob Dylan who also returns to the chart this week with Travelin’ Thru 1967-1969: The Bootleg Series Volume 15. Consisting of 47 previously unreleased tracks, and opening at No.6 (7,400 sales), it is his 68th Top 75 album and 39th Top 10 entry since 1964, and the fourth of 13 releases – Volumes 1-3 were a single release - in the ongoing Bootleg Series to make the Top 10. Demonstrating, like ELO, that timing is everything, Michael Kiwanuka’s third studio album, Kiwanuka, has to settle for runners-up slot this week, even though its first week consumption of 15,135 units, is 30.04% higher than the 11,639 copies his last album, Love & Hate, sold on debuting atop the chart in 2016. Kiwanuka's introductory album, Home Again, had pure sales of 30,163 when it debuted and peaked at No.4 in March 2012, in the wake of his BBC Sound Of 2012 victory, on its way to to-date sales of 151,487. Love & Hate’s current tally: 119,852.  Two disparate duos with very different profiles provide the week’s fourth and fifth Top 10 entries. They are grime/hip-hop duo Krept & Konan, whose second full-length album, Revenge Is Sweet, provides their fifth Top 20 entry (including mixtapes) since 2013, debuting at No.5 (8,177 sales); and classical crossover stars Aled Jones (48) & Russell Watson (52), who are reunited for their second collaboration, Back In Harmony, which opens at No.7 (7,302 sales), a week shy of a year since their first collaboration, In Harmony, opened and peaked at No.8 on sales of 15,549 copies. Underlining their differences, Krept & Konan’s album sold 255 copies on CD, 530 on paid-for downloads, and had sales-equivalent streams of 7,392 copies – 90.40% of its total, whereas Jones & Watson’s album sold 7,090 copies on CD, 186 on paid-for downloads and had a contribution of just 26 from sales-equivalent streams – 0.36% of its total. Back In Harmony is Jones’ 20th Top 75 album, and Watson’s 16th. As leadership of the chart changes hands for the 11th week in a row, last week’s top title, Kind, falls to No.10 (6,176 sales) for Stereophonics. The rest of the Top 10: No.6 Collaborations Project (6-3, 11,502 sales) by Ed Sheeran, Divinely Uninspired To A Hellish Extent (7-4, 9,512 sales) by Lewis Capaldi, Hollywood’s Bleeding (8-8, 7,249 sales) by Post Malone and Jesus Is King (2-9, 6,441 sales) by Kanye West. Exiting the Top 10: You (10-11, 5,246 sales) by James Arthur, Once Upon A Mind (3-14, 4,741 sales) by James Blunt, Halfway To Paradise (9-15, 4,606 sales) by Daniel O’Donnell, The Best Of Me (4-19, 4,022 sales) by Rick Astley and Pony (5-39, 2,281 sales) by Rex Orange County.  Actor Jeff Goldblum showcased his abilities as a jazz singer and pianist last November when his first album, The Capitol Studios Sessions, debuted and peaked at No.26. Again accompanied by the splendidly-named Mildred Snitzer Orchestra the 67-year-old returns with I Shouldn’t Be Telling You This (No.20, 3,969 sales).  Also new to the Top 75 are: 40: The Best Of 1979-2019 (No.27, 3,218 sales), a career-encompassing, compilation (with new track For One Night Only) by Scots veterans Simple Minds, providing their 23rd chart album in total and fifth with a compilation; Frontstreet (No.36, 2,640 sales), the introductory mixtape by Tottenham drill/rap trio OFB; Gold (No.53, 2,021 sales), a Crimson label mid-priced compilation of tracks by M People and their seventh chart entry; Wildcard (No.57, 1,968 sales), the eighth studio album and third chart album by country singer Miranda Lambert, who turns 36 on Sunday (10th); Back To Blues Volume 2 (No.61, 1,901 sales), a six song, 25-minute EP by Kentucky hard rock band Black Stone Cherry, and their seventh chart entry; Black Is The Night: The Definitive Anthology (No.63, 1,857 sales), a career-spanning new compilation and seventh chart album by The Damned; and Dirt Series 1 (No.68, 1,707 sales), a collection of previously released tracks, and the 11th chart entry for electronic duo Underworld. With consumption up for the 10th week in a row, Michael Buble’s 2011 chart-topper Christmas is in the chart for its ninth consecutive advent adventure, re-entering at No.43 (2,169 sales), while REM’s ninth studio album, 1994 chart-topper Monster returns at No.25 (3,398 sales) following the release of expanded 25th anniversary editions.   No.1 on artist album chart sales flashes until Wednesday, when it was controversially switched, BBC Children In Need: Got It Covered, opens atop the compilation chart (29,641 sales). In a Top 10 that otherwise consists entirely of new entries, Now That’s What I Call Music! 103 ends a 15-week run at No.1 – the century’s best – by sliding to No.5 (3,309 sales). Overall album sales are down 1.99% week-on-week at 1,793,296, 1.00% below same week 2018 sales of 1,811,401. Sales-equivalent streams accounted for 1,168,949 sales, 65.18% of the total. Sales of paid-for albums are up 2.14% week-on-week at 624,347, 20.68% below same week 2018 sales of 787,145. 

Never mind the ballots: Why the music biz can't afford to ignore the General Election

Usually, early December for the music business means concentrating on the race to be No.1 over the festive season. But this year, thanks to Boris Johnson’s (pictured) decision to call a December 12 General Election, we’ll all be more concerned with who will be at No.10 for Christmas. Voting during the biz’s most crucial sales period may be an unwelcome distraction – especially as the last few times Britain went to the polls it didn’t seem to solve anything. But the industry can’t afford not to use this opportunity to push its case to the politicians who, for the first time in a while, might actually feel obliged to listen. Brexit may seem to have taken inspiration from the Manic Street Preachers of late – Forever Delayed – but its spectre still looms large over an industry that has been woefully under-informed by the government as to how leaving the European Union might actually affect its core businesses. Increasingly stark warnings over the possible impact on touring have drawn little in the way of official guidance, so the election serves as a useful opportunity to lobby all parties as to the way forward. But equally – with the result far from a foregone conclusion – campaigning is a crucial opportunity to get in front of politicians, some of whom may hold the balance of power in a few months’ time. The brevity of Johnson’s administration means that it remains something of an unknown quantity. Even if the government is returned with an overall majority, there will be crucial changes with current Secretary Of State for Digital, Culture, Media & Sport Nicky Morgan announcing she will stand down as an MP at the election. The DCMS job seems to have changed hands more regularly than the Albums Chart No.1 of late and the biz would benefit from some stability, whoever wins the election. But whoever does end up being handed the keys to No.10, the music business needs to use the next six weeks to make sure it’s made its case – both Brexit and non-Brexit-related – to anyone and everyone likely to be in a decision-making position on December 13. After all, there will still be a week left to sort out the much-more-important Christmas No.1 chart battle... * Stay tuned to musicweek.com for more General Election coverage.

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