#ALL the effort u did just to quit like bro leona
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WHAT LEONA DONT SAY THAT OMG THIS IS MAKING ME SO SAD
#ALL the effort u did just to quit like bro leona#sweetheart please#donât drag the others dreams in the dirt omg frfr#I feel like heâs just a tad bit scared bc like it seems rn no matter what he does he canât be good enough for himself#or for others maybe ish#and this hatred for this malleus guy#Itâs like he finally found this place where he can be someone people looked up to and be a leader to them only to be knocked right back dow#by malleus the next year and that basically reminded him he will forever be a walking second place#bros#fat huge tears#AND THEN RUGGIE#UR A HYENIA THAT GREW UP IN A DUMP AHUG#AUAG#YES I SPELLED HYENA WRONG LEAVE ME ALONE IM CRYING
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REVIEWING THE CHARTS - CHRISTMAS SPECIAL 2: 16th December 2018
Thereâs more of them. Why? Why must there be more of them? How many Christmas songs do we need? None of the 12 we have on the Top 40 can even really make a play for the number-one spot (âthank u, nextâ being the Christmas #1 would be disappointing, though), so it just feels like we should be applying the same rules we do to artists who have more than three songs debut in the top 40. Three Christmas re-entries every week, at max â not only do we get less of them, but itâll be more telling of what are the most popular ones, and we wonât have songs that never go anywhere break chart records. Did you hear that, Shakinâ Stevens? Sigh...
CHRISTMAS NONSENSE
#36 â âDriving Home for Christmasâ â Chris Rea
Whoâs Chris Rea? I donât know, really, he was a guitarist, apparently? From what I can gather, this is his only lasting impact because after a peep at his discography page, I canât remember much from this dude at all â and sadly, being best-known for this song is not a great first impression. It peaked at #33 when it was initially released in 1988 (although it was written in 1978), however has since returned to the UK Top 40 every year, peaking last year at #14. I hear this one all the time and while I was just about to trash it for being plastic and too polished to really work, I mean, all Christmas music is, right? Judging it from that perspective means that I can more specifically complement the joyful, light chirpy piano melody and the nice acoustic guitar plucks running throughout â especially the occasional riff. I do like Reaâs raspier voice and the songâs well-written and doesnât seem dated (would have sworn this song was made in the 2000s before today, although that may just be the animated music video that Iâm used to seeing), and thatâs pretty much all you need to ask for a Christmas track, so since this one does more, Iâm not complaining about this returning â good enough song.
#33 â âI Wish it Could be Christmas Everydayâ â Wizzard
I credit the band as âWizzardâ but itâs really âWizzard featuring vocal backing by The Suedettes plus The Stockland Green Bilateral School First Year Choir with additional noises by Miss Snob and Class 3Câ. Yeah, thereâs a bunch of children choirs here that used to be credited but are now left to the wayside, just for us to gaze at in the video as the poor kid gets picked up and sang with before the song ends and Roy Wood kicks him out, quite literally. They recorded and wrote this song in August too, so their producer decorated the studio and gave lead singer Roy Wood a fitting hat from lost-property. Oh, yeah, and Iâm still unsure who really owns this song, there was a brief dispute between EMI and Warner Bros over it. This classic initially peaked at #4 in 1973, and has come back every year since. Now, I love this song, not because of how well-written it is like âFairytale of New Yorkâ, not because of the production such as in âAll I Want for Christmas is Youâ, but mostly because of how joyful it is â despite being really tongue-in-cheek. It starts with a cash machine for Godâs sake, they were clearly aware of how much of a sell-out and cash-grab a Christmas rock song was, and wrote a saccharine song with all of the elements of a Christmas song, including the crisp horns and the childrenâs choir, of course. Woodâs vocals here are pretty great, and thereâs some proper groove to the production â Iâm surprised this one never met the US Hot 100, to be honest. The instrumental bridge with the strings rising in intensity while clashing both the choir and keys is just beautiful, and I personally find it hilarious how much effort they put into perfecting something that they knew was just easy money. The sax solo in the background in the penultimate chorus is pretty cool, and Roy Wood shouting âOkay, you lot, take it!â in a growling voice is iconic. Oh, and it has whatever the 70s glam-rock equivalent of a beat switch is four minutes in that is just abrupt and unnecessary, but Iâm not bothered by it, it lasts like 15 seconds.
#28 â âOne More Sleepâ â Leona Lewis
This is a much more recent track yet still has become somewhat of a staple. Leona Lewis is an X Factor winner who made a Christmas album in 2013, with this being her lead single and almost her revival as her last single had failed to chart and her last album did relatively badly in comparison to her two previous, so whatâs better to revitalise your career than a Christmas tune? After peaking at #3 in 2013, it hadnât re-entered into the Top 40 until 2017, but now has returned, so we can safely assume weâll be seeing this one for years to come. Leona Lewisâ performance here is pretty great albeit subtle, over some pretty non-descript yet effective Christmas pop production. The drums here are really punchy, and with all the sleigh bells and whistles added such as the horns (Iâm not sure why everyone uses these for their Christmas songs, but it works) it is pretty well-produced if anything, and Iâm not going to say it isnât catchy (and thatâs itâs only real purpose). Iâve actually never heard this one in full before, so I was surprised that this wasnât mediocre, but itâs not great either. I appreciate it though, we need some newer Christmas staples.
#22 â âStep into Christmasâ â Elton John
This song makes me feel like Iâm on a whole lot of drugs. Yeah, to put it bluntly, but disregarding how much I love that guitar riff a lot, and the steadier beat, as well as how well-written it is, thereâs so many repetitions of that one hook that it just gets to me and almost hypnotises me. I know how Christmas songs are kind of supposed to work like that, but this one is nearly five minutes, and although thereâs definitely enough change for it to stay appealing and have the necessary breaks in the joy, it feels like it never stops. Itâs just a neverending slog of a really good song being ruined by playing it four times in a row. This song needed to be two minutes and 28 seconds, but it might as well be three times that, because itâs mind-numbing. Like, seriously, Elton, shut up. Look, we get it, the admissionâs free, thatâs cool, but your Christmas song youâre welcoming me into feels way too much like Paul McCartneyâs for me to have any fun. Seriously, have you heard âWonderful Christmastimeâ? Itâs the same concept, except the song that is being repeated ad infinitum isnât a good song to begin with. The method clearly works though, because it initially peaked at #24 in 1973 and had a new peak last year at #11. Now, before the conclusion, whatâs happened to the rest of the Christmas songs not in the top 10?
Christmas Climbers
âSanta Tell Meâ by Ariana Grande is up five spaces to #30, with âRockinâ Around the Christmas Treeâ reaching #26 after a 13-spot increase. Similarly at #21, âMerry Christmas Everyoneâ by Shakinâ Stevens has increased by 15 spaces. In the top 20, âItâs Beginning to Look a Lot like Christmasâ by Michael BublĂŠ is up 14 to #16, right next to âDo They Know itâs Christmas?â by Band Aid up 11 to #15. Iâm not entirely sure if weâre counting Dalton Harrisâ cover of âThe Power of Loveâ featuring James Arthur as a Christmas song, but in that case, it collapsed by 15 positions to #19.
Christmas Conclusions
There wasnât anything really bad here, but Worst of the Week goes to Elton John for âStep into Christmasâ, with Dishonourable Mention not being given at all â again, nothing is all that bad. I guess Honourable Mention canât be given either hence Best of the Week goes to Wizzard for âI Wish it Could be Christmas Everydayâ. Now, letâs return to the ânormalâ half of the charts:
Top 10
Ariana Grandeâs âthank u, nextâ is still at #1 without seemingly any competition other than a 1990s Christmas song by Mariah Carey. Yeah, Iâd hate this to be the Christmas number-one because I honestly donât think songs without any relation to the holiday get that. Heck, even âPerfectâ last year by Ed Sheeran had a video about the holidays.
Also not moving this week is âSweet but Psychoâ by Ava Max at the runner-up spot.
Honestly, this top three seems too stable for Mariah Carey or Wham! to break into it. âWithout Meâ by Halsey is also not moving at all at number-three.
âNothing Breaks Like a Heartâ by Mark Ronson featuring Miley Cyrus jumps up six spaces to number-four.
Of course, at the tail-end of the top five, up one space from last week, âAll I Want for Christmas is Youâ by Mariah Carey. I do want to add that this a top five without any credited male vocalists. Yeah, Mark Ronson is credited as a primary artist because he produced the track, but males produced every song here, itâs just good to see a top five full of pop girls this year.
Down one position from last week is âThursdayâ by Jess Glynne at number-six.
Up seven spaces is âLast Christmasâ by Wham! at number-seven â I guess this COULD make a play at number-one, but I doubt itâll have a bigger peak than last year considering the death of George Michael was two years ago at this point, and thatâs the main reason for its spike in popularity last year.
âWoman Like Meâ by Little Mix featuring Nicki Minaj is down a spot to number-eight this week.
Thanks to the release of Spider-Man: Into the Spider-Verse, the R&B tie-in single, âSunflowerâ by Post Malone and Swae Lee, survives in the Christmas avalanche, with a seven-spot rise to number-nine.
Finally, to round off the top 10, âFairytale of New Yorkâ by the Pogues featuring Kirsty MacColl is up eight positions from last week, now at #10.
Now, just like last week...
What Survived
Anything that has drops or climbs less than three spaces arenât mentioned. Any new arrivals, Christmas songs or top 10 entries arenât mentioned â but otherwise, this is quite literally the rest of the top 40. âRewrite the Starsâ by James Arthur and Anne-Marie is down three to #11, âRuin My Lifeâ by Zara Larsson has the same fate at #14, âClose to Meâ by Ellie Goulding, Diplo and Swae Lee is up four to #17, âKIKAâ by 6ix9ine featuring Tory Lanez is down nine to #18, âGoing Badâ by Meek Mill and Drake is down three to #20 (Iâm surprised itâs still here), âBetterâ by Khalid is down three to #23, âHold My Girlâ by George Ezra is somehow up eight spaces to #25, whilst âA Million Dreamsâ by P!nk is down eight spaces to #27, â1999â by Charli XCX and Troye Sivan is down five to #29, âPolaroidâ by Jonas Blue, Liam Payne and Lennon Stella is down eight to #31, âLet You Love Meâ by Rita Ora is down a surprising 12 spaces to #34, âShallowâ by Lady Gaga and Bradley Cooper is down six to #38 (although I feel this will rebound in January), âShotgunâ by George Ezra returns to #39 (did his album get discounted or something?) and finally, âwhen the partyâs overâ by Billie Eilish is also down 12 to #40. Iâm surprised itâs lasted as long as it has.
What Suffered
âFunky Fridayâ by Dave and Fredo had its streaming cut I take it, as it has dropped out from #12 (just as I started to like this much more, unfortunately), while âTaki Takiâ by DJ Snake, Ozuna, Cardi B and Selena Gomez is out from #27 (good riddance), âMAMAâ by 6ix9ine featuring Kanye West and Nicki Minaj is out from #29, âLeave a Light Onâ by Tom Walker is out again from #31, former #1 âPromisesâ by Calvin Harris and Sam Smith is finally out from #38 and âArms Around Youâ by XXXTENTACION, Lil Pump, Swae Lee and Maluma is out from #40 â probably because it wasnât on the album. Speaking of...
NEW ARRIVALS
#37 â âwhoa (mind in awe)â â XXXTENTACION
Yes, Iâm disgusted by what Iâve heard of XXXTENTACIONâs first ever posthumous album, SKINS. The song with Kanye and Travis Barker, âOne Minuteâ, which they seem to be pushing as the second single, makes me want to throw up and âBAD!â, which we reviewed a few weeks back, is pathetic and lazy, but more importantly, unfinished. I know that even X, who is infamous for not developing his music, would add something to âBAD!â, for better or for worse. Honestly, Iâve been trying to escape the album to not fund and hence dignify what the label is doing, but I have to hear this one, so, sure, Iâll say, this seems at least promising. I like the little marimba line, I think itâs unique to hear in trap, but XXXTENTACIONâs lyrics here arenât exactly very memorable, mostly because he mumbles all of it, but mostly because he says âwhoaâ more times than I can count on one hand. The bass and trap skitter actually really works here, and to be honest, this beat, although barebones, is pretty damn good, although X trying to say something being âlike whoaâ is not as meaningful as heâs trying to play it, and honestly this song just doesnât exist, does it? Itâs nothingness. Itâs mostly instrumental and I can barely hear the dude anyway. I canât give this any title like Best or Worst of the Week because itâs our only new arrival this week, so itâs like a 4-5/10, to give you any idea of how much I like it. Â
Conclusion
That was it, thatâs our only new arrival. How anti-climactic. This wonât be the last time I see you, thereâs a new REVIEWING THE CHARTS on the 23rd, but since I doubt anything Christmassy will really happen there, happy holidays, everyone. See ya next week!
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