I Love #1s - 2002

[katstevens.livejournal.com]

I know it's early, but wipe the cobwebs from your eyes and crack your knuckles out, it's another Number Ones poll!

Last week the Shadows rocked the bottom with their Apache song to claim the crown of 1960 ticky-love. Poor Me? Poor you, Adam Faith! Not a tick to be had for him. But without further ado, lets find the best number one of 2002! Plenty of Pop Idol action, plus double dosage of Ver 'Loife in case you'd been missing them. And what's this? Blazin' Squad and Atomic Kitten? It's like teen pop never died, kids!

[Poll #973612]
(Daniel Beddingfield was no.1 in 2001 as well so he's been left off here)

Comments

Re: Also:

[lockedintheatti.livejournal.com]

I've tried arguing this to people I know about record companies about acts like those but of couse they'd much rather be marketing stuff as cool stuff for the hipsters rather than targeting 25-34 year olds so they all think I'm mad to even suggest stuff like that.

Re: Also:

[carsmilesteve.livejournal.com]

which is ridic because hit that demographic right and you = LAFFING ALL THE WAY TO BANK, whereas p!ssing about with hipsters = next to no money ever...

Re: Also:

[lockedintheatti.livejournal.com]

It still amazes me that record companies don't get why they are doing so badly.

Re: Also:

[awesomewells.livejournal.com]

Poor sales of that last Tash Bedingfield single would appear to disagree with you.

Re: Also:

[alexmacpherson.livejournal.com]

Hang on the one which is top 10 on d/ls alone? Babies?

Re: Also:

[awesomewells.livejournal.com]

Oh right I thought it was released and limped in at like #20 or something.

Re: Also:

[dickmalone.livejournal.com]

Well (in my experience) it's this weird disconnect where the people who go to work for record companies now don't really come out of the trenches of the music biz like they used to, they just go right to work for record companies, and since they pay shit salaries, you have to be doing it for the cool factor. But those people are not actually cool, they're buisinesspeople just like anyone else working in an office. But they're unwilling to admit that and actually act like profit-motivated businesspeople most of the time, they want to accrue cool points, and so they're more interested in bands they see as hip (which, ironically, are the bands most actual kids don't think of as cool). Or, to put it more fairly, they sign both cool and can-sell-well bands, but they put way more effort into working with the cool ones, and that's where record companies fuck up.

Re: Also:

[katstevens.livejournal.com]

Doing unpaid work experience at a major label for 3 months was quite an eye opener [tho v enjoyable as I was under no pressure and could walk out at any time!] as to how isolated they are from the real world. Especially in the A&R, press and plugging departments that actually work directly with the artists - everyone is totally obsessed with Radio 2 airplay, lengthy articles with lots of pictures in Sunday Times Culture section or getting on Jools Holland. This wasn't just for Amy Winehouse but for the Sugababes and Busted as well! Everyone was so obsessed with good results for current acts that they seemingly paid 0 attention to new stuff (bands, scenes, media, non-music related things). It was very easy to get caught up in the hype.