Etips
-
Posts
121 -
Joined
-
Last visited
Posts posted by Etips
-
-
Well this is good news. I was actually prepared to see 4M's dropping to maybe nine or ten this week. This song continues to be the top ten's Little Engine That Could.
-
I'm disappointed…but considering the lackluster promotion they've done in these last few weeks leading up to the albums release, Madonna and her camp only have themselves to blame if they don't get the numbers they were hoping for.
-
I don't think that is correct. I'm pretty sure most if not all of the future/sex loves sounds songs made it to number 1 on mainstream top 40 & garnered lots of rhythmic airplay.
"LoveStoned" and "Until The End of Time" did not make it to number one on mainstream top 40 (or cracked the top ten on the Hot 100.) In amongst these two singles, Justin was featured on singles by Reba McIntre and Duran Duran—neither of them performed well either. While one can argue that a McIntyre/Duran song wouldn't be expected to do well in mainstream airplay, the post I responded to implied that 4M's airplay success was due to Justin presense on the song, and the point I'm making is that if this was the case, then everything he's attached to should do at least as well as "4 Minutes" has…which hasn't been the case. 4M has even outperformed/outpeaked 50's "Ayo Technology," which featured both Justin and Timbaland. Let's give Madonna some credit here.
-
the power of justin...
Justin's last four singles didn't get as much airplay—or chart as high—as 4M has.
-
unfortunately...bcoz radio stations in the US have been obsessed with black ARTIST..time will come that the US will be known as the black country...sorry for being racial..it is the truth..and America will be sorry.,
Stupid.
-
Personally, I don't want to get my hopes up and say that she'll see this huge sales week of 400k+ and then hear from Hits that she only moved 200-something. I'd rather underestimate and be pleasently surprised by a higher number than I initially called than to spend a day being disappointed when I find out that Madonna didn't beat out what's her name.
-
375-400k (hopefully.)
-
Glad its number at Amazon (where all along, it's seemed to have been getting enthusiastic preorders.) I agree, though, that something needs to be done to spike it at iTunes.
-
F@CK HER, SHE ALREADY HAD HER #1... ARGH
And two different stints at number one, on top of that. Enough. Honestly, I've still yet to hear this Leona Lewis song played on the radio. I didn't even know who she was until I kept reading so many people talking about her in posting forums, and then went to YouTube to see what the fuss was about. She's ok, but I don't get all this hype of her at all.
-
A healthy amount of Madonna’s struggle at radio undoubtedly is age, but most of it IMO is more style, perception, and Madonna herself long falling out of sorts with what is contemporary to the average American radio listener/music buyer. She stayed in euro-dance/electro-pop mode too long, to the point where it made her music seem increasing out of sorts with American tastes and her too eccentric and “niche” a personality for US radio to embrace.
I remember back when she was beginning her Drowned World Tour; a local radio station was discussing her coming to town, and the deejay cynically remarked about how she’s “gone techno.” This is most likely the general outlook that many deejays and radio station managers have of her and her music to the point where they don’t think she—stylistically—will fit in with their listener demographic, and so they don’t bother to enthusiastically support it, or at all.
For a good while she managed to defy stylistic status quo and still have considerable success with the atypical Ray of Light/Music albums, and the “Beautiful Stranger” and “Die Another Day” singles, but that could only last for so long. And in the meantime, I think Madonna became conceited about what she could get away with because of those successes…and because she was Madonna. Now, even though it seems with this new album that she’s finally returning to the “US top 40” sounding Madonna that she was up until about 1997 (although “Give it 2 Me” may seemingly contradict that), the shadow of her last ten years still colors the general perception of her music…therefore keeping her underdog potential high.
IMO, Hard Candy is the album Madonna should have made after Music. I also think that with this album, she should promote (in the US) like crazy. I get the feeling that she and WB thought that, in addition to things like Sunsilks ads/radio interviews, 4M would practically sell itself—with Madonna, JT, and Timbaland all on one track—and it did, but I imagine that if Madonna (and the two Tim’s) had been everywhere promoting it, it would have only helped at radio, sales…and perhaps chart positions.
-
After Whitney's version of IWALY became a hit, Dolly won a songwriting award for it. During her acceptance speech, she joked by thanking Whitney for keeping the IRS off her back that year.
-
Eh! With Lewis and Underwood, compeition just got more insane. At this point, Mariah's becoming the lesser threat.
-
The timing was just odd/quasi-bad. I fear the song may have exploded too rapidly, too soon before the release of the album, and I'm fearing that by the time HC is released, 4M may have lost too much steam to benefit from it. I hope Warner isn't thick enough to give up because of this chart stall, and concede to this number three showing. Madonna needs to start whoring herself and this song in the media now, before 4M loses its bullet. Silly as it may sound, I'd be in favor of them releasing a standard 2-track CD single Stateside.
-
I bought Janet's CD last week and am startled by how indifferent I am to it. I used to be a big fan of hers, but this CD is just deadpan and spiritless. With not a single song written or produced by Janet, it feels "assembled" and Britney-esque, in the sense of Janet simply playing the singer who is handed songs by the producer and told how to sing them. The album lacks the personality of her albums before. I think even 20 YO felt more like a Janet album than this one. The only song on here that I like is "Rock With You," and that's only because it has a middle to late 90s relaxed club aura (ala Gloria Estefan's "I'm Not Giving You Up" and Savage Garden's "I Want You") that reminds me of my senior year.
If I were her, I wouldn't throw in the towel on the album yet. I'd get my lawyers and managers on the phone and see about having my contract with Island Records reassigned to its Interscope/A&M (get away from Mariah, and back to the vicinity of her old Control/Rhythm Nation catalogue) sister label. Then I'd work on re-releasing the album with about 50% of the original tracklisting axed, filling it with new material done by Jam & Lewis. Maybe retitle it as Discipline: Reloaded, and then go on a media assault with it.
-
What confuses me is how Pat got co-producing credit on the songs he co-wrote for ROL, if he didn't actually have a hand in the actual production of the songs. It always seemed (to me) that the PL-written songs on ROL sounded a little more "ironed out" and "mainstream" (from a production standpoint) than the non PL-written songs. I always took that to mean that he DID have a hand in the assembly, and perhaped slightly tweaked/tempered Orbits more experimental and avant-garde production.
-
I'm hoping that Madonna and her camp just considered this first two weeks a "preliminary" period, and that they plan to go on a media publicity attack come the start April. After seeing the strong reception 4M is getting on its own, they'd have to be absolute insane to not do all that they can now to help it peak as high as it could possibly go. Even though it's clear that a Madonna/Timberlake/Timbaland song can sell itself, I hate to say it but they almost need to pull a Mariah here and exploit it for all its worth. Why settle for gold, when doing a little more could mean platinum? Why settle for a #3 when doing a little more could mean #1?
-
Where is 4M? I don't see it at all on the iTunes chart?
-
How many Top10 hits does Mimi have?
Can't Let Go (#2)
Make It Happen (#5)
Without You (#3)
Anytime You Need a Friend (#12)
Endless Love (Luther Vandross feat. Mariah) (#2)
Sweetheart (#125)
When You Believe (Whitney & Mariah) (#15)
Sweetheart (Jermaine Dupri feat. Mariah) (#125)
I Still Believe (#4)
Crybaby/Can't Take That Away (#28)
Lover Boy (#2)
Never Too Far (#105)
Don't Stop, Funkin' 4 Jamaica (#123)
Never Too Far/Hero Medley (#81)
Through the Rain (#81)
Boy, I Need You (failed to chart on the Hot 100/Bubbling under)
Bringin' On the Heartbreak (failed to chart on the Hot 100/Bubbling under)
I Know What You Want (Busta Rhymes feat. Mariah) (#3)
U Make Me Wanna (Jadakiss feat. Mariah) (#21)
It's Like That (#16)
Shake it Off (#2)
So Lonely (Twista feat. Mariah) (#114)
Say Somethin' (#79)
Fly Like a Bird (#104)
Mine Again (failed to chart on the Hot 100/Bubbling under)
Lil' L.O.V.E. (Bone Thugs-n-Harmony feat. Mariah) (#117)
-
Apparently Power 106 (urban station) debuted it yesterday and cut off the song by 1.5 minutes because they were disgusted by it.
But then it's not very likely urban stations will embrace the song.If they were disgusted by it, then why did they even bother to play it? No radio station plays music that they hadn't already heard beforehand.
"4 Minutes" on the Billboard Charts
in ARCHIVE - Madonna
Posted · Edited by Etips
I think age is only part of the issue. Madonna hasn’t been a strong ‘singles’ artist at radio since she stopped making standard commercial-sounding music in the middle 1990s. While the ROL/Music-era spun off some surprisingly well received hit singles, even then there was a feeling that Madonna’s music stood a greater chance of being an underdog at radio. Today Madonna’s coming off of two albums that had virtually no radio hits. That, in and of itself, is going to make her have to work harder in an attempt to almost reintroduce herself to radio listeners who haven’t been guaranteed to generally accept her material in years. Right now (even with Timbaland and Justin in her pocket) she is having to almost build back up commercial ‘credit’ to an indifferent listening public…and skeptical radio programmers who probably haven’t seen an intense demand amongst their listeners for Madonna in years. 4M has done a good job cracking the door open, but the quest doesn’t end there…