With consumption in the week of 53,892 copies (including 45,657 from sales-equivalent streams), "Shotgun" ceded its paid-for sales throne to "Promises", the new collaboration between Calvin Harris and Sam Smith, which opens at No.4 with consumption of 41,407 units, of which 13,742 are paid-for sales. Harris' 36th Top 75 entry, and Smith's 16th, it raises the former's tally of Top 10 hits to 25, and the latter's to nine.
And it also becomes his 32nd Top 10 in production in the UK.
Pipped at the post last week, when it was overhauled at the last gasp by "Eastside", "Promises" now coasts to the summit for Calvin Harris and Sam Smith on consumption of 61,813 units, including 44,633 from sales-equivalent streams.
It is 34-year-old Harris' 10th No.1 in a little over 10 years. The only other act to have as many No.1s to their credit in the 21st century are Westlife, who racked up their 10 between 2000 and 2006, having already had four in 1999. Rihanna and Eminem each have nine.
Eight of Harris' No.1s have come in the 2010s, putting him top of that list one ahead of Promises co-star Smith plus Tinie Tempah and Jess Glynne. It is the fourth time a 'promise' song has topped the chart in less than 10 years, when none had before. Cheryl (Cole) was involved in the first two, as a member of Girls Aloud for "The Promise" in 2008, and solo for "Promise This" in 2010, while Nero topped with "Promises" in 2011.
As a consequence, Adam has topped the UK singles chart eight times in the 2010s, being the act with most #1 hits this decade, although he counts "Holiday", "Call My Name", "Spectrum (Say My Name)" and "I Will Never Let You Down", the productions and remixes he has done to other artists as well.
I don't recall the whole thing being destroyed by critics though... the last album I actually remember getting destroyed on Metacritic was Charlie Puth's Nine Track Mind.
I think it was a little exaggerating from him saying that to be honest, but if I remember correctly, he always complained that I Created Disco got an star (from five) when The Guardian reviewed the album, which is below.
In his electrifying 2002 debut single, "Losing My Edge", LCD Soundsystem's James Murphy fretted that kids who 'borrowed nostalgia for the unremembered 80s' were out to make him obsolete. He could have been predicting the arrival of Calvin Harris, a 23-year-old whose debut single, "Acceptable in the 80s", recently reached the top 10. Chart success notwithstanding, Murphy has nothing to worry about. LCD's influence on Harris is obvious: "Merrymaking at My Place", the opening track on I Created Disco, could be a riff on "Daft Punk Is Playing at My House" from the first LCD album. But where Murphy's music is sophisticated, engaging and danceable, I Created Disco is witless and forever tripping over its own feet. Harris's two plodding instrumentals are bad enough, but on most tracks he chants repetitive lyrics so stupid they feel like an insult to the listener. 'I can't help but play around,' he smirks on "The Girls", 'because I get all the girls.' Not this one, pal.
That said, since you mentioned Metacritic, I checked the reviews that this album got and are mentioned there and... there's one from Drowned In Sound, which I guess it implies what he said about getting 'the worst reviews known to a man'. An extract from that "review" could be read below.
Said singles (in reference of "Acceptable In The 80s" and "The Girls") are tolerable enough, truth be told – they come on the transistor and few bat an eyelid, let alone twitch a knee – but 14 tracks of exactly the same s**t? Come on, Harris: this is a joke, right? Oh, wait, it can't even be that. We're not laughing.
You might be the biggest fan ever of I Created Disco's preceding standalone offerings, but you'll still be numbed statuesque by this slab of soulless, cheap-as-chips, Amiga 500-toned monkey-funk pleb-dance toss. Surely you're meant to be able to dance to dance music? Equally surely, Harris has failed to recognise this simple equation, instead filling his first – and most probably last – long-player with beats that vary precisely not at all from song to song, vocals straight out of a Xanax-chomping teenager's YouTube monologue about the state of, y'know, trivial s**t, and an overall tone that's consistent only in one respect: it's consistently annoying.
Glad that this didn't stop him to make more albums though~
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