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There are so many things that make Killing Eve brilliant. Phoebe Waller-Bridge's writing, obviously, deserves much of the recognition here. So too does Sandra Oh's performance as the unravelling MI5 agent, Eve. And who can forget Jodie Comer as Villanelle?

Indeed, the success of the show is down to an ensemble effort, and this extends to the music of Killing Eve, which is just as interesting and nuanced as the on-screen action. The handy work of DJ and composer David Holmes, who's worked with everyone from Steve McQueen to Noel Gallagher, and the show's music supervisor Catherine Grieves, the pair worked tirelessly to ensure that the show's Bafta-winning soundtrack fed seamlessly into Killing Eve's DNA.

It's quite the challenge, finding a sound that conveys the complexities of Killing Eve's story effortlessly, but, for Holmes, the answer was right in front of him. Much of the show's soundtrack is populated by songs by his own band, Unloved, whose dark, sultry sound instantly struck a chord with those working on the show. Led by Jade Vincent's haunting vocals and Keefus Ciancia and Holmes' production, their music brings a Sixties melancholy to the show that almost sounds as though it was written for the script, scene by scene.

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And then every now and then a song surprises you, be it a punch of vintage French pop with tracks such as "Roller Girl" by Anna Karina or "Contact" by Brigitte Bardot or the sudden jolt of male vocals with The Troggs' "Evil Woman". The soundtrack is just as thrilling and full of as many twists and turns as Waller-Bridge's own writing, which is why we caught up with Holmes and Grieves to find out just how they did it.

How did you both first get involved with Killing Eve?

David Holmes: I was approached by Sid Gentle Films about possibly getting involved. Phoebe Waller-Bridge’s involvement was what initially got me excited about the series as I was a huge fan of Fleabag. After reading the first episode I was sold.

Catherine Grieves: I’d read about the series when it was in development and thought it sounded really exciting. I was obsessed with Fleabag and was itching to be involved. I’d worked with Sid Gentle [the show's production company] and the series producer Colin Wratten before, so the stars aligned.

You’ve said before that you didn’t want the soundtrack to be derivative of other scores. Why do you think it was so important to be original for Killing Eve in particular?

DH: After reading the first episode, we knew that Killing Eve required something that was completely unique. It had to be as original as the writing. I also knew it had to have a very strong female sound, which ultimately led to what we ended up creating. With that template, the possibilities were endless due to the amount of choice Catherine and I had in our record collections.

CG: Everyone wanted the soundtrack to be a big part of the show from the beginning and for it to have its own distinctive voice, so David and I were given the space to do something bold. Across the board, the show really pushes the unexpected: the writing, acting, costume and production design all have their own strong identities. And we did the same with the soundtrack, through David’s score, the Unloved songs and the commercial tracks.

How did your approach to creating the soundtrack compare to other films and TV programmes you’ve worked on?

DH: I started by compiling a huge playlist for Phoebe Waller-Bridge, Sally Woodward Gentle and all the other producers and directors, which included about 30 Unloved tracks that had mostly never seen the light of day, along with the likes of Anna Karina, Françoise Hardy, The Troggs and Étienne Daho. At this stage it was more of a hunch that they might work, rather than a reality, but by the end of the first season, 23 of the Unloved tracks had made the cut as well as all the other music we suggested. It was just meant to be.

CG: We discussed having a featured female voice or artist involved in the soundtrack from the very start, but we also wanted to make sure that we had a great composer who could really tell the story. David was the perfect fit, bringing his band Unloved to the table, with lead vocals by Jade Vincent that completely captured the tone of the show. David and I work together on finding other commercial tracks, digging deep into our record collections and bouncing ideas off each other until we find “the one”.

Villanelle is so much fun to soundtrack. She has so many sides to her character that we pick out with certain tracks

The female-led focus is a perfect complement to Phoebe Waller-Bridge’s writing. Why was it important to you to take this route?

DH: It was the only way we could’ve done it. Our two leads are female, so to have a strong male influence just wouldn’t have made any sense on any level. I don’t think I would’ve got the job if I had suggested anything other than a female led soundtrack. The idea really excited me, as does any direction I’ve never attempted before, but I knew I had enough ideas in my locker to create something fresh, exciting and original. Thankfully, we had the support from everyone else involved.

CG: Phoebe’s script and the direction of the series really left space for the music to become part of Eve and Villanelle’s characters and psyches. We use a female vocal throughout, bar a couple of select moments, though there is always a depth to the voice: darkness, humour, intrigue. Eve and Villanelle are complex and the women who contribute to the soundtrack are too, musically, lyrically and tonally.

The Unloved’s sound quickly became the unifying thread on the soundtrack. Why do you think the band’s sound lends itself so well to the programme?

DH: All of the Unloved music was created by myself, Keefus Ciancia and Jade Vincent seven years previous. The fact that it fitted the fabric of Killing Eve so perfectly is still a mystery to me. That’s the magic of film and music but that’s also been the story of my life! Every album I’ve ever made has eventually found a home in cinema or television after initially doing very little commercially. It’s very reassuring knowing that one day this music will be heard on one platform or another.

What were you trying to achieve when you did choose to use songs with male vocals, such as The Troggs’ "Evil Woman"?

CG: There are moments where it works to have a male vocal, when we’re picking out the perspective of a male character, rather than being Eve or Villanelle’s inner voice. "Evil Woman" is such a brilliant song with perfect lyrics for that moment after Villanelle has strangled her male victim with his own tie. The Poppy Family’s "Where Evil Grows" in series two is another great example where a male voice, this time as a duet, fits so well.

DH: The reason "Evil Woman" by The Troggs worked so well was because it was sequenced after Villanelle had just killed a man in the most hilarious way and to have a male voice in that moment just felt right. It was almost like saying this is the voice of the man she just killed singing beyond the grave. Ultimately it just felt right in that particular sequence.

A lot of the soundtrack is tailored to Villanelle, from the French influences to the more lively, unpredictable tracks. Why did you choose her character as the point of focus and how did you ensure the soundtrack also complemented Eve?

CG: Villanelle is so much fun to soundtrack. She has so many sides to her character that we pick out with certain tracks, like Pshycotic Beats' "Killer Shangri-Lah" for the twisted humour, Brigitte Bardot for the attitude and sass, Die Wilde Jagd for the pure darkness, all tied together with Unloved. As the story and characters develop, you find there are so many parallels between Villanelle and Eve and there are elements in every track that tell both stories. There are certain tracks, such as the Dutch cover of "Angel Of The Morning" by Willeke Alberti in season two, which help tie the characters together emotionally.

DH: When I’m scoring or compiling a soundtrack I try my best to feel my way through it rather than think my way through it. When something feels right I tend to trust my instinct. There are a number of reasons music or a song works and it’s the same when it doesn’t. I do question my choices, but ultimately I know when something’s right or wrong based on my instinct and what’s happening within the story.

What were your favourite moments from the show to soundtrack?

DH: I enjoyed it all, to be fair. It’s not very often when you have the complete trust of the producers, writers and directors. That gives you so much confidence and belief that you can try anything and if you feel it works really well you hope they will feel the same.

CG: It’s such a great show to be part of, it’s hard to pick out particular moments. It’s a real joy being able to bring unexpected music to the table with the support of producers, directors and writers. Collaborating with David is really inspirational too, we have a lot of fun.

What were the most difficult moments to soundtrack from the show?

CG: Very occasionally we find brilliant tracks that everyone falls in love with that we can’t clear and have to replace, which can be really frustrating. Most artists and writers are really keen to work with us, but we use a lot of vintage European music, so sometimes we are getting permission from little old ladies in France who have no idea what the show is. When clearing music you have to be quite explicit in how the song is used and what’s happening in the scene, so if the artist doesn’t like violence, it can be quite a hard sell!

DH: The most difficult thing was reaching the deadlines that can be very tight at times. Creatively speaking it was all a lot of fun. Catherine and I have a wonderful relationship and are always on the same page. Keefus Ciancia and I also have a brilliant relationship, so we too are always on the same page. It’s a dream job that we never get tired of doing.

Series two ended on a cliffhanger and left audiences unsure of what direction Killing Eve will take next. Will the soundtrack for series three be continuing in the same direction as the previous series or will there be a change in styles to reflect Eve’s apparent death?

CG: It’s early days, but we have spent the last few months collecting music for the new series. We were given a heads up on which countries we’d be visiting this time, so we’ve been researching and cherry picking some more underground European gems ready for when we see the new episodes.

DH: We're just going to keep developing what we have started. Jade, Keefus and I are working on new Unloved material and there’s so much other amazing music out there that we try to fit into the series. We have a plethora of song ideas for whatever country we’re in, because of all the different locations we go to. We always try to do the unexpected and we want to champion the underdog, music you may never have heard before, put into a context that gives it a much broader meaning. When you marry a piece of music with the right cinematic sequence, you hear this music in a completely different context and suddenly you have made something that may be perceived as underground sound very accessible.

Killing Eve, Season One & Two Original Soundtrack is out now and available to purchase here.

Follow GQ on Vero for exclusive music content and commentary, all the latest music lifestyle news and insider access into the GQ world, from behind-the-scenes insight to recommendations from our editors and high-profile talent.

Phoebe Waller-Bridge interviewed by Tina Fey

Jodie Comer: 'There will be a lot more kills'

Jodie Comer reveals the secrets of Killing Eve’s final scene]]>
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There are so many things that make Killing Eve brilliant. Phoebe Waller-Bridge's writing, obviously, deserves much of the recognition here. So too does Sandra Oh's performance as the unravelling MI5 agent, Eve. And who can forget Jodie Comer as Villanelle?

Indeed, the success of the show is down to an ensemble effort, and this extends to the music of Killing Eve, which is just as interesting and nuanced as the on-screen action. The handy work of DJ and composer David Holmes, who's worked with everyone from Steve McQueen to Noel Gallagher, and the show's music supervisor Catherine Grieves, the pair worked tirelessly to ensure that the show's Bafta-winning soundtrack fed seamlessly into Killing Eve's DNA.

It's quite the challenge, finding a sound that conveys the complexities of Killing Eve's story effortlessly, but, for Holmes, the answer was right in front of him. Much of the show's soundtrack is populated by songs by his own band, Unloved, whose dark, sultry sound instantly struck a chord with those working on the show. Led by Jade Vincent's haunting vocals and Keefus Ciancia and Holmes' production, their music brings a Sixties melancholy to the show that almost sounds as though it was written for the script, scene by scene.

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And then every now and then a song surprises you, be it a punch of vintage French pop with tracks such as "Roller Girl" by Anna Karina or "Contact" by Brigitte Bardot or the sudden jolt of male vocals with The Troggs' "Evil Woman". The soundtrack is just as thrilling and full of as many twists and turns as Waller-Bridge's own writing, which is why we caught up with Holmes and Grieves to find out just how they did it.

How did you both first get involved with Killing Eve?

David Holmes: I was approached by Sid Gentle Films about possibly getting involved. Phoebe Waller-Bridge’s involvement was what initially got me excited about the series as I was a huge fan of Fleabag. After reading the first episode I was sold.

Catherine Grieves: I’d read about the series when it was in development and thought it sounded really exciting. I was obsessed with Fleabag and was itching to be involved. I’d worked with Sid Gentle [the show's production company] and the series producer Colin Wratten before, so the stars aligned.

You’ve said before that you didn’t want the soundtrack to be derivative of other scores. Why do you think it was so important to be original for Killing Eve in particular?

DH: After reading the first episode, we knew that Killing Eve required something that was completely unique. It had to be as original as the writing. I also knew it had to have a very strong female sound, which ultimately led to what we ended up creating. With that template, the possibilities were endless due to the amount of choice Catherine and I had in our record collections.

CG: Everyone wanted the soundtrack to be a big part of the show from the beginning and for it to have its own distinctive voice, so David and I were given the space to do something bold. Across the board, the show really pushes the unexpected: the writing, acting, costume and production design all have their own strong identities. And we did the same with the soundtrack, through David’s score, the Unloved songs and the commercial tracks.

How did your approach to creating the soundtrack compare to other films and TV programmes you’ve worked on?

DH: I started by compiling a huge playlist for Phoebe Waller-Bridge, Sally Woodward Gentle and all the other producers and directors, which included about 30 Unloved tracks that had mostly never seen the light of day, along with the likes of Anna Karina, Françoise Hardy, The Troggs and Étienne Daho. At this stage it was more of a hunch that they might work, rather than a reality, but by the end of the first season, 23 of the Unloved tracks had made the cut as well as all the other music we suggested. It was just meant to be.

CG: We discussed having a featured female voice or artist involved in the soundtrack from the very start, but we also wanted to make sure that we had a great composer who could really tell the story. David was the perfect fit, bringing his band Unloved to the table, with lead vocals by Jade Vincent that completely captured the tone of the show. David and I work together on finding other commercial tracks, digging deep into our record collections and bouncing ideas off each other until we find “the one”.

Villanelle is so much fun to soundtrack. She has so many sides to her character that we pick out with certain tracks

The female-led focus is a perfect complement to Phoebe Waller-Bridge’s writing. Why was it important to you to take this route?

DH: It was the only way we could’ve done it. Our two leads are female, so to have a strong male influence just wouldn’t have made any sense on any level. I don’t think I would’ve got the job if I had suggested anything other than a female led soundtrack. The idea really excited me, as does any direction I’ve never attempted before, but I knew I had enough ideas in my locker to create something fresh, exciting and original. Thankfully, we had the support from everyone else involved.

CG: Phoebe’s script and the direction of the series really left space for the music to become part of Eve and Villanelle’s characters and psyches. We use a female vocal throughout, bar a couple of select moments, though there is always a depth to the voice: darkness, humour, intrigue. Eve and Villanelle are complex and the women who contribute to the soundtrack are too, musically, lyrically and tonally.

The Unloved’s sound quickly became the unifying thread on the soundtrack. Why do you think the band’s sound lends itself so well to the programme?

DH: All of the Unloved music was created by myself, Keefus Ciancia and Jade Vincent seven years previous. The fact that it fitted the fabric of Killing Eve so perfectly is still a mystery to me. That’s the magic of film and music but that’s also been the story of my life! Every album I’ve ever made has eventually found a home in cinema or television after initially doing very little commercially. It’s very reassuring knowing that one day this music will be heard on one platform or another.

What were you trying to achieve when you did choose to use songs with male vocals, such as The Troggs’ "Evil Woman"?

CG: There are moments where it works to have a male vocal, when we’re picking out the perspective of a male character, rather than being Eve or Villanelle’s inner voice. "Evil Woman" is such a brilliant song with perfect lyrics for that moment after Villanelle has strangled her male victim with his own tie. The Poppy Family’s "Where Evil Grows" in series two is another great example where a male voice, this time as a duet, fits so well.

DH: The reason "Evil Woman" by The Troggs worked so well was because it was sequenced after Villanelle had just killed a man in the most hilarious way and to have a male voice in that moment just felt right. It was almost like saying this is the voice of the man she just killed singing beyond the grave. Ultimately it just felt right in that particular sequence.

A lot of the soundtrack is tailored to Villanelle, from the French influences to the more lively, unpredictable tracks. Why did you choose her character as the point of focus and how did you ensure the soundtrack also complemented Eve?

CG: Villanelle is so much fun to soundtrack. She has so many sides to her character that we pick out with certain tracks, like Pshycotic Beats' "Killer Shangri-Lah" for the twisted humour, Brigitte Bardot for the attitude and sass, Die Wilde Jagd for the pure darkness, all tied together with Unloved. As the story and characters develop, you find there are so many parallels between Villanelle and Eve and there are elements in every track that tell both stories. There are certain tracks, such as the Dutch cover of "Angel Of The Morning" by Willeke Alberti in season two, which help tie the characters together emotionally.

DH: When I’m scoring or compiling a soundtrack I try my best to feel my way through it rather than think my way through it. When something feels right I tend to trust my instinct. There are a number of reasons music or a song works and it’s the same when it doesn’t. I do question my choices, but ultimately I know when something’s right or wrong based on my instinct and what’s happening within the story.

What were your favourite moments from the show to soundtrack?

DH: I enjoyed it all, to be fair. It’s not very often when you have the complete trust of the producers, writers and directors. That gives you so much confidence and belief that you can try anything and if you feel it works really well you hope they will feel the same.

CG: It’s such a great show to be part of, it’s hard to pick out particular moments. It’s a real joy being able to bring unexpected music to the table with the support of producers, directors and writers. Collaborating with David is really inspirational too, we have a lot of fun.

What were the most difficult moments to soundtrack from the show?

CG: Very occasionally we find brilliant tracks that everyone falls in love with that we can’t clear and have to replace, which can be really frustrating. Most artists and writers are really keen to work with us, but we use a lot of vintage European music, so sometimes we are getting permission from little old ladies in France who have no idea what the show is. When clearing music you have to be quite explicit in how the song is used and what’s happening in the scene, so if the artist doesn’t like violence, it can be quite a hard sell!

DH: The most difficult thing was reaching the deadlines that can be very tight at times. Creatively speaking it was all a lot of fun. Catherine and I have a wonderful relationship and are always on the same page. Keefus Ciancia and I also have a brilliant relationship, so we too are always on the same page. It’s a dream job that we never get tired of doing.

Series two ended on a cliffhanger and left audiences unsure of what direction Killing Eve will take next. Will the soundtrack for series three be continuing in the same direction as the previous series or will there be a change in styles to reflect Eve’s apparent death?

CG: It’s early days, but we have spent the last few months collecting music for the new series. We were given a heads up on which countries we’d be visiting this time, so we’ve been researching and cherry picking some more underground European gems ready for when we see the new episodes.

DH: We're just going to keep developing what we have started. Jade, Keefus and I are working on new Unloved material and there’s so much other amazing music out there that we try to fit into the series. We have a plethora of song ideas for whatever country we’re in, because of all the different locations we go to. We always try to do the unexpected and we want to champion the underdog, music you may never have heard before, put into a context that gives it a much broader meaning. When you marry a piece of music with the right cinematic sequence, you hear this music in a completely different context and suddenly you have made something that may be perceived as underground sound very accessible.

Killing Eve, Season One & Two Original Soundtrack is out now and available to purchase here.

Follow GQ on Vero for exclusive music content and commentary, all the latest music lifestyle news and insider access into the GQ world, from behind-the-scenes insight to recommendations from our editors and high-profile talent.

Phoebe Waller-Bridge interviewed by Tina Fey

Jodie Comer: 'There will be a lot more kills'

Jodie Comer reveals the secrets of Killing Eve’s final scene]]> 4203840 no no Tue, 24 Dec 2019 21:06:17 +0100 2019-12-24T21:06:17+01:00 3:05 https://hearthis.at/dj-nyaman-sahu/cg-song-cg-dj-song-2020-cg-song-download/ https://cgdjsong.com/
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LadBaby’s I Love Sausage Rolls (Frtyfve/AWAL) has romped home in the race for the Christmas No.1 single. It’s a second consecutive festive chart-topper for the novelty act.

In the Christmas albums chart, Rod Stewart finished ahead of big new releases by Stormzy and Harry Styles (see below).

LadBaby’s reworking of Joan Jett’s I Love Rock & Roll finished the week with a huge tally of 92,896 sales, according to the Official Charts Company. Unusually, the vast majority of its total was made up of downloads (83,306 sales). It’s the fastest-selling download since June 2017’s Artists For Grenfell chart-topping charity single.

The YouTuber’s campaign, which will benefit The Trussell Trust to alleviate UK hunger and poverty, was well coordinated. The appeal for download sales rather than streams – remember, it’s 100 plays for a ‘sale’ on premium services – paid off in the battle for the Christmas No.1.

Own It (Merky/Atlantic), Stormzy’s collaboration with Ed Sheeran and Burna Boy, finished at No.2 (67,649 sales). With chart rules capping singles entries to three, the UK rapper also has debuts at No.6 (Audacity feat. Headie One) and No.9 (Lessons).

With Lewis Capaldi’s Before You Go (EMI) at No.3 and Dua Lipa’s Don’t Star Now (Warner Records) at No.4, Wham!’s Last Christmas (Sony CG) – at No.5 – is still chasing No.1 after 35 years. It was boosted by the Last Christmas film and an anniversary vinyl single (4,859 weekly sales); but the evergreen was always hampered by ACR rules for catalogue tiles that require double the number of streams to qualify for a ‘sale’.

“Congratulations to Ladbaby,” said Martin Talbot, chief executive, Official Charts Company. “It is a superb achievement to score an Official Christmas No. 1 once, let alone twice in successive years. And to do so with increased sales year-on-year is quite phenomenal – and all for a fantastic cause.

“Of course, commiserations to Stormzy, Lewis Capaldi, Dua Lipa and Wham! who made up the Official Top 5 in what has proven to be a genuinely competitive race, which has ended up spanning generations and genres.”

Heavy Is The Head is a masterpiece that will go down as one of the great British records

Derek Allen

Mariah Carey’s All I Want For Christmas Is You (Columbia) finally made No.1 in the US after 25 years, but has to settle for No.8 here. Fairytale Of New York (Rhino) by The Pogues feat. Kirsty MacColl is at No.14, Merry Christmas Everyone (Epic) by Shakin’ Stevens is at No.16, Do They Know It’s Christmas? (Virgin EMI) by Band Aid is at No.17 and Step Into Christmas (Virgin EMI) by Elton John at No.19. Further festive favourites populate the Top 100.

There was also a crowd-sourced No.1 Christmas chart challenge for Jarvis Cocker and his politically charged tune Running The World (Rough Trade). In the event, strong download sales of 12,380 secured a No.48 entry – a moral victory, perhaps.

Following his sudden death, Juice Wrld re-enters with Lucid Dreams at No.27.

Last week’s No.1 Dance Monkey by Tones And I plunged to No.10 as a result of the impact of ACR.

I Love Sausage Rolls beat LadBaby’s 2018 festive No.1 sale of 75,442 for We Built This City. Back-to-back Christmas chart-toppers puts LadBaby in an exclusive club with The Beatles and the Spice Girls, although both those groups managed three consecutive festive No.1s. But LadBaby can claim to be the first act to deliver two novelty Christmas No.1s back to back.

LadBaby’s victory is likely to be short-lived, as last year’s No.1 fell to No.21 in the week after Christmas. That could open up the top spot for a challenge by Arizona Zervas’ hit Roxanne (Columbia), which is at No.7 with sales up 9% week-on-week. It would mirror the performance of Ava Max’s Sweet But Psycho (Atlantic), which finally made it to No.1 at the end of 2018 after the various festive songs fell away.

In the albums chart, there will be concerns at physical retail about the low sales in the week before Christmas. But Rod Stewart’s orchestral album with the RPO You’re In My Heart (Rhino) does the business with 71,330 sales (including just 710 sales-equivalent streams).

While Stewart sold more than the 68,606 weekly pre-Christmas total for No.1 album The Greatest Showman 12 months ago, it’s still a disappointing result for the Q4 peak period. Every other Christmas No.1 album of the past decade has topped 100,000 weekly sales.

Stewart now has 10 chart-topping LPs. The Beatles, Robbie Williams, The Rolling Stones and David Bowie are now the only acts with more No.1 albums.

Stormzy’s Heavy Is The Head (Merky/Atlantic) was always a No.1 contender this week, but finishes in second place with 58,201 sales (including 28,155 from streams). It’s down on the 68,594 week one sale for debut Gang Signs & Prayer in March 2017. But as a very late Q4 release, its performance in 2020 is what counts.

Derek Allen, SVP, commercial, Warner Music, said: “We’re delighted that Rod has once again topped the charts and given Warner Music a Christmas No.1 album for a second consecutive year. Rod, working alongside the Royal Philharmonic Orchestra, has delivered a stunning record that’s breathed new life into his timeless classics. It’s great to see Rod’s popularity is as strong as ever as he’s fought off stiff competition for two weeks to claim back-to-back No.1s.

“In addition, we had a great first week with Stormzy’s incredible second album - Heavy Is The Head is a masterpiece that will go down as one of the great British records – and he’s also celebrating three tracks in the Top 10 singles chart too.”

Warner Music had five of the Top 10 albums and five of the Top 10 singles.

Harry Styles’ Fine Line (Columbia) was No.1 in early sales flashes, but ended up at No.3 with 49,082 sales (including 15,115 streams). It’s down on the 57,000 week one total for his self-titled debut in May 2017. During his album launch show at Camden’s Electric Ballroom, Styles invited chart rival Stormzy on stage for a duet of Vossi Bop.

With Lewis Capaldi’s Divinely Uninspired To A Hellish Extent (No.4, 32,780 sales) finishing ahead of No.6 Collaborations Project (Atlantic) by Ed Sheeran (No.10, 16,991), the Scot can surely look forward to claiming the biggest album of the year.

Previous Christmas No.1 album victors Michael Ball & Alfie Boe make the Top 5 with third collaboration Back Together (No.5, 32,491). Coldplay’s Everyday Life (Parlophone) is No.6 (31,902), followed by Robbie Williams’ The Christmas Present (Columbia) at No.7 (31,520) and Michael Buble at No.8 with Christmas (Warner Records). The Canadian’s 2012 festive LP is the gift that keeps giving – it sold 23,776 copies this week and is closing in on three million units.

The Who’s comeback album Who (Polydor) shifts a respectable 19,116 copies in its second week to make No.9.

In the compilations chart, Now 104 is No.1 with 25,054 sales this week. But last year’s equivalent Now release, Now 101, moved 51,773 physical copies in the week before Christmas.

The decline underlines the challenge for the compilation sector, which is down 34.4% year-on-year. On three occasions in the past decade, Now albums actually had higher sales than the No.1 artist album.]]> https://cgdjsong.com/
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LadBaby’s I Love Sausage Rolls (Frtyfve/AWAL) has romped home in the race for the Christmas No.1 single. It’s a second consecutive festive chart-topper for the novelty act.

In the Christmas albums chart, Rod Stewart finished ahead of big new releases by Stormzy and Harry Styles (see below).

LadBaby’s reworking of Joan Jett’s I Love Rock & Roll finished the week with a huge tally of 92,896 sales, according to the Official Charts Company. Unusually, the vast majority of its total was made up of downloads (83,306 sales). It’s the fastest-selling download since June 2017’s Artists For Grenfell chart-topping charity single.

The YouTuber’s campaign, which will benefit The Trussell Trust to alleviate UK hunger and poverty, was well coordinated. The appeal for download sales rather than streams – remember, it’s 100 plays for a ‘sale’ on premium services – paid off in the battle for the Christmas No.1.

Own It (Merky/Atlantic), Stormzy’s collaboration with Ed Sheeran and Burna Boy, finished at No.2 (67,649 sales). With chart rules capping singles entries to three, the UK rapper also has debuts at No.6 (Audacity feat. Headie One) and No.9 (Lessons).

With Lewis Capaldi’s Before You Go (EMI) at No.3 and Dua Lipa’s Don’t Star Now (Warner Records) at No.4, Wham!’s Last Christmas (Sony CG) – at No.5 – is still chasing No.1 after 35 years. It was boosted by the Last Christmas film and an anniversary vinyl single (4,859 weekly sales); but the evergreen was always hampered by ACR rules for catalogue tiles that require double the number of streams to qualify for a ‘sale’.

“Congratulations to Ladbaby,” said Martin Talbot, chief executive, Official Charts Company. “It is a superb achievement to score an Official Christmas No. 1 once, let alone twice in successive years. And to do so with increased sales year-on-year is quite phenomenal – and all for a fantastic cause.

“Of course, commiserations to Stormzy, Lewis Capaldi, Dua Lipa and Wham! who made up the Official Top 5 in what has proven to be a genuinely competitive race, which has ended up spanning generations and genres.”

Heavy Is The Head is a masterpiece that will go down as one of the great British records

Derek Allen

Mariah Carey’s All I Want For Christmas Is You (Columbia) finally made No.1 in the US after 25 years, but has to settle for No.8 here. Fairytale Of New York (Rhino) by The Pogues feat. Kirsty MacColl is at No.14, Merry Christmas Everyone (Epic) by Shakin’ Stevens is at No.16, Do They Know It’s Christmas? (Virgin EMI) by Band Aid is at No.17 and Step Into Christmas (Virgin EMI) by Elton John at No.19. Further festive favourites populate the Top 100.

There was also a crowd-sourced No.1 Christmas chart challenge for Jarvis Cocker and his politically charged tune Running The World (Rough Trade). In the event, strong download sales of 12,380 secured a No.48 entry – a moral victory, perhaps.

Following his sudden death, Juice Wrld re-enters with Lucid Dreams at No.27.

Last week’s No.1 Dance Monkey by Tones And I plunged to No.10 as a result of the impact of ACR.

I Love Sausage Rolls beat LadBaby’s 2018 festive No.1 sale of 75,442 for We Built This City. Back-to-back Christmas chart-toppers puts LadBaby in an exclusive club with The Beatles and the Spice Girls, although both those groups managed three consecutive festive No.1s. But LadBaby can claim to be the first act to deliver two novelty Christmas No.1s back to back.

LadBaby’s victory is likely to be short-lived, as last year’s No.1 fell to No.21 in the week after Christmas. That could open up the top spot for a challenge by Arizona Zervas’ hit Roxanne (Columbia), which is at No.7 with sales up 9% week-on-week. It would mirror the performance of Ava Max’s Sweet But Psycho (Atlantic), which finally made it to No.1 at the end of 2018 after the various festive songs fell away.

In the albums chart, there will be concerns at physical retail about the low sales in the week before Christmas. But Rod Stewart’s orchestral album with the RPO You’re In My Heart (Rhino) does the business with 71,330 sales (including just 710 sales-equivalent streams).

While Stewart sold more than the 68,606 weekly pre-Christmas total for No.1 album The Greatest Showman 12 months ago, it’s still a disappointing result for the Q4 peak period. Every other Christmas No.1 album of the past decade has topped 100,000 weekly sales.

Stewart now has 10 chart-topping LPs. The Beatles, Robbie Williams, The Rolling Stones and David Bowie are now the only acts with more No.1 albums.

Stormzy’s Heavy Is The Head (Merky/Atlantic) was always a No.1 contender this week, but finishes in second place with 58,201 sales (including 28,155 from streams). It’s down on the 68,594 week one sale for debut Gang Signs & Prayer in March 2017. But as a very late Q4 release, its performance in 2020 is what counts.

Derek Allen, SVP, commercial, Warner Music, said: “We’re delighted that Rod has once again topped the charts and given Warner Music a Christmas No.1 album for a second consecutive year. Rod, working alongside the Royal Philharmonic Orchestra, has delivered a stunning record that’s breathed new life into his timeless classics. It’s great to see Rod’s popularity is as strong as ever as he’s fought off stiff competition for two weeks to claim back-to-back No.1s.

“In addition, we had a great first week with Stormzy’s incredible second album - Heavy Is The Head is a masterpiece that will go down as one of the great British records – and he’s also celebrating three tracks in the Top 10 singles chart too.”

Warner Music had five of the Top 10 albums and five of the Top 10 singles.

Harry Styles’ Fine Line (Columbia) was No.1 in early sales flashes, but ended up at No.3 with 49,082 sales (including 15,115 streams). It’s down on the 57,000 week one total for his self-titled debut in May 2017. During his album launch show at Camden’s Electric Ballroom, Styles invited chart rival Stormzy on stage for a duet of Vossi Bop.

With Lewis Capaldi’s Divinely Uninspired To A Hellish Extent (No.4, 32,780 sales) finishing ahead of No.6 Collaborations Project (Atlantic) by Ed Sheeran (No.10, 16,991), the Scot can surely look forward to claiming the biggest album of the year.

Previous Christmas No.1 album victors Michael Ball & Alfie Boe make the Top 5 with third collaboration Back Together (No.5, 32,491). Coldplay’s Everyday Life (Parlophone) is No.6 (31,902), followed by Robbie Williams’ The Christmas Present (Columbia) at No.7 (31,520) and Michael Buble at No.8 with Christmas (Warner Records). The Canadian’s 2012 festive LP is the gift that keeps giving – it sold 23,776 copies this week and is closing in on three million units.

The Who’s comeback album Who (Polydor) shifts a respectable 19,116 copies in its second week to make No.9.

In the compilations chart, Now 104 is No.1 with 25,054 sales this week. But last year’s equivalent Now release, Now 101, moved 51,773 physical copies in the week before Christmas.

The decline underlines the challenge for the compilation sector, which is down 34.4% year-on-year. On three occasions in the past decade, Now albums actually had higher sales than the No.1 artist album.]]> 4203837 no no Tue, 24 Dec 2019 21:02:16 +0100 2019-12-24T21:02:16+01:00 3:07 https://hearthis.at/dj-nyaman-sahu/sbi-demat-account-how-to-open-free-demat-account-in-sbi/
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Stock trading is a tough career. Whether you are new to the field or experienced veteran. Joining trading courses online that offers professional online training programs is an efficient way to get a financial education. The online stock trading course is the best guide for freshman and forex stock traders. Besides, for professional traders who are looking to extend their capabilities. Contrary, an improvise approach to learn how to make passive income. So, jump-start your career with this inclusive starter traders course on building a solid investor underground.

Stock Investing vs Trading
Stock investing and trading are two simplistic money-making techniques. According to Warren Buffet “Stock trading and stock investing sound like synonyms, but two are very different from one another”. There are a billion ways to make money from the stock market. However, trading and investing are believed to be broad stock market activities.

Contrary, there is some fundamental difference between the two. Henceforth, it is imperative to explore which is right for you based on your financial goals. And there is no better way than joining a stock trading courses online for a beginner.

What is Online Stock Trading Course?
Online stock trading course introduces you to the world of stocks trading. During the course learn how to trade stocks and improve our stock market investment. Whether you’re interested in technical analysis course, day trading course or options course- IFMC is your gateway to online stock market courses.

Check: Classroom stock market course for beginners


Which is the Best Online Course for Stock Trading?
IFMC offers a reputable online stock trading for beginners. The market courses focus to target a specific niche audience via a unique teaching style. Whether you’re a new stock trading class or you’ve been market trading for years. There are few things that will help your career quite as much as holding comprehensive learning on extensive trading strategies. Fortunately, you do not need to go back to college to start a new degree. You can learn how to trade in stocks online effectively.

Characteristics of Best Online Stock Trading Course for Beginners
Not all trading schools and courses are equally curated. Unfortunately, you need to be extra careful, unlike university course. Contrary, before signing up for any stock market online course make sure that the learn stock trading class is legitimate. Look at these, four characteristics before you sign-up for an online trading course.

1. NSE Certified Trainers
Attending online courses is pivotal to success than just receiving information from books and articles. IFMC best stock market trading classes are taught by faculty with 30+ years of experience. Those are renowned industry trading experts. However, training for expert removes hurdle, makes the process efficient and likely to result in quicker progress. Whether the course is for beginners or professionals, only consider from an expert within the industry. Thus, this will make sure that you acquire accurate and latest information.

2. Live Trading Session
During an online course, you may run into the concept you don’t understand. IFMC online stock market training course offers students support tools. Also, practical stock training and live training sessions are included. The live market training comprises the study of stocks day traded. Day trade stocks is an exciting market to get involved in. Nonetheless, students can take half-day class at IFMC day trading schools.

Learn more: Online Day Trading Course.

3. Covers Core Strategy
IFMC stock trading course covers with trading technique. We attempt to appeal to students to the basic and advanced traders’ concepts. While the advanced trader’s concepts comprise of complex topics. You can carefully read the course description before sign-up.

4. Affordable
Cost is an important factor when deciding which stock market training course to choose from. But it isn’t the only factor. Our every online stock market course for beginners claims to teach you stock trading, while the cost of training is very high. At IFMC we aim to offer an affordable online course for students. We understand the importance of money for beginners in the industry and deliver the same.

What’s more? Here is a list of pros to learning stock trading course:

A great approach to training
Helpful course content
Up-to-date trading strategies
Wonderful balance between technical and fundamental analysis
Wide variety of trading tips
Enriching learning stock trading experience
Flexible investing strategies
Excellent profit course for stockbrokers
Learn intraday trade from Wall Street professional
Uni-Directional Trade Strategies Course
Uni-Directional trade strategy course for the stock market is online training programs. Now you can too have a failure to success stories. This stock trading courses online discuss 9 trading strategies in – Intraday Trading (Day Trading), Momentum Trading, Positional Trade (long-short term), Futures, Options Trade, and Swing Trade. The trading strategy is a revolutionary trading plan using primary chart patterns using Td Ameritrade. Thus, uni-directional trade strategies are easy to follow rules for professional day traders. To summarise, UDTS is the best intraday trading courses.]]>
https://tradingwithsahu.com/online-stock-trading-course-india/
https://tradingwithsahu.com/online-stock-trading-course-india/


Stock trading is a tough career. Whether you are new to the field or experienced veteran. Joining trading courses online that offers professional online training programs is an efficient way to get a financial education. The online stock trading course is the best guide for freshman and forex stock traders. Besides, for professional traders who are looking to extend their capabilities. Contrary, an improvise approach to learn how to make passive income. So, jump-start your career with this inclusive starter traders course on building a solid investor underground.

Stock Investing vs Trading
Stock investing and trading are two simplistic money-making techniques. According to Warren Buffet “Stock trading and stock investing sound like synonyms, but two are very different from one another”. There are a billion ways to make money from the stock market. However, trading and investing are believed to be broad stock market activities.

Contrary, there is some fundamental difference between the two. Henceforth, it is imperative to explore which is right for you based on your financial goals. And there is no better way than joining a stock trading courses online for a beginner.

What is Online Stock Trading Course?
Online stock trading course introduces you to the world of stocks trading. During the course learn how to trade stocks and improve our stock market investment. Whether you’re interested in technical analysis course, day trading course or options course- IFMC is your gateway to online stock market courses.

Check: Classroom stock market course for beginners


Which is the Best Online Course for Stock Trading?
IFMC offers a reputable online stock trading for beginners. The market courses focus to target a specific niche audience via a unique teaching style. Whether you’re a new stock trading class or you’ve been market trading for years. There are few things that will help your career quite as much as holding comprehensive learning on extensive trading strategies. Fortunately, you do not need to go back to college to start a new degree. You can learn how to trade in stocks online effectively.

Characteristics of Best Online Stock Trading Course for Beginners
Not all trading schools and courses are equally curated. Unfortunately, you need to be extra careful, unlike university course. Contrary, before signing up for any stock market online course make sure that the learn stock trading class is legitimate. Look at these, four characteristics before you sign-up for an online trading course.

1. NSE Certified Trainers
Attending online courses is pivotal to success than just receiving information from books and articles. IFMC best stock market trading classes are taught by faculty with 30+ years of experience. Those are renowned industry trading experts. However, training for expert removes hurdle, makes the process efficient and likely to result in quicker progress. Whether the course is for beginners or professionals, only consider from an expert within the industry. Thus, this will make sure that you acquire accurate and latest information.

2. Live Trading Session
During an online course, you may run into the concept you don’t understand. IFMC online stock market training course offers students support tools. Also, practical stock training and live training sessions are included. The live market training comprises the study of stocks day traded. Day trade stocks is an exciting market to get involved in. Nonetheless, students can take half-day class at IFMC day trading schools.

Learn more: Online Day Trading Course.

3. Covers Core Strategy
IFMC stock trading course covers with trading technique. We attempt to appeal to students to the basic and advanced traders’ concepts. While the advanced trader’s concepts comprise of complex topics. You can carefully read the course description before sign-up.

4. Affordable
Cost is an important factor when deciding which stock market training course to choose from. But it isn’t the only factor. Our every online stock market course for beginners claims to teach you stock trading, while the cost of training is very high. At IFMC we aim to offer an affordable online course for students. We understand the importance of money for beginners in the industry and deliver the same.

What’s more? Here is a list of pros to learning stock trading course:

A great approach to training
Helpful course content
Up-to-date trading strategies
Wonderful balance between technical and fundamental analysis
Wide variety of trading tips
Enriching learning stock trading experience
Flexible investing strategies
Excellent profit course for stockbrokers
Learn intraday trade from Wall Street professional
Uni-Directional Trade Strategies Course
Uni-Directional trade strategy course for the stock market is online training programs. Now you can too have a failure to success stories. This stock trading courses online discuss 9 trading strategies in – Intraday Trading (Day Trading), Momentum Trading, Positional Trade (long-short term), Futures, Options Trade, and Swing Trade. The trading strategy is a revolutionary trading plan using primary chart patterns using Td Ameritrade. Thus, uni-directional trade strategies are easy to follow rules for professional day traders. To summarise, UDTS is the best intraday trading courses.]]> 4203821 no no Tue, 24 Dec 2019 20:55:02 +0100 2019-12-24T20:55:02+01:00 8:30 https://hearthis.at/dj-nyaman-sahu/jai-ho-jai-gajand-deva-nyaman-style-mix-sahu-dj-birkol/ https://tradingwithsahu.com/online-stock-trading-course-india/
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