SCOOTERTECHNO.COM

Quoted

In one of the biggest weeks in the history of AATW it is our great pleasure to announce that the new Scooter album, Jumping All Over The World has gone into the artist album chart at #1, knocking one of the most successful female artists of all time, Madonna, off the top spot in the process. An unbelievable achievement for HP, Rick, Michael and Jens but one that is richly deserved, a view that I'm sure will be shared by anyone who saw the guys performance on the Clubland Live tour. Scooter goes way beyond the average definition of a dance act and testament to this is their lasting appeal which has seen them release records to 3 generations of dance fans across the world and become the most successful act of all time in their native Germany.

As if that wasn't a big enough result for us Clubland Classix is also still sat at the top of the compilation chart meaning AATW have the #1 Artist & Compilation albums this week, a first for any UK Dance label and one which should hopefully firmly send home the message to the media and beyond that commercial dance music is still well and truly alive and kicking all across the UK.

There will be those that will no doubt move to scoff at Scooters success. There are many in the world of dance music and in the wider music industry who have an unhealthy obsession with worrying about being seen to be cool and trendy. All I would say to those people is that dance music exists on many levels, each quite seperate but ultimately interdependent on the others. Whilst people from either side of the fence may choose to cast scorn on the others tastes, both sides should be grateful for any success as it is a boost for dance music as a whole. Remember that the media in recent years has sought to marginalise all forms of dance music saying that people don't want to buy it, listeners aren't interested in it and its not relevant to todays youth.

If this was so true why do tens of thousands of us flock to Ibiza year on year? Why did the Clubland Live tour manage to sell out venues on a scale that holds equal comparison to Take That, The Killers and the Spice Girls? Why are dance compilation albums of all genres consistently at the top of the compilation chart? How did Cascada manage to sell one million albums in under a year and how has Scooter managed to knock the worlds biggest female artist off the top of the album chart? The sales figures are now there for all to see, if the media still wants to pretend that the UK population has no interest in dance music then I hope their listeners, viewers and advertisers will vote with their feet. Rest assured that regardless of what anyone with delusions of self importance thinks, AATW will continue to push the music and the artists that we and a large section of the public audiences clearly love..

Quoted from ""habanera""

Quoted from ""I'm Lonely""

Jumping All Over The World album :
number 1 in UK an GOLD in Germany :shock: :shock: :shock:

gold in german??? I don't knoe it before :roll: :roll:

Quoted

Album sales dive
Monday May 12, 2008

By Alan Jones

Unseasonably hot weather and an insipid release slate in an already weak retail climate spelt disaster last week, with album sales diving 18.6% to 1,631,962.

That’s their second lowest level in 436 chart weeks in the 21st century, beating only the 1,564,412 albums sold exactly eight years ago, in the sales week ending 13 May 2000, when Tom Jones’ Reload was the top artist album on sales of 33,662, while Now! That’s What I Call Music 45 was overall chart champ, with sales of 51,015.

This week, no compilation sold more than 21,277 copies – the number that Clubland Classix: The Album Of Your Life sold to take the number one slot for the fifth time in a row, for Blackburn dance label All Around The World and its partner Universal Music Television. It’s the 20th number one compilation for the two companies since their first joint venture in 2002 – and they also jointly secure the first number one artist album of their partnership this week.

Madonna was the last US female singer to spend more than a week at number one in this country, spending a fortnight on top with 2005 album Confessions On A Dance Floor, and was widely expected to repeat the feat this week, with her 11th number one, Hard Candy – but with sales of the album tumbling by 68.7% to 29,667, it slips to number two, being replaced in pole position by German techno band Scooter, whose AATW/UMTV set, Jumping All Over The World, debuts at the summit, on sales of 33,557.

Scooter’s first single in three years, The Question Is What Is The Question – powered by a questionable speeded-up sample from Dutch duo Mouth & MacNeal’s 1972 single, How Do You Do - hasn’t acquitted itself too well so far, moving 49-62-67-49 since release last month, making Jumping All Over The World’s success something of a surprise.

It all makes sense when you know that the new album is part of a double CD set, the second part of which is crammed with 20 older recordings, among them all 12 of their previous hits. This key fact, plus widespread price discounting and a TV campaign, clearly gave the album a major boost.

Singles weren’t immune from the slump in sales. Week-on-week, they ebbed 6.3% to 1,716,745 – their lowest level for 22 weeks, but were still 16.3% up on the same week in 2007.


Number one for the fourth week in a row, 4 Minutes is now in a three way tie as Madonna’s longest-reigning number one, alongside her first chart-topper, 1985’s Into The Groove, and 1990’s Vogue. 4 Minutes, on which Madonna is partnered by Justin Timberlake, sold a further 29,821 copies last week to take its eight week sales tally to 245,199 copies. That’s enough to make it her biggest selling single since Hung Up sold 507,764 in 2005. However, it’s the first number one to sell fewer than 30,000 copies since Bleeding Love sold 29,616 copies in the last week of its seven week reign, some 22 weeks ago.

That Madonna is still number one is something of a surprise, however, as Wiley’s Wearing My Rolex had looked set to roar to the summit following physical release. In fact, it climbs 3-2, with sales of 26,581 representing a 2.8% dip week-on-week, despite being newly available on CD and 12-inch.

Meanwhile, Sam Sparro’s debut hit, Black & Gold, which has been number two for the last fortnight, slips to third place on sales of 25,370.

Of just five new entries to the Top 75 this week, by far the biggest impression is made by Coldplay’s Violet Hill, which makes a creditable number eight debut on sales of 15,025 downloads, despite the fact it was previously available as a free download, and was also given away as a 7-inch covermount with NME.

Coldplay’s first single since Talk in 2005, it’s the introductory single from their eagerly awaited new album Viva La Vida, Or Death And All His Friends. It’s the band’s 10th hit, of which all but the first (Shiver) reached the Top 10.

The only previous chart singles called In My Arms – by Erasure and Mylo – both peaked at number 13, so by comparison Kylie Minogue is doing well to move 46-10 (12,206 sales) with her hit of that title, following its physical release. It’s Minogue’s third straight Top 10 hit from current album X, and her 16th Top 10 hit in a row. In all, the 39 year old has scored 43 Top 75 hits, of which 41 have reached the Top 40, and 31 have made the Top 10.

Previously in the chart exactly four years ago, when his Hold On To Our Love peaked at number 13 – beating the number 16 place it limped to in Eurovision – Welsh singer/songwriter James Fox returns to the Top 40 this week, along with Cardiff City FC, debuting at number 15 with Bluebirds Flying High. The song celebrates the success of Fox’s hometown football team in reaching the FA Cup Final for the first time in 81 years. Not surprisingly, the song is number one in Wales, where 92.1% of its 7,695 sales were made.