Song Of The Month
It's the sound from the current publicity campaign of the Swedish car manufacturers Volvo,
'If You Got Somebody Waiting' by compatriot Joel Alme.
The song reminds something of American country legend John Denver

United Kingdom
Music Week Report (excerpt)
'Three Lions' back at number one after 22 years
Monday, July 16, 2018
by Alan Jones, London
 
Football, it seems, isn’t coming home – but the wave of patriotic fervour created by England’s progress to the semi-finals was more than enough to trigger massive increases in sales and streaming of their official 1996 European Championship anthem, Three Lions, by David Baddiel, Frank Skinner & The Lightning Seeds, which rockets

back to No.1, 22 years after its initial coronation. Jumping 24-1 on sales of 79,779 copies (including 36,410 from sales-equivalent streams), Three Lions thus joins a small elite of recordings that have topped the chart on two entirely separate occasions. Another version of Three Lions was recorded by Baddiel, Skinner & The Lightning Seeds for the 1998 World Cup campaign, and also reached No.1. It is now bundled with the original digitally, and thus contributes to its renewed success. Incidentally, under a new tweak to chart rules introduced last week, tracks only escape ACR if they are being actively promoted. As Three Lions isn’t, its stream conversion rates are 1:200 for subscription and 1:1200 for ad-supported, both audio and video. Were it being actively promoted, its sales this week would be 116,189. George Ezra, who selflessly encouraged fans to purchase Three Lions, is the victim of the track’s success, which sees his latest smash, Shotgun,

retreat to No.2 after a fortnight at the summit, although its sales are up for the 10th straight week, at 76,253. ‘Starred out’ of the chart between No.7 and No.8 last week, In My Feelings is now the most popular track by Drake, with consumption surging 30.90% to 50,226 units as it debuts at No.4, becoming the seventh hit from his new Scorpion set, and his 75th hit in all. He achieves his maximum entitlement of three hits as primary artist with Don’t Matter To Me (feat. Michael Jackson, 2-5, 49,130 sales) and Nonstop (4-15, 30,878 sales), which means that after debuting at No.5 last week, I’m Upset – now the fifth most consumed Drake track – loses its chart status. Rise does just that for the sixth week in a row to become the fourth Top 10 hit for Londoner Jonas Blue and the first for featured guests Jack & Jack, a Nebraskan duo comprising Jack Johnson and Jack Gilinsky. The track jumps 11-7 (39,362 sales). Girls Like You continues to climb for Maroon 5 feat. Cardi B, advancing 10-8 (37,688 sales). The rest of the Top 10: Solo (3-3, 51,654 sales) by Clean Bandit feat. Demi Lovato, If You’re Over Me (9-6, 45,305 sales) by Years & Years, I Like It (8-9, 37,646 sales) by Cardi B, Bad Bunny & J Balvin and 2002 (6-10, 37,204 sales) by Anne-Marie. Overall singles sales are down 5.12% week-on-week at 14,864,797, 13.06% above same week 2017 sales of 13,147,787. Paid-for sales are down 1.65% week-on-week at 973,232, and are 25.88% below same week 2017 sales of 1,313,038. They are below same-week, previous-year sales for the 258th week in a row. Drake’s Scorpion continues to sting The Greatest Showman’s chances of equaling the 21st century record of 23 weeks at No.1, as set by Adele’s 21. The Greatest Showman was pushed down to No.3 last week, and is still unable to register its 22nd week at the summit, as Scorpion – which dethroned it last term – becomes the only other album to spend even two consecutive weeks at No.1 this year, remaining in pole position on sales of 29,630 copies, of which a massive 89.80% (26,609) are from sales-equivalent streams. Although Scorpion wasn’t officially released on CD until Friday (July 13), there was some low-level leakage ahead of the date, with its latest paid-for sales of 3,021 including a contribution of 323 from the format. On the overall paid-for sales chart, Scorpion dips 1-7. The Greatest Showman rises 3-2, with consumption of the title exceeding 20,000 units for the 27th straight week although falling 11.31% week-on-week to 23,637 units, its lowest level for 27 weeks. The aforementioned 21 is the only album to have a longer opening run of sales above 20,000 this decade, with 52 consecutive weeks. Follow-up 25 managed 18 in a row, while Ed Sheeran’s +, X and ÷ managed 21, 13 and 21, respectively. Neither Drake nor The Greatest Showman would have come within range of topping the chart this week had Years & Years’ second album, Palo Santo, opened nearly as big as their 2015 debut, Communion. Despite its second single, If You’re Over Me, returning to its peak position of No.6, Palo Santo sold just 20,297 copies last week to debut at No.3. Communion opened at No.1 on sales of 55,592, hot on the heels of their No.1 single King and only a week after subsequent smash Shine peaked at No.2. Rallying 104-64 this week to appear in the Top 75 for the first time in nearly two years, Communion sold 1,212 copies in the week, raising its cumulative tally to 474,450. Previously charting only in a supporting role on singles by Chase & Status and Bugzy Malone, London-based singer/songwriter Tom Grennan’s introductory long player, Lighting Matches, debuts at No.5 (10,856 sales), helped by Radio 1 and Radio 2 supporting current single Barbed Wire. Lighting Matches debuts at No.1 on the vinyl album chart (1,260 sales). The rest of the Top 10: Staying At Tamara’s (4-4, 17,949 sales) by George Ezra, High As Hope (2-6, 10,055 sales) by Florence + The Machine, Beerbongs & Bentleys (10-7, 7,181 sales) by Post Malone, ÷ (7-8, 6,664 sales) by Ed Sheeran, Cruising With Jane McDonald (8-9, 5,381 sales) and ? (11-10, 5,185 sales) by Xxxtentacion. Overall album sales are down 11.69% week-on-week at 1,540,641, 2.88% below same week 2017 sales of 1,586,358. Streaming accounted for 901,039 sales – 58.48% of the total. Sales of paid-for albums are down 16.45% week-on-week at 639,602, 24.69% below same week 2017 sales of 849,317, and their lowest level since Kantar Millward Brown started compiling sales data for OCC in 1994.  COMPLETE CHARTS