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The Record Production Portal

Noted audio engineer Roger Nichols at a vintage Neve recording console
Noted audio engineer Roger Nichols at a vintage Neve recording console
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This portal is focused on music production within the era of written records through sound recordings, digital downloads, and beyond. Its scope includes articles that document the considerations and mechanisms used by, and consistent with, the purview of the production element. As an art form, music predates transcription and simultaneously transcends descriptive limitations. As an industry, music has demonstrated consistent viability over time. The record producer conjoins these potential, and serves as a broker to bridge the demand (spawned by their aspirations) with supply and satisfaction. The results are measurable and attributable, derived from effort and skillful application of craft, to a manifestation of the art in its melodic form. (Read more)

The music industry consists of the individuals and organizations that earn money by writing songs and musical compositions, creating and selling recorded music and sheet music, presenting concerts, as well as the organizations that aid, train, represent and supply music creators. Among the many individuals and organizations that operate in the industry are: the songwriters and composers who write songs and musical compositions; the singers, musicians, conductors, and bandleaders who perform the music; the record labels, music publishers, recording studios, music producers, audio engineers, retail and digital music stores, and performance rights organizations who create and sell recorded music and sheet music; and the booking agents, promoters, music venues, road crew, and audio engineers who help organize and sell concerts. (Read more)

  

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Featured articles are displayed here, which represent some of the best content on English Wikipedia.
  • Image 1 Tōru Takemitsu (武満 徹, pronounced [takeꜜmitsɯ̥ toːɾɯ]; 8 October 1930 – 20 February 1996) was a Japanese composer and writer on aesthetics and music theory. Largely self-taught, Takemitsu was admired for the subtle manipulation of instrumental and orchestral timbre. He is known for combining elements of oriental and occidental philosophy and for fusing sound with silence and tradition with innovation. He composed several hundred independent works of music, scored more than ninety films and published twenty books. He was also a founding member of the Jikken Kōbō (Experimental Workshop) in Japan, a group of avant-garde artists who distanced themselves from academia and whose collaborative work is often regarded among the most influential of the 20th century. (Full article...)
    Tōru Takemitsu (武満 徹, pronounced [takeꜜmitsɯ̥ toːɾɯ]; 8 October 1930 – 20 February 1996) was a Japanese composer and writer on aesthetics and music theory. Largely self-taught, Takemitsu was admired for the subtle manipulation of instrumental and orchestral timbre. He is known for combining elements of oriental and occidental philosophy and for fusing sound with silence and tradition with innovation.

    He composed several hundred independent works of music, scored more than ninety films and published twenty books. He was also a founding member of the Jikken Kōbō (Experimental Workshop) in Japan, a group of avant-garde artists who distanced themselves from academia and whose collaborative work is often regarded among the most influential of the 20th century. (Full article...)
  • Image 2 The Greencards at Knuckleheads Saloon in Kansas City, Missouri The Greencards are an American progressive bluegrass band that formed in 2003 in Austin, Texas, and relocated in 2005 to Nashville, Tennessee. The band was founded by Englishman Eamon McLoughlin and Australians Kym Warner and Carol Young. The musicians originally performed in local Austin bars, and soon found increasing acclaim. They released one independent album, Movin' On, in 2003, and two albums, Weather and Water and Viridian, on the Dualtone record label. Their fourth album, Fascination, was released on Sugar Hill in 2009. Their fifth album, The Brick Album (2011), was self-produced with the direct support of their fans. Pre-production donors were recognized with their names inscribed on the "bricks" that make up the cover art. Their debut album, Movin' On, was the recipient of local Texas awards and charted on Americana radio stations. Country Music Television named their follow-up, Weather and Water, as one of the ten best bluegrass albums of 2005, and The Greencards were invited to tour with Bob Dylan and Willie Nelson in the same year. Viridian would go on to take the number one position on Billboard magazine's Bluegrass Music Chart, making the Greencards the first international band to do so. Viridian was a critically praised album, and was nominated for Best Country Album by the Australian Recording Industry Association. The track "Mucky the Duck" from Viridian was nominated for Best Country Instrumental Performance at the 50th Grammy Awards. (Full article...)

    The Greencards at Knuckleheads Saloon in Kansas City, Missouri

    The Greencards are an American progressive bluegrass band that formed in 2003 in Austin, Texas, and relocated in 2005 to Nashville, Tennessee. The band was founded by Englishman Eamon McLoughlin and Australians Kym Warner and Carol Young. The musicians originally performed in local Austin bars, and soon found increasing acclaim. They released one independent album, Movin' On, in 2003, and two albums, Weather and Water and Viridian, on the Dualtone record label. Their fourth album, Fascination, was released on Sugar Hill in 2009. Their fifth album, The Brick Album (2011), was self-produced with the direct support of their fans. Pre-production donors were recognized with their names inscribed on the "bricks" that make up the cover art.

    Their debut album, Movin' On, was the recipient of local Texas awards and charted on Americana radio stations. Country Music Television named their follow-up, Weather and Water, as one of the ten best bluegrass albums of 2005, and The Greencards were invited to tour with Bob Dylan and Willie Nelson in the same year. Viridian would go on to take the number one position on Billboard magazine's Bluegrass Music Chart, making the Greencards the first international band to do so. Viridian was a critically praised album, and was nominated for Best Country Album by the Australian Recording Industry Association. The track "Mucky the Duck" from Viridian was nominated for Best Country Instrumental Performance at the 50th Grammy Awards. (Full article...)
  • Image 3 The Ecstatic is the fourth studio album by American rapper Mos Def, released on June 9, 2009, by the independent record label Downtown Records. After venturing further away from hip hop with an acting career and two poorly received albums, Mos Def signed a recording contract with Downtown and recorded The Ecstatic primarily at the Record Plant in Los Angeles. He worked with producers such as Preservation, Mr. Flash, Oh No, and Madlib, with the latter two reusing instrumentals they had produced on Stones Throw Records. The work of Stones Throw rapper MF Doom was also cited by Mos Def as an influence, while singer Georgia Anne Muldrow, formerly of the record label, performed as one of the album's few guest vocalists, along with rappers Slick Rick and Talib Kweli. Described by music journalists as a conscious and alternative hip hop record, The Ecstatic features an eccentric, internationalist quality. Mos Def's raps about global politics, love, war, spirituality, and social conditions are informed by the zeitgeist of the late 2000s, Black internationalism, and Pan-Islamic ideas, incorporating a number of Islamic references throughout the album. Its loosely structured, lightly reverbed songs use unconventional time signatures and samples taken from a variety of international musical styles, including Afrobeat, soul, Eurodance, jazz, reggae, Latin, and Middle Eastern music. Mos Def titled the album after one of his favorite novels, Victor LaValle's The Ecstatic (2002), believing its titular phrase evoked his singular musical vision. For the album's front cover, a still from Charles Burnett's 1978 film Killer of Sheep was reproduced in red tint. (Full article...)
    The Ecstatic is the fourth studio album by American rapper Mos Def, released on June 9, 2009, by the independent record label Downtown Records. After venturing further away from hip hop with an acting career and two poorly received albums, Mos Def signed a recording contract with Downtown and recorded The Ecstatic primarily at the Record Plant in Los Angeles. He worked with producers such as Preservation, Mr. Flash, Oh No, and Madlib, with the latter two reusing instrumentals they had produced on Stones Throw Records. The work of Stones Throw rapper MF Doom was also cited by Mos Def as an influence, while singer Georgia Anne Muldrow, formerly of the record label, performed as one of the album's few guest vocalists, along with rappers Slick Rick and Talib Kweli.

    Described by music journalists as a conscious and alternative hip hop record, The Ecstatic features an eccentric, internationalist quality. Mos Def's raps about global politics, love, war, spirituality, and social conditions are informed by the zeitgeist of the late 2000s, Black internationalism, and Pan-Islamic ideas, incorporating a number of Islamic references throughout the album. Its loosely structured, lightly reverbed songs use unconventional time signatures and samples taken from a variety of international musical styles, including Afrobeat, soul, Eurodance, jazz, reggae, Latin, and Middle Eastern music. Mos Def titled the album after one of his favorite novels, Victor LaValle's The Ecstatic (2002), believing its titular phrase evoked his singular musical vision. For the album's front cover, a still from Charles Burnett's 1978 film Killer of Sheep was reproduced in red tint. (Full article...)
  • Image 4 Second page of O dolcezz'amarissime d'amore, written for the concerto by Luzzasco Luzzaschi. The excerpt displays the fast-moving virtuosic passages in which the group specialized. The concerto delle donne (lit. 'consort of ladies') was an ensemble of professional female singers of late Renaissance music in Italy. The term usually refers to the first and most influential group in Ferrara, which existed between 1580 and 1597. Renowned for their technical and artistic virtuosity, the Ferrarese group's core members were the sopranos Laura Peverara, Livia d'Arco and Anna Guarini. The Duke of Ferrara Alfonso II d'Este founded a group of mostly female singers for his exclusive chamber music series, musica secreta (lit. 'secret music'). These singers were exclusively noble women, such as Lucrezia and Isabella Bendidio. In 1580, Alfonso formally established the concerto delle donne for both his wife Margherita Gonzaga d'Este and reasons of prestige. The new group included professional singers of upper-class, but not noble, backgrounds, under the direction of the composers Luzzasco Luzzaschi and Ippolito Fiorini. Their signature style of florid, highly ornamented singing brought prestige to Ferrara and inspired composers of the time such as Lodovico Agostini, Carlo Gesualdo and Claudio Monteverdi. (Full article...)
    Second page of O dolcezz'amarissime d'amore, written for the concerto by Luzzasco Luzzaschi. The excerpt displays the fast-moving virtuosic passages in which the group specialized.


    The concerto delle donne (lit. 'consort of ladies') was an ensemble of professional female singers of late Renaissance music in Italy. The term usually refers to the first and most influential group in Ferrara, which existed between 1580 and 1597. Renowned for their technical and artistic virtuosity, the Ferrarese group's core members were the sopranos Laura Peverara, Livia d'Arco and Anna Guarini.

    The Duke of Ferrara Alfonso II d'Este founded a group of mostly female singers for his exclusive chamber music series, musica secreta (lit. 'secret music'). These singers were exclusively noble women, such as Lucrezia and Isabella Bendidio. In 1580, Alfonso formally established the concerto delle donne for both his wife Margherita Gonzaga d'Este and reasons of prestige. The new group included professional singers of upper-class, but not noble, backgrounds, under the direction of the composers Luzzasco Luzzaschi and Ippolito Fiorini. Their signature style of florid, highly ornamented singing brought prestige to Ferrara and inspired composers of the time such as Lodovico Agostini, Carlo Gesualdo and Claudio Monteverdi. (Full article...)
  • Image 5 Lions is the sixth studio album by American rock band The Black Crowes. It was released in 2001 as their first album on V2 Records following their departure from Columbia, and is their only studio album to feature guitarist Audley Freed. Lions was recorded in New York City in January and February of that year, and was produced by Don Was. Bass guitar duties were shared by Rich Robinson and Was, as Greg Rzab had left the band and was not replaced until the tour that followed the release of the album. The album debuted on the Billboard 200 at its peak position of 20, selling more than 53,000 copies in its first week. Lions received mixed reviews; although the overall sound of the album generally garnered praise, a frequent complaint was the lack of "memorable" songs. The critics who rated Lions lowest considered it a poor imitation of the band's influences, such as Led Zeppelin. (Full article...)
    Lions is the sixth studio album by American rock band The Black Crowes. It was released in 2001 as their first album on V2 Records following their departure from Columbia, and is their only studio album to feature guitarist Audley Freed. Lions was recorded in New York City in January and February of that year, and was produced by Don Was. Bass guitar duties were shared by Rich Robinson and Was, as Greg Rzab had left the band and was not replaced until the tour that followed the release of the album.

    The album debuted on the Billboard 200 at its peak position of 20, selling more than 53,000 copies in its first week. Lions received mixed reviews; although the overall sound of the album generally garnered praise, a frequent complaint was the lack of "memorable" songs. The critics who rated Lions lowest considered it a poor imitation of the band's influences, such as Led Zeppelin. (Full article...)
  • Image 6 Anodyne is the fourth and final studio album by alternative country band Uncle Tupelo, released on October 5, 1993. The recording of the album was preceded by the departure of the original drummer Mike Heidorn and the addition of three new band members: bassist John Stirratt, drummer Ken Coomer, and multi-instrumentalist Max Johnston. The band signed with Sire Records shortly before recording the album; Anodyne was Uncle Tupelo's only major label release until 89/93: An Anthology in 2002. Recorded in Austin, Texas, Anodyne featured a split in songwriting credits between singers Jay Farrar and Jeff Tweedy, plus a cover version of the Doug Sahm song "Give Back the Key to My Heart", with Sahm on vocals. The lyrical themes were influenced by country music and—more than their preceding releases—touched on interpersonal relationships. After two promotional tours for the album, tensions between Farrar and Tweedy culminated in the breakup of Uncle Tupelo. Well-received upon its initial release, Anodyne was re-mastered and re-released in 2003 by Rhino Entertainment including five bonus tracks. (Full article...)
    Anodyne is the fourth and final studio album by alternative country band Uncle Tupelo, released on October 5, 1993. The recording of the album was preceded by the departure of the original drummer Mike Heidorn and the addition of three new band members: bassist John Stirratt, drummer Ken Coomer, and multi-instrumentalist Max Johnston. The band signed with Sire Records shortly before recording the album; Anodyne was Uncle Tupelo's only major label release until 89/93: An Anthology in 2002.

    Recorded in Austin, Texas, Anodyne featured a split in songwriting credits between singers Jay Farrar and Jeff Tweedy, plus a cover version of the Doug Sahm song "Give Back the Key to My Heart", with Sahm on vocals. The lyrical themes were influenced by country music and—more than their preceding releases—touched on interpersonal relationships. After two promotional tours for the album, tensions between Farrar and Tweedy culminated in the breakup of Uncle Tupelo. Well-received upon its initial release, Anodyne was re-mastered and re-released in 2003 by Rhino Entertainment including five bonus tracks. (Full article...)
  • Image 7 Hector Berlioz was the first to use the term "choral symphony" for a musical composition—his Roméo et Juliette. A choral symphony is a musical composition for orchestra, choir, and sometimes solo vocalists that, in its internal workings and overall musical architecture, adheres broadly to symphonic musical form. The term "choral symphony" in this context was coined by Hector Berlioz when he described his Roméo et Juliette as such in his five-paragraph introduction to that work. The direct antecedent for the choral symphony is Ludwig van Beethoven's Ninth Symphony. Beethoven's Ninth incorporates part of the ode An die Freude ("Ode to Joy"), a poem by Friedrich Schiller, with text sung by soloists and chorus in the last movement. It is the first example of a major composer's use of the human voice on the same level as instruments in a symphony. A few 19th-century composers, notably Felix Mendelssohn and Franz Liszt, followed Beethoven in producing choral symphonic works. Notable works in the genre were produced in the 20th century by Gustav Mahler, Igor Stravinsky, Ralph Vaughan Williams, Benjamin Britten and Dmitri Shostakovich, among others. The final years of the 20th century and the opening of the 21st century have seen several new works in this genre, among them compositions by Mikis Theodorakis, Peter Maxwell Davies, Tan Dun, Philip Glass, Hans Werner Henze, Krzysztof Penderecki, William Bolcom and Robert Strassburg. (Full article...)
    A distinguished-looking man in his forties with medium-length hair, aquiline nose, and circa-1850 formal high collar
    Hector Berlioz was the first to use the term "choral symphony" for a musical composition—his Roméo et Juliette.


    A choral symphony is a musical composition for orchestra, choir, and sometimes solo vocalists that, in its internal workings and overall musical architecture, adheres broadly to symphonic musical form. The term "choral symphony" in this context was coined by Hector Berlioz when he described his Roméo et Juliette as such in his five-paragraph introduction to that work. The direct antecedent for the choral symphony is Ludwig van Beethoven's Ninth Symphony. Beethoven's Ninth incorporates part of the ode An die Freude ("Ode to Joy"), a poem by Friedrich Schiller, with text sung by soloists and chorus in the last movement. It is the first example of a major composer's use of the human voice on the same level as instruments in a symphony.

    A few 19th-century composers, notably Felix Mendelssohn and Franz Liszt, followed Beethoven in producing choral symphonic works. Notable works in the genre were produced in the 20th century by Gustav Mahler, Igor Stravinsky, Ralph Vaughan Williams, Benjamin Britten and Dmitri Shostakovich, among others. The final years of the 20th century and the opening of the 21st century have seen several new works in this genre, among them compositions by Mikis Theodorakis, Peter Maxwell Davies, Tan Dun, Philip Glass, Hans Werner Henze, Krzysztof Penderecki, William Bolcom and Robert Strassburg. (Full article...)
  • Image 8 Orpheus, the hero of the opera, with a violin, by Cesare Gennari L'Orfeo (SV 318) (Italian pronunciation: [lorˈfɛːo]), or La favola d'Orfeo [la ˈfaːvola dorˈfɛːo], is a late Renaissance/early Baroque favola in musica, or opera, by Claudio Monteverdi, with a libretto by Alessandro Striggio. It is based on the Greek legend of Orpheus, and tells the story of his descent to Hades and his fruitless attempt to bring his dead bride Eurydice back to the living world. It was written in 1607 for a court performance during the annual Carnival at Mantua. While Jacopo Peri's Dafne is generally recognised as the first work in the opera genre, and the earliest surviving opera is Peri's Euridice, L'Orfeo is the earliest that is still regularly performed. By the early 17th century the traditional intermedio—a musical sequence between the acts of a straight play—was evolving into the form of a complete musical drama or "opera". Monteverdi's L'Orfeo moved this process out of its experimental era and provided the first fully developed example of the new genre. After its initial performance the work was staged again in Mantua, and possibly in other Italian centres in the next few years. Its score was published by Monteverdi in 1609 and again in 1615. After the composer's death in 1643 the opera went unperformed for many years, and was largely forgotten until a revival of interest in the late 19th century led to a spate of modern editions and performances. At first these performances tended to be concert (unstaged) versions within institutes and music societies, but following the first modern dramatised performance in Paris, in 1911, the work began to be seen in theatres. After the Second World War many recordings were issued, and the opera was increasingly staged in opera houses, although some leading venues resisted it. In 2007, the quatercentenary of the premiere was celebrated by performances throughout the world. (Full article...)

    Orpheus, the hero of the opera, with a violin, by Cesare Gennari

    L'Orfeo (SV 318) (Italian pronunciation: [lorˈfɛːo]), or La favola d'Orfeo [la ˈfaːvola dorˈfɛːo], is a late Renaissance/early Baroque favola in musica, or opera, by Claudio Monteverdi, with a libretto by Alessandro Striggio. It is based on the Greek legend of Orpheus, and tells the story of his descent to Hades and his fruitless attempt to bring his dead bride Eurydice back to the living world. It was written in 1607 for a court performance during the annual Carnival at Mantua. While Jacopo Peri's Dafne is generally recognised as the first work in the opera genre, and the earliest surviving opera is Peri's Euridice, L'Orfeo is the earliest that is still regularly performed.

    By the early 17th century the traditional intermedio—a musical sequence between the acts of a straight play—was evolving into the form of a complete musical drama or "opera". Monteverdi's L'Orfeo moved this process out of its experimental era and provided the first fully developed example of the new genre. After its initial performance the work was staged again in Mantua, and possibly in other Italian centres in the next few years. Its score was published by Monteverdi in 1609 and again in 1615. After the composer's death in 1643 the opera went unperformed for many years, and was largely forgotten until a revival of interest in the late 19th century led to a spate of modern editions and performances. At first these performances tended to be concert (unstaged) versions within institutes and music societies, but following the first modern dramatised performance in Paris, in 1911, the work began to be seen in theatres. After the Second World War many recordings were issued, and the opera was increasingly staged in opera houses, although some leading venues resisted it. In 2007, the quatercentenary of the premiere was celebrated by performances throughout the world. (Full article...)
  • Image 9 "Under the Bridge" is a song by American rock band Red Hot Chili Peppers and the eleventh track on their fifth studio album, Blood Sugar Sex Magik (1991). Vocalist Anthony Kiedis wrote the lyrics while reflecting on loneliness and the struggles of being clean from drugs, and almost did not share it with the band. Released in March 1992 by Warner Bros. Records, "Under the Bridge" was praised by critics and fans for its emotional weight. The song was a commercial success and the band's highest-charting single, peaking at number two on the Billboard Hot 100, number one on the Cash Box Top 100 and certified platinum. It was also a success in other countries, mostly charting within the top 10. Gus Van Sant directed the song's music video, which was filmed in Los Angeles. "Under the Bridge" helped the Red Hot Chili Peppers enter the mainstream. David Fricke of Rolling Stone said that the song "unexpectedly drop-kicked the band into the Top 10". The song has become an inspiration to other artists, and remains a seminal component of the alternative rock movement of the early-to-mid 1990s. In April 1998, English girl group All Saints released a cover version that topped the UK Singles Chart for two weeks in May 1998. (Full article...)
    "Under the Bridge" is a song by American rock band Red Hot Chili Peppers and the eleventh track on their fifth studio album, Blood Sugar Sex Magik (1991). Vocalist Anthony Kiedis wrote the lyrics while reflecting on loneliness and the struggles of being clean from drugs, and almost did not share it with the band. Released in March 1992 by Warner Bros. Records, "Under the Bridge" was praised by critics and fans for its emotional weight. The song was a commercial success and the band's highest-charting single, peaking at number two on the Billboard Hot 100, number one on the Cash Box Top 100 and certified platinum. It was also a success in other countries, mostly charting within the top 10. Gus Van Sant directed the song's music video, which was filmed in Los Angeles.

    "Under the Bridge" helped the Red Hot Chili Peppers enter the mainstream. David Fricke of Rolling Stone said that the song "unexpectedly drop-kicked the band into the Top 10". The song has become an inspiration to other artists, and remains a seminal component of the alternative rock movement of the early-to-mid 1990s. In April 1998, English girl group All Saints released a cover version that topped the UK Singles Chart for two weeks in May 1998. (Full article...)
  • Image 10 Tell All Your Friends is the debut studio album by American rock band Taking Back Sunday, released on March 26, 2002, through Victory Records. Forming in 1999, the group underwent several lineup changes before settling on vocalist Adam Lazzara, guitarist and vocalist John Nolan, guitarist Eddie Reyes, bassist Shaun Cooper, and drummer Mark O'Connell. Taking Back Sunday released a five-song demo in early 2001, after which they toured the United States for most of the year. They rented a room in Lindenhurst, New York, where they wrote and demoed songs. In December 2001, the band signed with Victory Records; they began recording their debut album with producer Sal Villanueva at Big Blue Meenie Recording Studio in New Jersey. "Great Romances of the 20th Century" was released as the lead single from Tell All Your Friends in March 2002. A few months later, Taking Back Sunday toured across the United States with Brand New and Rufio. At the end of the year, a Fight Club-inspired music video was released for "Cute Without the 'E' (Cut from the Team)". The group spent the early part of 2003 touring with the Used and the Blood Brothers before headlining their own tour. After that, Nolan and Cooper left Taking Back Sunday and were replaced by Fred Mascherino and Matt Rubano. In September 2003, "You're So Last Summer" was released as the album's second single, and the band began co-headlining a tour with Saves the Day, which lasted until November 2003. By that point, a music video had been released for "You're So Last Summer". (Full article...)
    Tell All Your Friends is the debut studio album by American rock band Taking Back Sunday, released on March 26, 2002, through Victory Records. Forming in 1999, the group underwent several lineup changes before settling on vocalist Adam Lazzara, guitarist and vocalist John Nolan, guitarist Eddie Reyes, bassist Shaun Cooper, and drummer Mark O'Connell. Taking Back Sunday released a five-song demo in early 2001, after which they toured the United States for most of the year. They rented a room in Lindenhurst, New York, where they wrote and demoed songs. In December 2001, the band signed with Victory Records; they began recording their debut album with producer Sal Villanueva at Big Blue Meenie Recording Studio in New Jersey.

    "Great Romances of the 20th Century" was released as the lead single from Tell All Your Friends in March 2002. A few months later, Taking Back Sunday toured across the United States with Brand New and Rufio. At the end of the year, a Fight Club-inspired music video was released for "Cute Without the 'E' (Cut from the Team)". The group spent the early part of 2003 touring with the Used and the Blood Brothers before headlining their own tour. After that, Nolan and Cooper left Taking Back Sunday and were replaced by Fred Mascherino and Matt Rubano. In September 2003, "You're So Last Summer" was released as the album's second single, and the band began co-headlining a tour with Saves the Day, which lasted until November 2003. By that point, a music video had been released for "You're So Last Summer". (Full article...)
  • Image 11 Original digital download Intimacy is the third studio album by English indie rock band Bloc Party. It was recorded in two weeks at several locations in London and Kent during 2008 and was produced by Jacknife Lee and Paul Epworth. The band members made the album available for purchase on their website as a digital download on 21 August 2008. Minimal promotion was undertaken in the UK. The record was released in compact disc form on 24 October 2008, with Wichita Recordings as the primary label. It peaked at number 8 on the UK Albums Chart and entered the Billboard 200 in the United States at number 18. Bloc Party wanted to create an album that further distanced the band from the traditional rock set-up by incorporating more electronic elements and unconventional musical arrangements. As the record's title suggests, its tracks are about personal relationships and are loosely based on one of frontman Kele Okereke's break-ups in 2007. Three songs were released as singles: "Mercury", "Talons", and "One Month Off"; the first two tracks entered the UK Top 40. Intimacy was generally well received by critics. Reviewers often focused on its rush-release and central theme, and considered them either bold steps or poor choices. (Full article...)

    Original digital download

    Intimacy is the third studio album by English indie rock band Bloc Party. It was recorded in two weeks at several locations in London and Kent during 2008 and was produced by Jacknife Lee and Paul Epworth. The band members made the album available for purchase on their website as a digital download on 21 August 2008. Minimal promotion was undertaken in the UK. The record was released in compact disc form on 24 October 2008, with Wichita Recordings as the primary label. It peaked at number 8 on the UK Albums Chart and entered the Billboard 200 in the United States at number 18.

    Bloc Party wanted to create an album that further distanced the band from the traditional rock set-up by incorporating more electronic elements and unconventional musical arrangements. As the record's title suggests, its tracks are about personal relationships and are loosely based on one of frontman Kele Okereke's break-ups in 2007. Three songs were released as singles: "Mercury", "Talons", and "One Month Off"; the first two tracks entered the UK Top 40. Intimacy was generally well received by critics. Reviewers often focused on its rush-release and central theme, and considered them either bold steps or poor choices. (Full article...)
  • Image 12 "Hollaback Girl" is a song by American singer-songwriter Gwen Stefani from her debut solo studio album, Love. Angel. Music. Baby. (2004). It is a hip-hop song that draws influence from 1980s hip-hop and dance music. The song was written by Stefani, Pharrell Williams, and Chad Hugo, with the latter two handling production as the Neptunes. The song was released as the album's third single on March 22, 2005, and was one of the year's most popular songs, peaking inside the top 10 of the majority of the charts it entered. It reached number one in Australia and the United States, where it became the first digital download to sell one million copies. "Hollaback Girl" received several award nominations, including Best Female Pop Vocal Performance and Record of the Year at the 48th Grammy Awards; however, it lost in both categories. The song divided pop music critics, with some praising its minimalistic production and others declaring it embarrassing. The men's magazine Maxim named it as the "Most Annoying Song Ever". In the United States, the song topped the Billboard Hot 100 for four weeks – it was ranked at number two on the Year-End Hot 100. The single topped the charts in Australia and reached the top-ten in several other countries, including Ireland, Italy, New Zealand, and the United Kingdom. It has since been certified five-times Platinum in United States by the RIAA, and in Australia by the ARIA. (Full article...)
    "Hollaback Girl" is a song by American singer-songwriter Gwen Stefani from her debut solo studio album, Love. Angel. Music. Baby. (2004). It is a hip-hop song that draws influence from 1980s hip-hop and dance music. The song was written by Stefani, Pharrell Williams, and Chad Hugo, with the latter two handling production as the Neptunes. The song was released as the album's third single on March 22, 2005, and was one of the year's most popular songs, peaking inside the top 10 of the majority of the charts it entered. It reached number one in Australia and the United States, where it became the first digital download to sell one million copies.

    "Hollaback Girl" received several award nominations, including Best Female Pop Vocal Performance and Record of the Year at the 48th Grammy Awards; however, it lost in both categories. The song divided pop music critics, with some praising its minimalistic production and others declaring it embarrassing. The men's magazine Maxim named it as the "Most Annoying Song Ever". In the United States, the song topped the Billboard Hot 100 for four weeks – it was ranked at number two on the Year-End Hot 100. The single topped the charts in Australia and reached the top-ten in several other countries, including Ireland, Italy, New Zealand, and the United Kingdom. It has since been certified five-times Platinum in United States by the RIAA, and in Australia by the ARIA. (Full article...)
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Born this day

Birthdays in Music: May 17
  • Peter Trunk (Record production, 1936 –December 31, 1973), German bass player, would have turned 88 this year.
  • David Izenzon (Record production, 1932 –October 06, 1979), American bass player, would have turned 92 this year.
  • Dewey Redman (Record production, 1931 –September 02, 2006), (born Walter Redman) American free jazz tenor saxophonist, would have turned 93 this year.
  • Jackie McLean (Record production, 1931 –March 31, 2006), American alto saxophonist, would have turned 93 this year.
  • Karl Drewo (Record production, 1929 –October 05, 1995), Austrian tenor saxophonist, would have turned 95 this year.
  • Peter Badie (Record production, 1925 –April 15, 2023), American bass player, would have turned 99 this year.
  • Bob Merrill (Record production, 1921 –February 17, 1998), American composer and lyricist, would have turned 103 this year.
  • Joe Roland (Record production, 1920 –October 12, 2009), American vibraphonist, would have turned 104 this year.
  • Paul Quinichette (Record production, 1916 –May 25, 1983), American tenor saxophonist, would have turned 108 this year.
  • Warren Smith (Record production, 1908 –August 25, 1975), American session musician (trombonist), would have turned 116 this year.
  • Castor McCord (Record production, 1907 –February 14, 1963), American clarinetist and tenor saxophonist, would have turned 117 this year.
  • Ted McCord (1907 – ?), American tenor saxophonist (and twin to Castor McCord), would have turned 117.
  • Larry Shields (Record production, 1893 –November 22, 1953), American clarinetist, would have turned 131 this year.
  

Selected albums - load new batch

These are all Good articles, which meet a core set of high editorial standards.
  • Image 1 Christgau's Record Guide: The '80s is a music reference book by American music journalist and essayist Robert Christgau. A follow-up to Christgau's Record Guide: Rock Albums of the Seventies (1981), it was published in October 1990 by Pantheon Books. The guide compiles approximately 3,000 capsule album reviews, most of which were originally written by Christgau for his monthly "Consumer Guide" column in The Village Voice through the 1980s. It covers a variety of genres and musical developments from the decade, which are given an overview in his introductory essays. Further insight is also given into his grading criteria. (Full article...)
    Christgau's Record Guide: The '80s is a music reference book by American music journalist and essayist Robert Christgau. A follow-up to Christgau's Record Guide: Rock Albums of the Seventies (1981), it was published in October 1990 by Pantheon Books.

    The guide compiles approximately 3,000 capsule album reviews, most of which were originally written by Christgau for his monthly "Consumer Guide" column in The Village Voice through the 1980s. It covers a variety of genres and musical developments from the decade, which are given an overview in his introductory essays. Further insight is also given into his grading criteria. (Full article...)
  • Image 2 Back to Black is the second and final studio album by English singer and songwriter Amy Winehouse, released on 27 October 2006 by Island Records. Winehouse predominantly based the album on her tumultuous relationship with then-ex-boyfriend and future husband Blake Fielder-Civil, who temporarily left her to pursue his previous ex-girlfriend. Their short-lived separation spurred her to create an album that explores themes of guilt, grief, infidelity, heartbreak and trauma in a relationship. Influenced by the pop and soul music of 1960s girl groups, Winehouse collaborated with producers Salaam Remi and Mark Ronson, along with Sharon Jones' band The Dap-Kings, to assist her on capturing the sounds from that period while blending them with contemporary R&B and neo-soul music. Between 2005 and 2006, she recorded the album's songs with Remi at Instrumental Zoo Studios in Miami and then with Ronson and the Dap-Kings at Chung King Studios and Daptone Records in New York. Tom Elmhirst mixed the album at Metropolis Studios in London. (Full article...)
    Back to Black is the second and final studio album by English singer and songwriter Amy Winehouse, released on 27 October 2006 by Island Records. Winehouse predominantly based the album on her tumultuous relationship with then-ex-boyfriend and future husband Blake Fielder-Civil, who temporarily left her to pursue his previous ex-girlfriend. Their short-lived separation spurred her to create an album that explores themes of guilt, grief, infidelity, heartbreak and trauma in a relationship.

    Influenced by the pop and soul music of 1960s girl groups, Winehouse collaborated with producers Salaam Remi and Mark Ronson, along with Sharon Jones' band The Dap-Kings, to assist her on capturing the sounds from that period while blending them with contemporary R&B and neo-soul music. Between 2005 and 2006, she recorded the album's songs with Remi at Instrumental Zoo Studios in Miami and then with Ronson and the Dap-Kings at Chung King Studios and Daptone Records in New York. Tom Elmhirst mixed the album at Metropolis Studios in London. (Full article...)
  • Image 3 How to Grow a Woman from the Ground is a 2006 album by Chris Thile and Punch Brothers. It was released on Sugar Hill on September 12, 2006. The album is named after a song on the album; a cover of the original by folk singer Tom Brosseau. The album debuted to positive reviews from major music critics, with critics calling the album “fantastic, eclectic”, and “genius”. The album earned Thile a Grammy Award-nomination in 2006. (Full article...)
    How to Grow a Woman from the Ground is a 2006 album by Chris Thile and Punch Brothers. It was released on Sugar Hill on September 12, 2006. The album is named after a song on the album; a cover of the original by folk singer Tom Brosseau.

    The album debuted to positive reviews from major music critics, with critics calling the album “fantastic, eclectic”, and “genius”. The album earned Thile a Grammy Award-nomination in 2006. (Full article...)
  • Image 4 Alive or Just Breathing is the second studio album by American metalcore band Killswitch Engage. It was released on May 21, 2002, through Roadrunner Records. Alive or Just Breathing was Killswitch Engage's first album on Roadrunner and was recorded from October 2001 to February 2002. Produced by drummer and guitarist Adam Dutkiewicz, this was the band's first album on a major label, which prompted them to write and record the album to the best of their abilities. Alive or Just Breathing has been viewed as a landmark album in the metalcore genre and was well praised upon its release by fans and critics. The lyrics, which were all written by vocalist Jesse Leach, were intended to bring a positive message through the music. Shortly after the release of Alive or Just Breathing, Leach left the band for personal and health issues. Killswitch Engage quickly recruited Howard Jones to replace Leach. Jones would stay in the band for nearly ten years, until his departure in 2012, which prompted Leach to rejoin the band on the ten-year anniversary of Alive or Just Breathing. This is also the last album to feature Dutkiewicz on drums, as he would switch to guitar before the touring process. The drumming position was filled by Tom Gomes. (Full article...)
    Alive or Just Breathing is the second studio album by American metalcore band Killswitch Engage. It was released on May 21, 2002, through Roadrunner Records. Alive or Just Breathing was Killswitch Engage's first album on Roadrunner and was recorded from October 2001 to February 2002. Produced by drummer and guitarist Adam Dutkiewicz, this was the band's first album on a major label, which prompted them to write and record the album to the best of their abilities. Alive or Just Breathing has been viewed as a landmark album in the metalcore genre and was well praised upon its release by fans and critics. The lyrics, which were all written by vocalist Jesse Leach, were intended to bring a positive message through the music.

    Shortly after the release of Alive or Just Breathing, Leach left the band for personal and health issues. Killswitch Engage quickly recruited Howard Jones to replace Leach. Jones would stay in the band for nearly ten years, until his departure in 2012, which prompted Leach to rejoin the band on the ten-year anniversary of Alive or Just Breathing. This is also the last album to feature Dutkiewicz on drums, as he would switch to guitar before the touring process. The drumming position was filled by Tom Gomes. (Full article...)
  • Image 5 All Hours is the sixth and final studio album by American band Ivy, released by Nettwerk on September 20, 2011. Following 2005's In the Clear, the members took a hiatus from music, allowing Andy Chase and Adam Schlesinger to work on side projects and Dominique Durand and Chase to begin raising a family. After reuniting in 2008, they started work on a project exploring a new sound following concerns that their songs would become obsolete and unimaginative due to their break. All Hours features 11 songs written and produced by Chase and Schlesinger; they take influence from electropop, indie pop and synth-pop music. Unlike their previous albums, All Hours experiments more with electronic music and contains tracks reminiscent of the music from the 1980s. All Hours received mixed reviews from music critics; although several applauded Ivy for exploring a new sound, several of the songs on the album were described as boring and overly simple. "Distant Lights", "Fascinated" and "Lost in the Sun" were released as the album's three singles. The latter two songs were accompanied by music videos. In addition, a contest was held for fans to create a remix for "Lost in the Sun". All Hours became Ivy's first album to enter a record chart in the United States, where it peaked at No. 12 on Billboard's Dance/Electronic Albums chart and No. 25 on the Heatseekers Albums chart. (Full article...)
    All Hours is the sixth and final studio album by American band Ivy, released by Nettwerk on September 20, 2011. Following 2005's In the Clear, the members took a hiatus from music, allowing Andy Chase and Adam Schlesinger to work on side projects and Dominique Durand and Chase to begin raising a family. After reuniting in 2008, they started work on a project exploring a new sound following concerns that their songs would become obsolete and unimaginative due to their break. All Hours features 11 songs written and produced by Chase and Schlesinger; they take influence from electropop, indie pop and synth-pop music. Unlike their previous albums, All Hours experiments more with electronic music and contains tracks reminiscent of the music from the 1980s.

    All Hours received mixed reviews from music critics; although several applauded Ivy for exploring a new sound, several of the songs on the album were described as boring and overly simple. "Distant Lights", "Fascinated" and "Lost in the Sun" were released as the album's three singles. The latter two songs were accompanied by music videos. In addition, a contest was held for fans to create a remix for "Lost in the Sun". All Hours became Ivy's first album to enter a record chart in the United States, where it peaked at No. 12 on Billboard's Dance/Electronic Albums chart and No. 25 on the Heatseekers Albums chart. (Full article...)
  • Image 6 Razorblade Romance is the second studio album by Finnish gothic rock band HIM, recorded with producer John Fryer. HIM initially began recording the album with producer Hiili Hiilesmaa, who had helmed the group's 1997 debut album, however these sessions proved unsuccessful, and HIM parted ways with Hiilesmaa, and recruited Fryer. The band, along with Fryer, relocated to Rockfield Studios in Wales to begin recording, and released the album on 24 January 2000. Musically, the album featured a sleeker production and a more melodic sound compared to their debut. The album's lead single "Join Me in Death" would prove to be HIM's breakthrough single, reaching number one in Finland and Germany. The song also found its way on to the soundtrack of the 1999 science fiction film The Thirteenth Floor. Razorblade Romance received mostly positive reviews from critics, with particular praise being given to the songwriting, while the more polished production received some criticism. The album also charted in six countries, peaking at number one in Finland, Germany and Austria, later going double platinum, triple gold, and gold respectively. Razorblade Romance would also go on to chart in the United States in January 2004, making it the band's first album to chart in the US. HIM also won "Album of the Year" at the 2000 Emma Awards, as well as were awarded at the 2004 IFPI Platinum Europe Awards. Three further singles were released from the album, two of which reached number one in Finland. Razorblade Romance was followed by an intensive supporting tour, which nearly resulted in the band breaking up. The album was also HIM's first to feature drummer Mika "Gas Lipstick" Karppinen, and the only to feature keyboardist Jussi-Mikko "Juska" Salminen. (Full article...)
    Razorblade Romance is the second studio album by Finnish gothic rock band HIM, recorded with producer John Fryer. HIM initially began recording the album with producer Hiili Hiilesmaa, who had helmed the group's 1997 debut album, however these sessions proved unsuccessful, and HIM parted ways with Hiilesmaa, and recruited Fryer. The band, along with Fryer, relocated to Rockfield Studios in Wales to begin recording, and released the album on 24 January 2000. Musically, the album featured a sleeker production and a more melodic sound compared to their debut. The album's lead single "Join Me in Death" would prove to be HIM's breakthrough single, reaching number one in Finland and Germany. The song also found its way on to the soundtrack of the 1999 science fiction film The Thirteenth Floor.

    Razorblade Romance received mostly positive reviews from critics, with particular praise being given to the songwriting, while the more polished production received some criticism. The album also charted in six countries, peaking at number one in Finland, Germany and Austria, later going double platinum, triple gold, and gold respectively. Razorblade Romance would also go on to chart in the United States in January 2004, making it the band's first album to chart in the US. HIM also won "Album of the Year" at the 2000 Emma Awards, as well as were awarded at the 2004 IFPI Platinum Europe Awards. Three further singles were released from the album, two of which reached number one in Finland. Razorblade Romance was followed by an intensive supporting tour, which nearly resulted in the band breaking up. The album was also HIM's first to feature drummer Mika "Gas Lipstick" Karppinen, and the only to feature keyboardist Jussi-Mikko "Juska" Salminen. (Full article...)
  • Image 7 Commit This to Memory is the second studio album by American rock band Motion City Soundtrack. Produced by Mark Hoppus, the album was released on June 7, 2005, in the United States by Epitaph Records. The Minnesota-based rock act formed in 1997, developing their emotionally-charged, pop-punk sound over the interim years. Their debut LP, I Am the Movie, saw release on independent label Epitaph in 2003. It was followed with a heavy touring schedule, including stints on the Warped Tour and as the opening act for multi-platinum group Blink-182. Blink bassist Hoppus took a liking to the quintet, offering to produce their next studio effort. Recorded over six weeks in late 2004, Commit This to Memory was created largely at Seedy Underbelly Studios, a suburban home converted into a studio in Los Angeles' Valley Village region. The album was partially composed there and in their hometown of Minneapolis, during a period in which frontman Justin Pierre was seeking treatment for alcohol abuse. He aimed for stronger storytelling in his lyricism, inspired by the work of Tom Waits, Ben Folds, and John K. Samson. Hoppus mainly worked with the band on finalizing song arrangements. (Full article...)
    Commit This to Memory is the second studio album by American rock band Motion City Soundtrack. Produced by Mark Hoppus, the album was released on June 7, 2005, in the United States by Epitaph Records. The Minnesota-based rock act formed in 1997, developing their emotionally-charged, pop-punk sound over the interim years. Their debut LP, I Am the Movie, saw release on independent label Epitaph in 2003. It was followed with a heavy touring schedule, including stints on the Warped Tour and as the opening
    act for multi-platinum group Blink-182. Blink bassist Hoppus took a liking to the quintet, offering to produce their next studio effort.

    Recorded over six weeks in late 2004, Commit This to Memory was created largely at Seedy Underbelly Studios, a suburban home converted into a studio in Los Angeles' Valley Village region. The album was partially composed there and in their hometown of Minneapolis, during a period in which frontman Justin Pierre was seeking treatment for alcohol abuse. He aimed for stronger storytelling in his lyricism, inspired by the work of Tom Waits, Ben Folds, and John K. Samson. Hoppus mainly worked with the band on finalizing song arrangements. (Full article...)
  • Image 8 Father of the Bride is the fourth studio album by American indie rock band Vampire Weekend. It was released on May 3, 2019, by Columbia Records, as their first album on a major label. The release marked the band's first project in nearly six years, following Modern Vampires of the City (2013), and the group's first project since multi-instrumentalist and producer Rostam Batmanglij's departure from the group. It was primarily produced by Modern Vampires of the City collaborator Ariel Rechtshaid and lead singer Ezra Koenig, and features numerous external collaborators, including Danielle Haim, Steve Lacy, Dave Macklovitch of Chromeo, DJ Dahi, Sam Gendel, BloodPop, and Batmanglij. The pop and indie rock album is musically diverse and heavily referential, contrasting heavy and direct lyrics against a bright spring-time musical mood, with its wide range of influences including country music and jam bands. (Full article...)
    Father of the Bride is the fourth studio album by American indie rock band Vampire Weekend. It was released on May 3, 2019, by Columbia Records, as their first album on a major label.

    The release marked the band's first project in nearly six years, following Modern Vampires of the City (2013), and the group's first project since multi-instrumentalist and producer Rostam Batmanglij's departure from the group. It was primarily produced by Modern Vampires of the City collaborator Ariel Rechtshaid and lead singer Ezra Koenig, and features numerous external collaborators, including Danielle Haim, Steve Lacy, Dave Macklovitch of Chromeo, DJ Dahi, Sam Gendel, BloodPop, and Batmanglij. The pop and indie rock album is musically diverse and heavily referential, contrasting heavy and direct lyrics against a bright spring-time musical mood, with its wide range of influences including country music and jam bands. (Full article...)
  • Image 9 Lo Mejor de...Selena is a double disc compilation album by American singer Selena. It was released posthumously in the United States on March 31, 2015, by Capitol Latin and Universal Music Latin Entertainment. The album was released after the commercial and chart success of Enamorada de Ti (2012), which featured several Latin music acts lending their voices for the remix album. The recording features six number one United States Billboard Hot Latin Songs chart singles by the singer—"Buenos Amigos", "Donde Quiera Que Estés", "Amor Prohibido", "Bidi Bidi Bom Bom", "No Me Queda Más", "Fotos y Recuerdos", and the US Billboard Latin Pop Airplay chart single "I Could Fall in Love". The album debuted and peaked at number two on the US Billboard Top Latin Albums chart. A year after its release, the recording peaked at number one on the Latin Pop Albums list, giving Selena her first number one album in four years. Lo Mejor de...Selena debuted and peaked at number 102 on the US Billboard 200 chart, her highest-charting album since 1999's All My Hits/Todos Mis Exitos. The recording earned the singer the Top Latin Albums Artist of the Year, Female at the 2016 Billboard Latin Music Awards. The album has been certified by the Recording Industry Association of America (RIAA) double platinum, denoting 120,000 album-equivalent units. (Full article...)
    Lo Mejor de...Selena is a double disc compilation album by American singer Selena. It was released posthumously in the United States on March 31, 2015, by Capitol Latin and Universal Music Latin Entertainment. The album was released after the commercial and chart success of Enamorada de Ti (2012), which featured several Latin music acts lending their voices for the remix album. The recording features six number one United States Billboard Hot Latin Songs chart singles by the singer—"Buenos Amigos", "Donde Quiera Que Estés", "Amor Prohibido", "Bidi Bidi Bom Bom", "No Me Queda Más", "Fotos y Recuerdos", and the US Billboard Latin Pop Airplay chart single "I Could Fall in Love".

    The album debuted and peaked at number two on the US Billboard Top Latin Albums chart. A year after its release, the recording peaked at number one on the Latin Pop Albums list, giving Selena her first number one album in four years. Lo Mejor de...Selena debuted and peaked at number 102 on the US Billboard 200 chart, her highest-charting album since 1999's All My Hits/Todos Mis Exitos. The recording earned the singer the Top Latin Albums Artist of the Year, Female at the 2016 Billboard Latin Music Awards. The album has been certified by the Recording Industry Association of America (RIAA) double platinum, denoting 120,000 album-equivalent units. (Full article...)
  • Image 10 Britney Spears: In the Zone is the sixth video album and first extended play (EP) by American singer Britney Spears. It was released on April 6, 2004, by Jive Records, accompanying her fourth studio album, In the Zone (2003). Britney Spears: In the Zone contains her American Broadcasting Company (ABC) concert special of the same title, as well as footage from live performances to promote In the Zone. Its DVD also includes the accompanying music videos for "Me Against the Music" and "Toxic", while its four-track CD includes previously unreleased tracks. Upon its release, the video received mixed reviews from critics. It debuted atop the US Top Music Videos and was certified double platinum by the Recording Industry Association of America (RIAA). (Full article...)
    Britney Spears: In the Zone is the sixth video album and first extended play (EP) by American singer Britney Spears. It was released on April 6, 2004, by Jive Records, accompanying her fourth studio album, In the Zone (2003).

    Britney Spears: In the Zone contains her American Broadcasting Company (ABC) concert special of the same title, as well as footage from live performances to promote In the Zone. Its DVD also includes the accompanying music videos for "Me Against the Music" and "Toxic", while its four-track CD includes previously unreleased tracks. Upon its release, the video received mixed reviews from critics. It debuted atop the US Top Music Videos and was certified double platinum by the Recording Industry Association of America (RIAA). (Full article...)
  • Image 11 Animal Boy is the ninth studio album by the American punk rock band Ramones, released through Sire Records on May 19, 1986. Due to conflicts within the group, the album features less of lead singer Joey Ramone, both in performing and writing, and less performing from guitarist Johnny Ramone. Bassist Dee Dee Ramone wrote and sang more on this album than on previous albums, and Richie Ramone became the first drummer to write songs for the band since Tommy Ramone, the band's original drummer. Richie also wrote for Too Tough To Die (1984). The album spawned four singles, all of which charted on the UK Singles Chart, as well as other charts. In addition to singles, the band promoted their album using a music video for "Something to Believe In", which parodied the contemporary benefit concerts Live Aid and Hands Across America. Lyrical themes of the album range from band members' frustrations with one another, themselves, and loved ones, to more politically themed songs—a rarity in Ramones music. "My Brain Is Hanging Upside Down (Bonzo Goes to Bitburg)" saw the Ramones criticizing U.S. President Ronald Reagan for his controversial visit to a military cemetery in Bitburg, Germany, despite Johnny Ramone disagreeing with the song's message. Critically, Animal Boy was not as acclaimed as its predecessor, Too Tough to Die, with some critics quick to point out that the band had strayed far from their original style and were experimenting with several genres by this point. However, the album charted in four different countries, including the United States and United Kingdom. (Full article...)
    Animal Boy is the ninth studio album by the American punk rock band Ramones, released through Sire Records on May 19, 1986. Due to conflicts within the group, the album features less of lead singer Joey Ramone, both in performing and writing, and less performing from guitarist Johnny Ramone. Bassist Dee Dee Ramone wrote and sang more on this album than on previous albums, and Richie Ramone became the first drummer to write songs for the band since Tommy Ramone, the band's original drummer. Richie also wrote for Too Tough To Die (1984). The album spawned four singles, all of which charted on the UK Singles Chart, as well as other charts. In addition to singles, the band promoted their album using a music video for "Something to Believe In", which parodied the contemporary benefit concerts Live Aid and Hands Across America.

    Lyrical themes of the album range from band members' frustrations with one another, themselves, and loved ones, to more politically themed songs—a rarity in Ramones music. "My Brain Is Hanging Upside Down (Bonzo Goes to Bitburg)" saw the Ramones criticizing U.S. President Ronald Reagan for his controversial visit to a military cemetery in Bitburg, Germany, despite Johnny Ramone disagreeing with the song's message. Critically, Animal Boy was not as acclaimed as its predecessor, Too Tough to Die, with some critics quick to point out that the band had strayed far from their original style and were experimenting with several genres by this point. However, the album charted in four different countries, including the United States and United Kingdom. (Full article...)
  • Image 12 "Eyes Without a Face" is a song by the English rock musician Billy Idol, from his second studio album Rebel Yell (1983). It was released in June 1984 as the second single from the album. The song is softer and more ballad-like than most of the album's other singles. It reached No. 4 on the Billboard Hot 100, becoming Idol's first top-10 hit in the US. The recording features the voice of Perri Lister—she appeared in the banned video for "Hot in the City"—who sings "Les yeux sans visage" (French for "Eyes without a face") as a background chorus. The title of the song refers to the English title of French director Georges Franju's horror film Les Yeux sans visage (1960). In a retrospective review of the single, AllMusic journalist Donald A. Guarisco praised the song and wrote: "The music plays against the dark tone of the lyrics with a ballad-styled melody comprised of yearning verses that slowly build emotion and a quietly wrenching chorus that relieves the emotional tension in a cathartic manner." (Full article...)
    "Eyes Without a Face" is a song by the English rock musician Billy Idol, from his second studio album Rebel Yell (1983). It was released in June 1984 as the second single from the album. The song is softer and more ballad-like than most of the album's other singles. It reached No. 4 on the Billboard Hot 100, becoming Idol's first top-10 hit in the US. The recording features the voice of Perri Lister—she appeared in the banned video for "Hot in the City"—who sings "Les yeux sans visage" (French for "Eyes without a face") as a background chorus. The title of the song refers to the English title of French director Georges Franju's horror film Les Yeux sans visage (1960).

    In a retrospective review of the single, AllMusic journalist Donald A. Guarisco praised the song and wrote: "The music plays against the dark tone of the lyrics with a ballad-styled melody comprised of yearning verses that slowly build emotion and a quietly wrenching chorus that relieves the emotional tension in a cathartic manner." (Full article...)
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  • Image 1 George Jones had a six-week run at number one with "She Thinks I Still Care". Hot Country Songs is a chart that ranks the top-performing country music songs in the United States, published by Billboard magazine. In 1962, 11 different singles topped the chart in 52 issues of the magazine, based on playlists submitted by country music radio stations and sales reports submitted by stores. The chart was published under the title Hot C&W Sides through the October 27 issue and Hot Country Singles thereafter, a title it would retain until 1990. In the issue of Billboard dated January 6, the number one song was "Walk On By" by Leroy Van Dyke, in its eleventh week in the top spot. The single remained atop the chart through the issue dated March 3 for a final total of nineteen weeks at number one. This figure set a record for the most weeks at number one on the Hot Country chart which would stand for more than 50 years until Florida Georgia Line spent 24 weeks at number one between December 2012 and August 2013 with the song "Cruise". Claude King tied Van Dyke for the most weeks spent at number one in the calendar year of 1962, with an unbroken run of nine weeks in the peak position with the song "Wolverton Mountain". Marty Robbins had an eight-week run at the top with "Devil Woman". (Full article...)
    A grey-haired man playing a guitar and singing into a microphone
    George Jones had a six-week run at number one with "She Thinks I Still Care".

    Hot Country Songs is a chart that ranks the top-performing country music songs in the United States, published by Billboard magazine. In 1962, 11 different singles topped the chart in 52 issues of the magazine, based on playlists submitted by country music radio stations and sales reports submitted by stores. The chart was published under the title Hot C&W Sides through the October 27 issue and Hot Country Singles thereafter, a title it would retain until 1990.

    In the issue of Billboard dated January 6, the number one song was "Walk On By" by Leroy Van Dyke, in its eleventh week in the top spot. The single remained atop the chart through the issue dated March 3 for a final total of nineteen weeks at number one. This figure set a record for the most weeks at number one on the Hot Country chart which would stand for more than 50 years until Florida Georgia Line spent 24 weeks at number one between December 2012 and August 2013 with the song "Cruise". Claude King tied Van Dyke for the most weeks spent at number one in the calendar year of 1962, with an unbroken run of nine weeks in the peak position with the song "Wolverton Mountain". Marty Robbins had an eight-week run at the top with "Devil Woman". (Full article...)
  • Image 2 Chris Stapleton's "Tennessee Whiskey" went straight to number one after an acclaimed awards show performance. Hot Country Songs and Country Airplay are charts that rank the top-performing country music songs in the United States, published by Billboard magazine. Hot Country Songs ranks songs based on digital downloads, streaming, and airplay, not only from country stations but from stations of all formats, a methodology introduced in 2012. Country Airplay, which was published for the first time in 2012, is based solely on country radio airplay, a methodology which had previously been used for several decades for Hot Country Songs. In 2015, 10 different songs topped the Hot Country Songs chart and 39 different songs topped Country Airplay in 52 issues of the magazine. In the first issue of Billboard of the year, Craig Wayne Boyd entered the Hot Country Songs chart at number one with "My Baby's Got a Smile on Her Face". Boyd, winner of the seventh season of NBC's reality TV singing competition The Voice, was only the second artist in the chart's 57-year history to enter at number one. The following week, however, the song dropped off the chart completely, meaning that its entire chart run consisted of a single week at number one. In addition to Boyd, one other artist was a first-time chart-topper on Hot Country Songs. Following a critically acclaimed performance at the 49th Country Music Association Awards, Chris Stapleton's version of "Tennessee Whiskey", which had spent a single week at number 46 six months earlier, re-entered at number one, despite never having been officially released as a single or serviced to radio. Nine acts gained their first career country number ones by topping the airplay listing. Ashley Monroe made her first appearance at number one under her own name when she featured on Blake Shelton's hit "Lonely Tonight", although she had previously reached the top spot as part of the group Pistol Annies, who had been featured on another of Shelton's songs two years earlier. Between May and August, Tyler Farr, Kelsea Ballerini, Canaan Smith, Michael Ray, and the band A Thousand Horses were all first-time chart-toppers, as was Grace Potter, who was featured on veteran country star Kenny Chesney's song "Wild Child". Later in the year, the band Old Dominion and the duo Dan + Shay made their first appearances at number one. (Full article...)
    A man with long hair and a beard, wearing a cowboy hat, singing into a microphone and playing a guitar
    Chris Stapleton's "Tennessee Whiskey" went straight to number one after an acclaimed awards show performance.

    Hot Country Songs and Country Airplay are charts that rank the top-performing country music songs in the United States, published by Billboard magazine. Hot Country Songs ranks songs based on digital downloads, streaming, and airplay, not only from country stations but from stations of all formats, a methodology introduced in 2012. Country Airplay, which was published for the first time in 2012, is based solely on country radio airplay, a methodology which had previously been used for several decades for Hot Country Songs. In 2015, 10 different songs topped the Hot Country Songs chart and 39 different songs topped Country Airplay in 52 issues of the magazine.

    In the first issue of Billboard of the year, Craig Wayne Boyd entered the Hot Country Songs chart at number one with "My Baby's Got a Smile on Her Face". Boyd, winner of the seventh season of NBC's reality TV singing competition The Voice, was only the second artist in the chart's 57-year history to enter at number one. The following week, however, the song dropped off the chart completely, meaning that its entire chart run consisted of a single week at number one. In addition to Boyd, one other artist was a first-time chart-topper on Hot Country Songs. Following a critically acclaimed performance at the 49th Country Music Association Awards, Chris Stapleton's version of "Tennessee Whiskey", which had spent a single week at number 46 six months earlier, re-entered at number one, despite never having been officially released as a single or serviced to radio. Nine acts gained their first career country number ones by topping the airplay listing. Ashley Monroe made her first appearance at number one under her own name when she featured on Blake Shelton's hit "Lonely Tonight", although she had previously reached the top spot as part of the group Pistol Annies, who had been featured on another of Shelton's songs two years earlier. Between May and August, Tyler Farr, Kelsea Ballerini, Canaan Smith, Michael Ray, and the band A Thousand Horses were all first-time chart-toppers, as was Grace Potter, who was featured on veteran country star Kenny Chesney's song "Wild Child". Later in the year, the band Old Dominion and the duo Dan + Shay made their first appearances at number one. (Full article...)
  • Image 3 Billie Holiday was the featured vocalist on Paul Whiteman's chart-topper "Trav'lin' Light"; she was credited under the moniker "Lady Day". In 1942, Billboard magazine launched a chart ranking the "most popular records in Harlem" titled the Harlem Hit Parade and based on a survey of record stores primarily in the Harlem district of New York City. The area has historically been noted for its African American population and has been called the "black capital of America". The chart is considered to be the start of the lineage of the magazine's R&B chart, which has undergone various name changes over the subsequent decades to reflect the evolution of African American-oriented musical genres. Since 2005 it has been published under the title Hot R&B/Hip Hop Songs. The chart was first published in the issue of Billboard dated October 24, 1942 and six songs reached number one in the remainder of the year. Most of 1942's number ones were in the jazz and swing genres, which were among the most popular styles of music in the early 1940s. The first chart-topper was "Take It and Git" by tuba player and bandleader Andy Kirk and his band the Twelve Clouds of Joy, which occupied the top spot for a single week. It would prove to be the only chart-topper for Kirk, who remained successful until the end of the 1940s but then broke up his band and largely left the music industry. (Full article...)
    Singer Billie Holiday
    Billie Holiday was the featured vocalist on Paul Whiteman's chart-topper "Trav'lin' Light"; she was credited under the moniker "Lady Day".

    In 1942, Billboard magazine launched a chart ranking the "most popular records in Harlem" titled the Harlem Hit Parade and based on a survey of record stores primarily in the Harlem district of New York City. The area has historically been noted for its African American population and has been called the "black capital of America". The chart is considered to be the start of the lineage of the magazine's R&B chart, which has undergone various name changes over the subsequent decades to reflect the evolution of African American-oriented musical genres. Since 2005 it has been published under the title Hot R&B/Hip Hop Songs. The chart was first published in the issue of Billboard dated October 24, 1942 and six songs reached number one in the remainder of the year.

    Most of 1942's number ones were in the jazz and swing genres, which were among the most popular styles of music in the early 1940s. The first chart-topper was "Take It and Git" by tuba player and bandleader Andy Kirk and his band the Twelve Clouds of Joy, which occupied the top spot for a single week. It would prove to be the only chart-topper for Kirk, who remained successful until the end of the 1940s but then broke up his band and largely left the music industry. (Full article...)
  • Image 4 The Grammy Award for Best Jazz Vocal Performance, Female was an honor presented at the Grammy Awards, a ceremony that was established in 1958 and originally called the Gramophone Awards, to female recording artists for quality jazz vocal performances (songs or albums). Honors in several categories are presented at the ceremony annually by the National Academy of Recording Arts and Sciences of the United States to "honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position". Prior to 1981, the gender-neutral category of Best Jazz Vocal Performance existed. The first award specifically for female performances was presented to Ella Fitzgerald in 1981 for the album A Perfect Match. The category remained unchanged until 1985, when it was combined with the award for Best Jazz Vocal Performance, Male and presented in the genderless category. Gender-specific awards were once again presented from 1986 until 1991. In 1992, the two categories were combined and presented as the category Best Jazz Vocal Performance. This category was later renamed to Best Jazz Vocal Album beginning in 2001. While the gender-specific award has not been presented since the category merge in 1992, an official confirmation of its retirement has not been announced. (Full article...)
    The Grammy Award for Best Jazz Vocal Performance, Female was an honor presented at the Grammy Awards, a ceremony that was established in 1958 and originally called the Gramophone Awards, to female recording artists for quality jazz vocal performances (songs or albums). Honors in several categories are presented at the ceremony annually by the National Academy of Recording Arts and Sciences of the United States to "honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position".

    Prior to 1981, the gender-neutral category of Best Jazz Vocal Performance existed. The first award specifically for female performances was presented to Ella Fitzgerald in 1981 for the album A Perfect Match. The category remained unchanged until 1985, when it was combined with the award for Best Jazz Vocal Performance, Male and presented in the genderless category. Gender-specific awards were once again presented from 1986 until 1991. In 1992, the two categories were combined and presented as the category Best Jazz Vocal Performance. This category was later renamed to Best Jazz Vocal Album beginning in 2001. While the gender-specific award has not been presented since the category merge in 1992, an official confirmation of its retirement has not been announced. (Full article...)
  • Image 5 Thomas Rhett topped both charts throughout the month of January. Hot Country Songs and Country Airplay are charts that rank the top-performing country music songs in the United States, published by Billboard magazine. Hot Country Songs ranks songs based on digital downloads, streaming, and airplay not only from country stations but from stations of all formats, a methodology introduced in 2012. Country Airplay, which was published for the first time in 2012, is based solely on country radio airplay, a methodology which had previously been used for several decades for Hot Country Songs. In 2016, nine different songs topped the Hot Country Songs chart and 40 different songs topped Country Airplay in 52 issues of the magazine. In the first issue of Billboard of the new year, Thomas Rhett was at number one on both charts with "Die a Happy Man". On Hot Country Songs, the song would continue to hold the top spot through the issue of Billboard dated March 19, finishing with a total of 17 weeks at number one. The song spent six consecutive weeks atop Country Airplay, twice as long as any other song in 2016. Additionally, it was the longest run at number one on Billboard's airplay-based country chart since 2008. The longest run at number one on the Hot Country Songs during the year was 18 weeks, achieved by the song "H.O.L.Y." by Florida Georgia Line. This figure was also the highest total number of weeks spent in the top spot by any act, as no act achieved more than one chart-topper during the year. On the airplay listing, ten acts reached the top spot with more than one song; Luke Bryan and Florida Georgia Line each achieved three number ones during the year. Rhett's total of seven weeks at number one was the highest for any act. (Full article...)
    A bearded young man smiling broadly and playing a guitar
    Thomas Rhett topped both charts throughout the month of January.

    Hot Country Songs and Country Airplay are charts that rank the top-performing country music songs in the United States, published by Billboard magazine. Hot Country Songs ranks songs based on digital downloads, streaming, and airplay not only from country stations but from stations of all formats, a methodology introduced in 2012. Country Airplay, which was published for the first time in 2012, is based solely on country radio airplay, a methodology which had previously been used for several decades for Hot Country Songs. In 2016, nine different songs topped the Hot Country Songs chart and 40 different songs topped Country Airplay in 52 issues of the magazine.

    In the first issue of Billboard of the new year, Thomas Rhett was at number one on both charts with "Die a Happy Man". On Hot Country Songs, the song would continue to hold the top spot through the issue of Billboard dated March 19, finishing with a total of 17 weeks at number one. The song spent six consecutive weeks atop Country Airplay, twice as long as any other song in 2016. Additionally, it was the longest run at number one on Billboard's airplay-based country chart since 2008. The longest run at number one on the Hot Country Songs during the year was 18 weeks, achieved by the song "H.O.L.Y." by Florida Georgia Line. This figure was also the highest total number of weeks spent in the top spot by any act, as no act achieved more than one chart-topper during the year. On the airplay listing, ten acts reached the top spot with more than one song; Luke Bryan and Florida Georgia Line each achieved three number ones during the year. Rhett's total of seven weeks at number one was the highest for any act. (Full article...)
  • Image 6 Randy Travis spent four weeks at number one in 1988. Hot Country Songs is a chart that ranks the top-performing country music songs in the United States, published by Billboard magazine. In 1988, 49 different songs topped the chart, then published under the title Hot Country Singles, in 53 issues of the magazine, based on playlists submitted by country music radio stations and sales reports submitted by stores. Only four songs spent more than a single week at number one in 1988: "Eighteen Wheels and a Dozen Roses" by Kathy Mattea, "I Told You So" by Randy Travis, "I'll Leave This World Loving You" by Ricky Van Shelton and "When You Say Nothing at All" by Keith Whitley. Travis and Shelton each scored two other number ones during the year to give them a total of four weeks in the top spot. This figure was matched by Rosanne Cash, who achieved three solo number ones and one in collaboration with her then-husband Rodney Crowell, making her the only artist to take four different songs to number one in 1988. Highway 101, Restless Heart, George Strait and Tanya Tucker each topped the chart with three different songs. (Full article...)
    A dark-haired man in a grey sports coat singing into a microphone
    Randy Travis spent four weeks at number one in 1988.

    Hot Country Songs is a chart that ranks the top-performing country music songs in the United States, published by Billboard magazine. In 1988, 49 different songs topped the chart, then published under the title Hot Country Singles, in 53 issues of the magazine, based on playlists submitted by country music radio stations and sales reports submitted by stores.

    Only four songs spent more than a single week at number one in 1988: "Eighteen Wheels and a Dozen Roses" by Kathy Mattea, "I Told You So" by Randy Travis, "I'll Leave This World Loving You" by Ricky Van Shelton and "When You Say Nothing at All" by Keith Whitley. Travis and Shelton each scored two other number ones during the year to give them a total of four weeks in the top spot. This figure was matched by Rosanne Cash, who achieved three solo number ones and one in collaboration with her then-husband Rodney Crowell, making her the only artist to take four different songs to number one in 1988. Highway 101, Restless Heart, George Strait and Tanya Tucker each topped the chart with three different songs. (Full article...)
  • Image 7 Ray Price was at number one on the first combined sales and airplay chart in October and remained in the top spot until the end of the year. At the start of 1958, Billboard magazine published two charts specifically covering the top-performing country music songs in the United States. The C&W Best Sellers in Stores chart ranked records based on their "current national selling importance at the retail level", based on a survey of record retailers "with a high volume of sales in country and western records". The Most Played C&W by Jockeys chart ranked songs based on the "number of plays on disk jockey radio shows" according to a weekly survey of "top disk jockey shows in all key markets". With effect from the October 20 issue of Billboard the magazine discontinued both charts and combined sales and airplay into one chart called Hot C&W Sides, which has been published continuously since that date, currently under the title Hot Country Songs. In 1990 it changed to being based solely on airplay from country music radio stations, before reverting to a combined sales and airplay chart in 2012 but utilizing airplay data from stations of all formats as well as digital sales and streaming. The number one song on the Best Sellers chart in the first issue of 1958 was "Great Balls of Fire" by Jerry Lee Lewis, and the song at the top of the Jockeys chart was "The Story of My Life" by Marty Robbins; both songs replaced "My Special Angel" by Bobby Helms, which had topped both charts the week before. Eight different singles topped the Best Sellers chart, including two each by Johnny Cash, Don Gibson and the Everly Brothers. The longest unbroken run in the top spot was eight weeks, achieved by both of Cash's chart-toppers, "Ballad of a Teenage Queen" / "Big River" and "Guess Things Happen That Way" / "Come In, Stranger"; in each case the B-side of the single was listed jointly at number one for some or all of its time in the top spot under the methodology in use at the time. The sixteen weeks which Cash spent at number one was the most for any act. Gibson's "Oh Lonesome Me" also spent eight weeks at number one, but in two separate runs. The song gave Gibson his first number-one country song and he would go on to achieve his second later in the year with "Blue Blue Day". He remained popular in the 1960s, but did not return to the top of the country singles chart until 1972. (Full article...)
    A black-haired man wearing a dark jacket
    Ray Price was at number one on the first combined sales and airplay chart in October and remained in the top spot until the end of the year.

    At the start of 1958, Billboard magazine published two charts specifically covering the top-performing country music songs in the United States. The C&W Best Sellers in Stores chart ranked records based on their "current national selling importance at the retail level", based on a survey of record retailers "with a high volume of sales in country and western records". The Most Played C&W by Jockeys chart ranked songs based on the "number of plays on disk jockey radio shows" according to a weekly survey of "top disk jockey shows in all key markets". With effect from the October 20 issue of Billboard the magazine discontinued both charts and combined sales and airplay into one chart called Hot C&W Sides, which has been published continuously since that date, currently under the title Hot Country Songs. In 1990 it changed to being based solely on airplay from country music radio stations, before reverting to a combined sales and airplay chart in 2012 but utilizing airplay data from stations of all formats as well as digital sales and streaming.

    The number one song on the Best Sellers chart in the first issue of 1958 was "Great Balls of Fire" by Jerry Lee Lewis, and the song at the top of the Jockeys chart was "The Story of My Life" by Marty Robbins; both songs replaced "My Special Angel" by Bobby Helms, which had topped both charts the week before. Eight different singles topped the Best Sellers chart, including two each by Johnny Cash, Don Gibson and the Everly Brothers. The longest unbroken run in the top spot was eight weeks, achieved by both of Cash's chart-toppers, "Ballad of a Teenage Queen" / "Big River" and "Guess Things Happen That Way" / "Come In, Stranger"; in each case the B-side of the single was listed jointly at number one for some or all of its time in the top spot under the methodology in use at the time. The sixteen weeks which Cash spent at number one was the most for any act. Gibson's "Oh Lonesome Me" also spent eight weeks at number one, but in two separate runs. The song gave Gibson his first number-one country song and he would go on to achieve his second later in the year with "Blue Blue Day". He remained popular in the 1960s, but did not return to the top of the country singles chart until 1972. (Full article...)
  • Image 8 The Beatles had eighteen number-one singles on the NME chart, only one of which never topped the Record Retailer chart. The NME (or New Musical Express) was a British weekly popular music newspaper. Record charts in the United Kingdom began on 14 November 1952 when NME imitated an idea started in American Billboard magazine compiled their own hit parade. Until 15 February 1969, when the British Market Research Bureau (BMRB) chart was established, many periodicals compiled their own charts. During this time the BBC used aggregated results of the prominent NME, Melody Maker, Disc, Record Mirror and, later, Record Retailer charts to compile their Pick of the Pops chart. Prior to 1969 there was no universally accepted source or "official" singles chart; however, the Official Charts Company and Guinness' British Hit Singles & Albums regard the canonical sources for this period as NME before 10 March 1960 and Record Retailer from then until the BMRB took over in 1969. Although Record Retailer is now the most predominantly used source for charting music in the 1960s, NME had the biggest circulation of charts in the decade and was more widely followed. After the BMRB was formed, the NME continued compiling its own chart up until 14 May 1988. The Allisons' entry for the Eurovision Song Contest, entitled "Are You Sure?", was the first single to be number one on the NME chart but not to reach the top spot on Record Retailer's chart. In total, sixteen songs failed to reach number one with Record Retailer but topped the NME chart. In 1969, after the BMRB chart was introduced, four songs topped the NME but not the BMRB chart. Notable discrepancies include "19th Nervous Breakdown", which reached number one for the Rolling Stones on the NME, Disc, and Melody Maker charts, topped the BBC's Pick of the Pops aggregated chart and was announced as number one on Top of the Pops; however, because it did not reach number one on the Record Retailer chart, it is omitted from the Official Charts Company's canon. The Beatles' "Please Please Me" suffered the same fate so, arguably, should be considered the Beatles' first number-one single. Conversely, Elvis Presley's double A-side, "Rock-A-Hula Baby"/"Can't Help Falling in Love", reached number one on all charts except NME because the entries were split by NME according to which song was requested when the shop returned its figures. (Full article...)
    The Beatles had eighteen number-one singles on the NME chart, only one of which never topped the Record Retailer chart.

    The NME (or New Musical Express) was a British weekly popular music newspaper. Record charts in the United Kingdom began on 14 November 1952 when NME imitated an idea started in American Billboard magazine compiled their own hit parade. Until 15 February 1969, when the British Market Research Bureau (BMRB) chart was established, many periodicals compiled their own charts. During this time the BBC used aggregated results of the prominent NME, Melody Maker, Disc, Record Mirror and, later, Record Retailer charts to compile their Pick of the Pops chart. Prior to 1969 there was no universally accepted source or "official" singles chart; however, the Official Charts Company and Guinness' British Hit Singles & Albums regard the canonical sources for this period as NME before 10 March 1960 and Record Retailer from then until the BMRB took over in 1969. Although Record Retailer is now the most predominantly used source for charting music in the 1960s, NME had the biggest circulation of charts in the decade and was more widely followed. After the BMRB was formed, the NME continued compiling its own chart up until 14 May 1988.

    The Allisons' entry for the Eurovision Song Contest, entitled "Are You Sure?", was the first single to be number one on the NME chart but not to reach the top spot on Record Retailer's chart. In total, sixteen songs failed to reach number one with Record Retailer but topped the NME chart. In 1969, after the BMRB chart was introduced, four songs topped the NME but not the BMRB chart. Notable discrepancies include "19th Nervous Breakdown", which reached number one for the Rolling Stones on the NME, Disc, and Melody Maker charts, topped the BBC's Pick of the Pops aggregated chart and was announced as number one on Top of the Pops; however, because it did not reach number one on the Record Retailer chart, it is omitted from the Official Charts Company's canon. The Beatles' "Please Please Me" suffered the same fate so, arguably, should be considered the Beatles' first number-one single. Conversely, Elvis Presley's double A-side, "Rock-A-Hula Baby"/"Can't Help Falling in Love", reached number one on all charts except NME because the entries were split by NME according to which song was requested when the shop returned its figures. (Full article...)
  • Image 9 From 1944 until 1957, Billboard magazine published a chart that ranked the top-performing country music songs in the United States, based on the number of times a song had been played in jukeboxes; until 1948 it was the magazine's only country music chart. In 1945, 14 different songs topped the chart, then published under the title Most Played Juke Box Folk Records, in 52 issues of the magazine. The term "country music" would not come into standard usage until the late 1940s and "folk music" was one of a number of terms used for the genre in earlier years. The chart ranked "the most popular Folk records on automatic phonographs thruout [sic] the nation", based on "reports from all the country's leading operating centers", which were averaged to produce the final placings. This methodology allowed for the possibility of records tying for a position, and on several occasions during 1945 two or more songs tied for the number one spot, including the issue of Billboard dated November 24, when four songs tied for the number-one position. The Juke Box Folk chart is considered part of the lineage of the current Hot Country Songs chart, which was first published in 1958. At the start of the year, the song in the number one position was "I'm Wastin' My Tears on You" by Tex Ritter, which had been in the top spot since the issue of Billboard dated December 23, 1944; it remained at the top of the chart for four weeks in 1945. Ritter achieved a second number one later in the year with "You Two-Timed Me One Time Too Often", which spent 11 non-consecutive weeks at number one (including two in which it shared the top spot with other songs), the most by any song during the year. Ritter's total of 15 weeks at number one in 1945 was the highest by any artist. The longest unbroken run at number one was six weeks, by Al Dexter's "I'm Losing My Mind Over You" in February and March. As the chart was still in its infancy, the majority of the acts to top the chart in 1945 did so for the first time. One of the first-time chart-toppers was Jimmie Davis, who at the time of his number one success was combining his professional singing career with serving as the Governor of Louisiana. (Full article...)

    From 1944 until 1957, Billboard magazine published a chart that ranked the top-performing country music songs in the United States, based on the number of times a song had been played in jukeboxes; until 1948 it was the magazine's only country music chart. In 1945, 14 different songs topped the chart, then published under the title Most Played Juke Box Folk Records, in 52 issues of the magazine. The term "country music" would not come into standard usage until the late 1940s and "folk music" was one of a number of terms used for the genre in earlier years. The chart ranked "the most popular Folk records on automatic phonographs thruout [sic] the nation", based on "reports from all the country's leading operating centers", which were averaged to produce the final placings. This methodology allowed for the possibility of records tying for a position, and on several occasions during 1945 two or more songs tied for the number one spot, including the issue of Billboard dated November 24, when four songs tied for the number-one position. The Juke Box Folk chart is considered part of the lineage of the current Hot Country Songs chart, which was first published in 1958.

    At the start of the year, the song in the number one position was "I'm Wastin' My Tears on You" by Tex Ritter, which had been in the top spot since the issue of Billboard dated December 23, 1944; it remained at the top of the chart for four weeks in 1945. Ritter achieved a second number one later in the year with "You Two-Timed Me One Time Too Often", which spent 11 non-consecutive weeks at number one (including two in which it shared the top spot with other songs), the most by any song during the year. Ritter's total of 15 weeks at number one in 1945 was the highest by any artist. The longest unbroken run at number one was six weeks, by Al Dexter's "I'm Losing My Mind Over You" in February and March. As the chart was still in its infancy, the majority of the acts to top the chart in 1945 did so for the first time. One of the first-time chart-toppers was Jimmie Davis, who at the time of his number one success was combining his professional singing career with serving as the Governor of Louisiana. (Full article...)
  • Image 10 Music recording certifications are typically awarded by the worldwide music industry based on the total units sold, streamed, or shipped to retailers. These awards and their requirements are defined by the various certifying bodies representing the music industry in various countries and territories worldwide. The standard certification awards given consist of Gold, Platinum, and sometimes Diamond awards, in ascending order; the UK also has a Silver certification, ranking below Gold. In most cases, a "Multi-Platinum" or "Multi-Diamond" award is given for multiples of the Platinum or Diamond requirements. Many music industries around the world are represented by the International Federation of the Phonographic Industry (IFPI). The IFPI operates in 66 countries and services affiliated industry associations in 45 countries. In some cases, the IFPI is merely affiliated with the already operational certification bodies of a country, but in many countries with lesser-developed industries, the IFPI acts as the sole certifying body servicing the country or region's music industry. Still other countries not represented by the IFPI have certifying bodies operating independently, such as individual record companies which service the country or region's music industry as a whole. (Full article...)
    Music recording certifications are typically awarded by the worldwide music industry based on the total units sold, streamed, or shipped to retailers. These awards and their requirements are defined by the various certifying bodies representing the music industry in various countries and territories worldwide. The standard certification awards given consist of Gold, Platinum, and sometimes Diamond awards, in ascending order; the UK also has a Silver certification, ranking below Gold. In most cases, a "Multi-Platinum" or "Multi-Diamond" award is given for multiples of the Platinum or Diamond requirements.

    Many music industries around the world are represented by the International Federation of the Phonographic Industry (IFPI). The IFPI operates in 66 countries and services affiliated industry associations in 45 countries. In some cases, the IFPI is merely affiliated with the already operational certification bodies of a country, but in many countries with lesser-developed industries, the IFPI acts as the sole certifying body servicing the country or region's music industry. Still other countries not represented by the IFPI have certifying bodies operating independently, such as individual record companies which service the country or region's music industry as a whole. (Full article...)
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