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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 Rhythm Killers is an album by Jamaican musical duo Sly and Robbie, released in May 1987 by Island Records. By the time of the album's recording, Sly and Robbie had transitioned away from their prolific work in the reggae genre. They spent the 1980s experimenting with electronic sounds and contemporary recording technology on international, cross-genre endeavors, which influenced their direction for Rhythm Killers. Sly and Robbie enlisted producer Bill Laswell and an ensemble of musicians to record the album at the Quad studio in New York City. Along with their live instruments, the duo used electronic recording equipment such as the Fairlight CMI synthesizer and electronic drums. The predominantly funk and dance-oriented album is arranged into two side-long gapless suites of songs. Other styles featured on the record include hip hop, hard rock, worldbeat, and downtown music. Laswell's densely layered production incorporated electronic grooves, hard beats, string synthesizers, and cross-rhythms produced by turntable scratches, African and Latin-influenced percussion, and percussive raps. (Full article...)
    Rhythm Killers is an album by Jamaican musical duo Sly and Robbie, released in May 1987 by Island Records. By the time of the album's recording, Sly and Robbie had transitioned away from their prolific work in the reggae genre. They spent the 1980s experimenting with electronic sounds and contemporary recording technology on international, cross-genre endeavors, which influenced their direction for Rhythm Killers.

    Sly and Robbie enlisted producer Bill Laswell and an ensemble of musicians to record the album at the Quad studio in New York City. Along with their live instruments, the duo used electronic recording equipment such as the Fairlight CMI synthesizer and electronic drums. The predominantly funk and dance-oriented album is arranged into two side-long gapless suites of songs. Other styles featured on the record include hip hop, hard rock, worldbeat, and downtown music. Laswell's densely layered production incorporated electronic grooves, hard beats, string synthesizers, and cross-rhythms produced by turntable scratches, African and Latin-influenced percussion, and percussive raps. (Full article...)
  • Image 2 The Symphony No. 3, Op. 36, also known as the Symphony of Sorrowful Songs (Polish: Symfonia pieśni żałosnych), is a symphony in three movements composed by Henryk Górecki in Katowice, Poland, between October and December 1976. The work is indicative of the transition between Górecki's earlier dissonant style and his later more tonal style and "represented a stylistic breakthrough: austerely plaintive, emotionally direct and steeped in medieval modes". It was premièred on 4 April 1977, at the Royan International Festival, with Stefania Woytowicz as soprano and Ernest Bour as conductor. A solo soprano sings Polish texts in each of the three movements. The first is a 15th-century Polish lament of Mary, mother of Jesus; the second a message written on the wall of a Gestapo cell during World War II; and the third a Silesian folk song of a mother searching for her son killed by the Germans in the Silesian uprisings. The first and third movements are written from the perspective of a parent who has lost a child, and the second movement from that of a child separated from a parent. The dominant themes of the symphony are motherhood, despair and suffering. (Full article...)
    The Symphony No. 3, Op. 36, also known as the Symphony of Sorrowful Songs (Polish: Symfonia pieśni żałosnych), is a symphony in three movements composed by Henryk Górecki in Katowice, Poland, between October and December 1976. The work is indicative of the transition between Górecki's earlier dissonant style and his later more tonal style and "represented a stylistic breakthrough: austerely plaintive, emotionally direct and steeped in medieval modes". It was premièred on 4 April 1977, at the Royan International Festival, with Stefania Woytowicz as soprano and Ernest Bour as conductor.

    A solo soprano sings Polish texts in each of the three movements. The first is a 15th-century Polish lament of Mary, mother of Jesus; the second a message written on the wall of a Gestapo cell during World War II; and the third a Silesian folk song of a mother searching for her son killed by the Germans in the Silesian uprisings. The first and third movements are written from the perspective of a parent who has lost a child, and the second movement from that of a child separated from a parent. The dominant themes of the symphony are motherhood, despair and suffering. (Full article...)
  • Image 3 Silent Alarm is the debut studio album by English rock band Bloc Party. Recorded in Copenhagen and London in mid-2004 with Paul Epworth as producer, it was released on 2 February 2005, by Wichita Recordings. The album peaked at number three on the UK Albums Chart. In the United States, it entered the Billboard 200 at number 114 and the Billboard Independent Albums at number seven. “Helicopter”, the double A-side "So Here We Are/Positive Tension", "Banquet" and "The Pioneers" were released as singles. Silent Alarm went on to achieve worldwide sales of over one million copies. Bloc Party aimed to create an album that appealed to followers of different musical genres. Building on the arrangements in their demo songs recorded in 2004, the band members moulded tracks largely through live takes during the Silent Alarm studio sessions. The compositional focus was on rhythm and the drum and bass parts, while lyricist Kele Okereke's writing examined the feelings and hopes of young adults, including views on global politics. Following the album's completion, Bloc Party embarked on promotional tours before its release. (Full article...)
    Silent Alarm is the debut studio album by English rock band Bloc Party. Recorded in Copenhagen and London in mid-2004 with Paul Epworth as producer, it was released on 2 February 2005, by Wichita Recordings. The album peaked at number three on the UK Albums Chart. In the United States, it entered the Billboard 200 at number 114 and the Billboard Independent Albums at number seven. “Helicopter”, the double A-side "So Here We Are/Positive Tension", "Banquet" and "The Pioneers" were released as singles. Silent Alarm went on to achieve worldwide sales of over one million copies.

    Bloc Party aimed to create an album that appealed to followers of different musical genres. Building on the arrangements in their demo songs recorded in 2004, the band members moulded tracks largely through live takes during the Silent Alarm studio sessions. The compositional focus was on rhythm and the drum and bass parts, while lyricist Kele Okereke's writing examined the feelings and hopes of young adults, including views on global politics. Following the album's completion, Bloc Party embarked on promotional tours before its release. (Full article...)
  • Image 4 Illinois (styled Sufjan Stevens Invites You to: Come on Feel the Illinoise on the cover; sometimes spelled as Illinoise) is a 2005 concept album by American singer-songwriter Sufjan Stevens. His fifth studio album, it features songs referencing places, events, and persons related to the U.S. state of Illinois. Illinois is Stevens' second based on a U.S. state—part of a planned series of fifty that began with the 2003 album Michigan and that Stevens has since acknowledged was a joke. It was adapted into a musical, Illinoise, in 2023 and, after playing smaller venues, opened at the St. James Theatre on Broadway in April 2024. Stevens recorded and produced the album at multiple venues in New York City using low-fidelity studio equipment and a variety of instruments between late 2004 and early 2005. The artwork and lyrics explore the history, culture, art, and geography of the state—Stevens developed them after analyzing criminal, literary, and historical documents. Following its release, Stevens promoted Illinois with a world tour. (Full article...)
    Illinois (styled Sufjan Stevens Invites You to: Come on Feel the Illinoise on the cover; sometimes spelled as Illinoise) is a 2005 concept album by American singer-songwriter Sufjan Stevens. His fifth studio album, it features songs referencing places, events, and persons related to the U.S. state of Illinois. Illinois is Stevens' second based on a U.S. state—part of a planned series of fifty that began with the 2003 album Michigan and that Stevens has since acknowledged was a joke. It was adapted into a musical, Illinoise, in 2023 and, after playing smaller venues, opened at the St. James Theatre on Broadway in April 2024.

    Stevens recorded and produced the album at multiple venues in New York City using low-fidelity studio equipment and a variety of instruments between late 2004 and early 2005. The artwork and lyrics explore the history, culture, art, and geography of the state—Stevens developed them after analyzing criminal, literary, and historical documents. Following its release, Stevens promoted Illinois with a world tour. (Full article...)
  • Image 5 Doolittle, the second studio album by the American alternative rock band Pixies, was released on April 17, 1989, on 4AD records. The album was an instant critical success and became the band's breakthrough album. Doolittle was especially well received in Europe, where the British music weeklies Melody Maker and Sounds named it their album of the year. Pixies' main songwriter and lead vocalist Black Francis wrote the idiosyncratic lyrics, which allude to surrealist imagery, biblical violence, and descriptions of torture and death. The album is praised for its "quiet/loud" dynamic, which was achieved through subdued verses that are founded on Kim Deal's bass patterns and David Lovering's drums. The peaks in tone and volume were achieved through the addition of distorted guitars by Francis and Joey Santiago. This technique influenced the development of early-1990s grunge music; Kurt Cobain said Doolittle was one of his favorite records and that its songs heavily influenced Nirvana's song "Smells Like Teen Spirit". (Full article...)
    Doolittle, the second studio album by the American alternative rock band Pixies, was released on April 17, 1989, on 4AD records. The album was an instant critical success and became the band's breakthrough album. Doolittle was especially well received in Europe, where the British music weeklies Melody Maker and Sounds named it their album of the year. Pixies' main songwriter and lead vocalist Black Francis wrote the idiosyncratic lyrics, which allude to surrealist imagery, biblical violence, and descriptions of torture and death.

    The album is praised for its "quiet/loud" dynamic, which was achieved through subdued verses that are founded on Kim Deal's bass patterns and David Lovering's drums. The peaks in tone and volume were achieved through the addition of distorted guitars by Francis and Joey Santiago. This technique influenced the development of early-1990s grunge music; Kurt Cobain said Doolittle was one of his favorite records and that its songs heavily influenced Nirvana's song "Smells Like Teen Spirit". (Full article...)
  • Image 6 Sgt. Pepper's Lonely Hearts Club Band is the eighth studio album by the English rock band the Beatles. Released on 26 May 1967, Sgt. Pepper is regarded by musicologists as an early concept album that advanced the roles of sound composition, extended form, psychedelic imagery, record sleeves, and the producer in popular music. The album had an immediate cross-generational impact and was associated with numerous touchstones of the era's youth culture, such as fashion, drugs, mysticism, and a sense of optimism and empowerment. Critics lauded the album for its innovations in songwriting, production and graphic design, for bridging a cultural divide between popular music and high art, and for reflecting the interests of contemporary youth and the counterculture. At the end of August 1966, the Beatles had permanently retired from touring and pursued individual interests for the next three months. During a return flight to London in November, Paul McCartney had an idea for a song involving an Edwardian military band that formed the impetus of the Sgt. Pepper concept. For this project, they continued the technological experimentation marked by their previous album, Revolver (1966), this time without an absolute deadline for completion. Sessions began on 24 November at EMI Studios with compositions inspired by the Beatles' youth, but after pressure from EMI, the songs "Strawberry Fields Forever" and "Penny Lane" were released as a double A-side single in February 1967 and left off the LP. The album was then loosely conceptualised as a performance by the fictional Sgt. Pepper band, an idea that was conceived after recording the title track. (Full article...)
    Sgt. Pepper's Lonely Hearts Club Band is the eighth studio album by the English rock band the Beatles. Released on 26 May 1967, Sgt. Pepper is regarded by musicologists as an early concept album that advanced the roles of sound composition, extended form, psychedelic imagery, record sleeves, and the producer in popular music. The album had an immediate cross-generational impact and was associated with numerous touchstones of the era's youth culture, such as fashion, drugs, mysticism, and a sense of optimism and empowerment. Critics lauded the album for its innovations in songwriting, production and graphic design, for bridging a cultural divide between popular music and high art, and for reflecting the interests of contemporary youth and the counterculture.

    At the end of August 1966, the Beatles had permanently retired from touring and pursued individual interests for the next three months. During a return flight to London in November, Paul McCartney had an idea for a song involving an Edwardian military band that formed the impetus of the Sgt. Pepper concept. For this project, they continued the technological experimentation marked by their previous album, Revolver (1966), this time without an absolute deadline for completion. Sessions began on 24 November at EMI Studios with compositions inspired by the Beatles' youth, but after pressure from EMI, the songs "Strawberry Fields Forever" and "Penny Lane" were released as a double A-side single in February 1967 and left off the LP. The album was then loosely conceptualised as a performance by the fictional Sgt. Pepper band, an idea that was conceived after recording the title track. (Full article...)
  • Image 7 One Hot Minute is the sixth studio album by American rock band Red Hot Chili Peppers, released on September 12, 1995, by Warner Bros. Records. The worldwide success of the band's previous album Blood Sugar Sex Magik (1991) caused guitarist John Frusciante to become uncomfortable with their popularity, eventually quitting mid-tour in 1992. Following a series of short-term replacements, the band hired guitarist Dave Navarro in 1993; it was his only studio album with the band. Recording for the album took place at the Sound Factory in Hollywood from June 1994 to February 1995. It marked the second collaboration between the band and producer Rick Rubin. A departure from the funk of Blood Sugar Sex Magik, One Hot Minute is characterized by heavy metal riffs and psychedelic rock influences, primarily due to the influence of Navarro, formerly of Jane's Addiction. Vocalist Anthony Kiedis, who had resumed addictions to cocaine and heroin in 1994 after being sober for more than five years, approached his lyricism with a reflective outlook on drugs and their harsh effects. As such, the lyrics reflect mostly dark and melancholy themes. Bassist Flea sang lead vocals on "Pea", as well as the outro of "Deep Kick" and the chorus of the album outtake "Stretch". (Full article...)
    One Hot Minute is the sixth studio album by American rock band Red Hot Chili Peppers, released on September 12, 1995, by Warner Bros. Records. The worldwide success of the band's previous album Blood Sugar Sex Magik (1991) caused guitarist John Frusciante to become uncomfortable with their popularity, eventually quitting mid-tour in 1992. Following a series of short-term replacements, the band hired guitarist Dave Navarro in 1993; it was his only studio album with the band. Recording for the album took place at the Sound Factory in Hollywood from June 1994 to February 1995. It marked the second collaboration between the band and producer Rick Rubin.

    A departure from the funk of Blood Sugar Sex Magik, One Hot Minute is characterized by heavy metal riffs and psychedelic rock influences, primarily due to the influence of Navarro, formerly of Jane's Addiction. Vocalist Anthony Kiedis, who had resumed addictions to cocaine and heroin in 1994 after being sober for more than five years, approached his lyricism with a reflective outlook on drugs and their harsh effects. As such, the lyrics reflect mostly dark and melancholy themes. Bassist Flea sang lead vocals on "Pea", as well as the outro of "Deep Kick" and the chorus of the album outtake "Stretch". (Full article...)
  • Image 8 Smith performing in 2003 Steven Paul Smith (August 6, 1969 – October 21, 2003), known as Elliott Smith, was an American musician and singer-songwriter. He was born in Omaha, Nebraska, raised primarily in Texas, and lived much of his life in Portland, Oregon, where he gained popularity. Smith's primary instrument was the guitar, though he also played piano, clarinet, bass guitar, drums, and harmonica. He had a distinctive vocal style in his solo career after Heatmiser, characterized by his "whispery, spiderweb-thin delivery", and often used multi-tracking to create vocal layers, textures, and harmonies that were usually finger picked and recorded with tape. After playing in the rock band Heatmiser for several years, Smith began his solo career in 1994, with releases on the independent record labels Cavity Search and Kill Rock Stars (KRS). In 1997, he signed a contract with DreamWorks Records, for which he recorded his final two albums. Smith rose to mainstream prominence when his song "Miss Misery"—included in the soundtrack for the film Good Will Hunting (1997)—was nominated for the 1998 Academy Award for Best Original Song. (Full article...)

    Smith performing in 2003

    Steven Paul Smith (August 6, 1969 – October 21, 2003), known as Elliott Smith, was an American musician and singer-songwriter. He was born in Omaha, Nebraska, raised primarily in Texas, and lived much of his life in Portland, Oregon, where he gained popularity. Smith's primary instrument was the guitar, though he also played piano, clarinet, bass guitar, drums, and harmonica. He had a distinctive vocal style in his solo career after Heatmiser, characterized by his "whispery, spiderweb-thin delivery", and often used multi-tracking to create vocal layers, textures, and harmonies that were usually finger picked and recorded with tape.

    After playing in the rock band Heatmiser for several years, Smith began his solo career in 1994, with releases on the independent record labels Cavity Search and Kill Rock Stars (KRS). In 1997, he signed a contract with DreamWorks Records, for which he recorded his final two albums. Smith rose to mainstream prominence when his song "Miss Misery"—included in the soundtrack for the film Good Will Hunting (1997)—was nominated for the 1998 Academy Award for Best Original Song. (Full article...)
  • Image 9 The Sex Pistols performing in Paradiso, 1977. From left: Paul Cook, Glen Matlock, Johnny Rotten and Steve Jones. The Sex Pistols are an English punk rock band formed in London in 1975. Although their initial career lasted just two and a half years, they became one of the most culturally influential acts in popular music. The band initiated the punk movement in the United Kingdom and inspired many later punk, post-punk and alternative rock musicians, while their clothing and hairstyles were a significant influence on the early punk image. The Sex Pistols' first line-up consisted of vocalist Johnny Rotten (born John Lydon), guitarist Steve Jones, drummer Paul Cook, and bassist Glen Matlock, with Matlock replaced by Sid Vicious (born John Richie) in early 1977. Under the management of Malcolm McLaren, the band gained widespread attention from British press after swearing live on-air during a December 1976 television interview. Their May 1977 single "God Save the Queen", which described the monarchy as a "fascist regime", was released to coincide with national celebrations for the Queen's Silver Jubilee. The song was promptly banned from being played by the BBC and by nearly every independent radio station in Britain, making it the most censored record in British history. (Full article...)

    The Sex Pistols performing in Paradiso, 1977. From left: Paul Cook, Glen Matlock, Johnny Rotten and Steve Jones.

    The Sex Pistols are an English punk rock band formed in London in 1975. Although their initial career lasted just two and a half years, they became one of the most culturally influential acts in popular music. The band initiated the punk movement in the United Kingdom and inspired many later punk, post-punk and alternative rock musicians, while their clothing and hairstyles were a significant influence on the early punk image.

    The Sex Pistols' first line-up consisted of vocalist Johnny Rotten (born John Lydon), guitarist Steve Jones, drummer Paul Cook, and bassist Glen Matlock, with Matlock replaced by Sid Vicious (born John Richie) in early 1977. Under the management of Malcolm McLaren, the band gained widespread attention from British press after swearing live on-air during a December 1976 television interview. Their May 1977 single "God Save the Queen", which described the monarchy as a "fascist regime", was released to coincide with national celebrations for the Queen's Silver Jubilee. The song was promptly banned from being played by the BBC and by nearly every independent radio station in Britain, making it the most censored record in British history. (Full article...)
  • Image 10 Promotional image of the band in 1981. Left to right: Geddy Lee, Neil Peart and Alex Lifeson. Rush was a Canadian rock band formed in Toronto in 1968 that primarily comprised Geddy Lee (vocals, bass guitar, keyboards), Alex Lifeson (guitar) and Neil Peart (drums, percussion). The band's original line-up comprised Lifeson, drummer John Rutsey, and bassist and vocalist Jeff Jones, whom Lee immediately replaced. After Lee joined, the band went through a few line-up changes before arriving at its classic power trio line-up with the addition of Peart in July 1974, who replaced Rutsey four months after the release of their self-titled debut album; this line-up remained unchanged for the remainder of the band's career. Rush first achieved moderate success with their second album, Fly by Night (1975). The commercial failure of their next album Caress of Steel, released seven months after Fly by Night, resulted in the band nearly getting dropped from their then-record label Mercury Records. Rush's fourth album, 2112 (1976), reignited their popularity, becoming their first album to enter the top five on the Canadian charts. Their next two albums, A Farewell to Kings (1977) and Hemispheres (1978), were also successful, with the former becoming Rush's first to enter the UK charts. The band saw their furthest commercial success throughout the 1980s and 1990s, with most albums charting highly in Canada, the US and the UK, including Permanent Waves (1980), Moving Pictures (1981), Signals (1982), Grace Under Pressure (1984), Roll the Bones (1991), Counterparts (1993), and Test for Echo (1996). Rush continued to record and perform until 1997, after which the band went on a four-year hiatus due to personal tragedies in Peart's life. The trio regrouped in 2001 and released three more studio albums: Vapor Trails (2002), Snakes & Arrows (2007), and Clockwork Angels (2012). Rush performed their final concerts in 2015, with Peart retiring from music later that year. Lifeson later commented in January 2018 that the band decided not to resume activity following the R40 Tour, which was later cemented by Peart's death from glioblastoma, a type of brain cancer, on January 7, 2020, at the age of 67. Lee and Lifeson have continued to periodically work together since Peart's death, including performing at the 25th anniversary celebration of South Park and tributes to then-recently deceased Foo Fighters drummer Taylor Hawkins in 2022. (Full article...)

    Promotional image of the band in 1981. Left to right: Geddy Lee, Neil Peart and Alex Lifeson.

    Rush was a Canadian rock band formed in Toronto in 1968 that primarily comprised Geddy Lee (vocals, bass guitar, keyboards), Alex Lifeson (guitar) and Neil Peart (drums, percussion). The band's original line-up comprised Lifeson, drummer John Rutsey, and bassist and vocalist Jeff Jones, whom Lee immediately replaced. After Lee joined, the band went through a few line-up changes before arriving at its classic power trio line-up with the addition of Peart in July 1974, who replaced Rutsey four months after the release of their self-titled debut album; this line-up remained unchanged for the remainder of the band's career.

    Rush first achieved moderate success with their second album, Fly by Night (1975). The commercial failure of their next album Caress of Steel, released seven months after Fly by Night, resulted in the band nearly getting dropped from their then-record label Mercury Records. Rush's fourth album, 2112 (1976), reignited their popularity, becoming their first album to enter the top five on the Canadian charts. Their next two albums, A Farewell to Kings (1977) and Hemispheres (1978), were also successful, with the former becoming Rush's first to enter the UK charts. The band saw their furthest commercial success throughout the 1980s and 1990s, with most albums charting highly in Canada, the US and the UK, including Permanent Waves (1980), Moving Pictures (1981), Signals (1982), Grace Under Pressure (1984), Roll the Bones (1991), Counterparts (1993), and Test for Echo (1996). Rush continued to record and perform until 1997, after which the band went on a four-year hiatus due to personal tragedies in Peart's life. The trio regrouped in 2001 and released three more studio albums: Vapor Trails (2002), Snakes & Arrows (2007), and Clockwork Angels (2012). Rush performed their final concerts in 2015, with Peart retiring from music later that year. Lifeson later commented in January 2018 that the band decided not to resume activity following the R40 Tour, which was later cemented by Peart's death from glioblastoma, a type of brain cancer, on January 7, 2020, at the age of 67. Lee and Lifeson have continued to periodically work together since Peart's death, including performing at the 25th anniversary celebration of South Park and tributes to then-recently deceased Foo Fighters drummer Taylor Hawkins in 2022. (Full article...)
  • Image 11 Ghostbusters II is a 1989 American supernatural comedy film directed by Ivan Reitman and written by Dan Aykroyd and Harold Ramis. The film stars Bill Murray, Aykroyd, Sigourney Weaver, Ramis, Rick Moranis, Ernie Hudson, and Annie Potts. It is the sequel to the 1984 film Ghostbusters and the second film in the Ghostbusters franchise. Set five years after the events of the first film, the Ghostbusters have been sued and put out of business after the destruction caused during their battle with the deity Gozer the Gozerian. When a new paranormal threat emerges, the Ghostbusters reunite to combat it and save the world. After the success of Ghostbusters, Columbia Pictures wanted a sequel but struggled to overcome objections from the cast and crew. As with the first film, Aykroyd and Ramis collaborated on the script, which went through many variations. The pair wanted to convey a message about the consequences of negative human emotions in large cities. They settled on the idea of negative feelings creating a mass of supernatural slime beneath New York City that empowers malevolent spirits. With a budget of $30–40 million, filming took place between November 1988 and March 1989 in New York City and Los Angeles. Production was rushed and large sections of the film were scrapped after poorly received test screenings. New scenes were written and filmed during re-shoots between March and April 1989, only two months before its release. (Full article...)
    Ghostbusters II is a 1989 American supernatural comedy film directed by Ivan Reitman and written by Dan Aykroyd and Harold Ramis. The film stars Bill Murray, Aykroyd, Sigourney Weaver, Ramis, Rick Moranis, Ernie Hudson, and Annie Potts. It is the sequel to the 1984 film Ghostbusters and the second film in the Ghostbusters franchise. Set five years after the events of the first film, the Ghostbusters have been sued and put out of business after the destruction caused during their battle with the deity Gozer the Gozerian. When a new paranormal threat emerges, the Ghostbusters reunite to combat it and save the world.

    After the success of Ghostbusters, Columbia Pictures wanted a sequel but struggled to overcome objections from the cast and crew. As with the first film, Aykroyd and Ramis collaborated on the script, which went through many variations. The pair wanted to convey a message about the consequences of negative human emotions in large cities. They settled on the idea of negative feelings creating a mass of supernatural slime beneath New York City that empowers malevolent spirits. With a budget of $30–40 million, filming took place between November 1988 and March 1989 in New York City and Los Angeles. Production was rushed and large sections of the film were scrapped after poorly received test screenings. New scenes were written and filmed during re-shoots between March and April 1989, only two months before its release. (Full article...)
  • Image 12 1918–1919 poster Gianni Schicchi (Italian pronunciation: [ˈdʒanni ˈskikki]) is a comic opera in one act by Giacomo Puccini to an Italian libretto by Giovacchino Forzano, composed in 1917–18. The libretto is based on an incident mentioned in Dante's Divine Comedy. The work is the third and final part of Puccini's Il trittico (The Triptych) – three one-act operas with contrasting themes, originally written to be presented together. Although it continues to be performed with one or both of the other trittico operas, Gianni Schicchi is now more frequently staged either alone or with short operas by other composers. The aria "O mio babbino caro" is one of Puccini's best known, and one of the most popular arias in opera. Puccini had long considered writing a set of one-act operas which would be performed together in a single evening, but faced with a lack of suitable subjects and opposition from his publisher, he repeatedly put the project aside. However, by 1916 Puccini had completed the one-act tragedy Il tabarro and, after considering various ideas, he began work the following year on the solemn, religious, all-female opera Suor Angelica. Gianni Schicchi, a comedy, completes the triptych with a further contrast of mood. The score combines elements of Puccini's modern style of harmonic dissonance with lyrical passages reminiscent of Rossini, and it has been praised for its inventiveness and imagination. (Full article...)

    1918–1919 poster

    Gianni Schicchi (Italian pronunciation: [ˈdʒanni ˈskikki]) is a comic opera in one act by Giacomo Puccini to an Italian libretto by Giovacchino Forzano, composed in 1917–18. The libretto is based on an incident mentioned in Dante's Divine Comedy. The work is the third and final part of Puccini's Il trittico (The Triptych) – three one-act operas with contrasting themes, originally written to be presented together. Although it continues to be performed with one or both of the other trittico operas, Gianni Schicchi is now more frequently staged either alone or with short operas by other composers. The aria "O mio babbino caro" is one of Puccini's best known, and one of the most popular arias in opera.

    Puccini had long considered writing a set of one-act operas which would be performed together in a single evening, but faced with a lack of suitable subjects and opposition from his publisher, he repeatedly put the project aside. However, by 1916 Puccini had completed the one-act tragedy Il tabarro and, after considering various ideas, he began work the following year on the solemn, religious, all-female opera Suor Angelica. Gianni Schicchi, a comedy, completes the triptych with a further contrast of mood. The score combines elements of Puccini's modern style of harmonic dissonance with lyrical passages reminiscent of Rossini, and it has been praised for its inventiveness and imagination. (Full article...)
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Born this day

Birthdays in Music: November 12
  • Errol Brown (Record production, 1943–May 6, 2015), Brit singer, songwriter, and frontman with Hot Chocolate, would have turned 81 this year.
  • Thorgeir Stubo (1943 – 1986), Norwegian guitarist, would have turned 81.
  • Mort Shuman (Record production, 1936 –November 02, 1991), American songwriter, would have turned 88 this year.
  • Bob Crewe (Record production, 1931–September 11, 2014), American songwriter and producer for The Four Seasons, would have turned 93 this year.
  • Michael Silva (Record production, 1925–March 08, 1990), American drummer, would have turned 99 this year.
  • Sam Jones (Record production, 1924 –December 15, 1981), American bass player, would have turned 100 this year.
  • Charlie Mariano (Record production, 1923–June 16, 2009), American alto saxophonist, would have turned 101 this year.
  • Lou Blackburn (1922 – 1990), American trombonist, would have turned 102.
  • Jo Stafford (Record production, 1917 –July 16, 2008), American singer, would have turned 107 this year.
  • Jean Papineau-Couture (Record production, 1916 –August 11, 2000), French Canadian composer, would have turned 108 this year.
  • Buck Clayton (Record production, 1911 –December 08, 1991), American trumpeter, would have turned 113 this year.
  • Alexander Borodin (Record production, 1833 –February 27, 1887), Russian composer, would have turned 191 this year.
  

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These are all Good articles, which meet a core set of high editorial standards.
  • Image 1 Cover art by Al Columbia Give Up is the sole studio album by American electronic duo the Postal Service, released on February 18, 2003, by Sub Pop Records. The Postal Service was a collaboration between singer-songwriter Ben Gibbard, best-known for his work with indie rock band Death Cab for Cutie, and musician Jimmy Tamborello, who also records under the name Dntel. Gibbard rose to prominence in the early 2000s as frontman of Death Cab, while Tamborello gained a cult following as a pioneer of contemporary glitch music and electronica. The two first collaborated with the song "(This Is) The Dream of Evan and Chan", for Dntel's debut LP, Life Is Full of Possibilities (2001). The album is a long-distance collaboration between Gibbard, who lived in Seattle, Washington, and Tamborello, who resided in Los Angeles, California. The duo named the project for their working method: the pair would send demos on burned CD-R's through the mail, adding elements until songs were complete. The LP's sound contrasts manipulated samples and keyboards with live guitar and drums—a sound some have described as "indietronica". Tamborello was responsible for the programming, while Gibbard wrote lyrics, provided vocals, and contributed additional instrumentation. Give Up also features guest appearances from vocalists Jen Wood and Jenny Lewis, as well as musician Chris Walla. (Full article...)

    Cover art by Al Columbia

    Give Up is the sole studio album by American electronic duo the Postal Service, released on February 18, 2003, by Sub Pop Records. The Postal Service was a collaboration between singer-songwriter Ben Gibbard, best-known for his work with indie rock band Death Cab for Cutie, and musician Jimmy Tamborello, who also records under the name Dntel. Gibbard rose to prominence in the early 2000s as frontman of Death Cab, while Tamborello gained a cult following as a pioneer of contemporary glitch music and electronica. The two first collaborated with the song "(This Is) The Dream of Evan and Chan", for Dntel's debut LP, Life Is Full of Possibilities (2001).

    The album is a long-distance collaboration between Gibbard, who lived in Seattle, Washington, and Tamborello, who resided in Los Angeles, California. The duo named the project for their working method: the pair would send demos on burned CD-R's through the mail, adding elements until songs were complete. The LP's sound contrasts manipulated samples and keyboards with live guitar and drums—a sound some have described as "indietronica". Tamborello was responsible for the programming, while Gibbard wrote lyrics, provided vocals, and contributed additional instrumentation. Give Up also features guest appearances from vocalists Jen Wood and Jenny Lewis, as well as musician Chris Walla. (Full article...)
  • Image 2 Bookends is the fourth studio album by the American folk rock duo Simon & Garfunkel. Produced by Paul Simon, Art Garfunkel and Roy Halee, the album was released on April 3, 1968, in the United States by Columbia Records. The duo had risen to fame two years prior with the albums Sounds of Silence and Parsley, Sage, Rosemary and Thyme and the soundtrack album for the 1967 film The Graduate. Bookends is a concept album that explores a life journey from childhood to old age. Side one of the album marks successive stages in life, the theme serving as bookends to the life cycle. Side two largely consists of previously-released singles and of unused material for The Graduate soundtrack. Simon's lyrics concern youth, disillusionment, relationships, old age, and mortality. Much of the material was crafted alongside producer John Simon (no relation), who joined the recording when Paul Simon suffered from writer's block. The album was recorded gradually over the period of a year, with production speeding up around the later months of 1967. (Full article...)
    Bookends is the fourth studio album by the American folk rock duo Simon & Garfunkel. Produced by Paul Simon, Art Garfunkel and Roy Halee, the album was released on April 3, 1968, in the United States by Columbia Records. The duo had risen to fame two years prior with the albums Sounds of Silence and Parsley, Sage, Rosemary and Thyme and the soundtrack album for the 1967 film The Graduate.

    Bookends is a concept album that explores a life journey from childhood to old age. Side one of the album marks successive stages in life, the theme serving as bookends to the life cycle. Side two largely consists of previously-released singles and of unused material for The Graduate soundtrack. Simon's lyrics concern youth, disillusionment, relationships, old age, and mortality. Much of the material was crafted alongside producer John Simon (no relation), who joined the recording when Paul Simon suffered from writer's block. The album was recorded gradually over the period of a year, with production speeding up around the later months of 1967. (Full article...)
  • Image 3 Like a Prayer is the fourth studio album by American singer-songwriter Madonna, released on March 21, 1989, by Sire Records. It saw the singer reunited with Patrick Leonard and Stephen Bray, with whom she had collaborated on her previous studio album True Blue (1986), and the soundtrack to the 1987 film Who's That Girl; artist Prince also collaborated on the record, co-writing and co-producing one of the tracks alongside Madonna. Her most introspective release at the time, Like a Prayer is a pop record with elements of rock and dance pop. Its lyrics deal with personal themes she had been too afraid to approach up at that point: her Catholic upbringing, her troubled marriage to actor Sean Penn, the death of her mother, and her relationship with her father. Upon its release, Like a Prayer received universal acclaim from music critics, who praised its introspective tone, cohesiveness, and Madonna's increased artistic merit. It was also an international success, reaching the top of the charts in 20 countries, and was certified quadruple platinum in the United States by the Recording Industry Association of America (RIAA). Worldwide, it has sold over 15 million copies. Six singles were released from the album: the title track became Madonna's seventh number-one hit on the US Billboard Hot 100, while "Express Yourself" and "Cherish" both peaked at number two, and "Keep It Together" became a top-ten hit. (Full article...)
    Like a Prayer is the fourth studio album by American singer-songwriter Madonna, released on March 21, 1989, by Sire Records. It saw the singer reunited with Patrick Leonard and Stephen Bray, with whom she had collaborated on her previous studio album True Blue (1986), and the soundtrack to the 1987 film Who's That Girl; artist Prince also collaborated on the record, co-writing and co-producing one of the tracks alongside Madonna. Her most introspective release at the time, Like a Prayer is a pop record with elements of rock and dance pop. Its lyrics deal with personal themes she had been too afraid to approach up at that point: her Catholic upbringing, her troubled marriage to actor Sean Penn, the death of her mother, and her relationship with her father.

    Upon its release, Like a Prayer received universal acclaim from music critics, who praised its introspective tone, cohesiveness, and Madonna's increased artistic merit. It was also an international success, reaching the top of the charts in 20 countries, and was certified quadruple platinum in the United States by the Recording Industry Association of America (RIAA). Worldwide, it has sold over 15 million copies. Six singles were released from the album: the title track became Madonna's seventh number-one hit on the US Billboard Hot 100, while "Express Yourself" and "Cherish" both peaked at number two, and "Keep It Together" became a top-ten hit. (Full article...)
  • Image 4 Barrio Fino (Spanish pronunciation: [ˈbarjo ˈfino]; English: "Fine 'Hood") is the third studio album by Puerto Rican rapper Daddy Yankee, released on July 13, 2004, in the United States by VI Music and El Cartel Records and internationally by Machete Music and Polydor Records. Released two years after his previous studio album, El Cangri.com (2002), the album was recorded in Puerto Rico between 2003 and 2004. It explores themes ranging from dance, sex, romance, introspection, and protest against political corruption and violence against women. Barrio Fino was instrumental in popularizing reggaeton in the mainstream market, enhancing Daddy Yankee's career, as well as cementing his status as one of the most successful Latin artists of the 2000s.[vague] The album is reported to have sold over 8 million copies in the world. Daddy Yankee wrote all the tracks, with co-writing credits on seven, and is credited as executive producer. Four of the 21 songs were released as singles. The first single, "Gasolina", charted within the top 10 in Denmark, Italy, Norway, Ireland, Switzerland, the United Kingdom, Germany, and Austria, while "Lo Que Pasó, Pasó" peaked at number two on the US Hot Latin Songs chart. Barrio Fino reached number one on the US Tropical Albums and the Top Latin Albums charts. It became the first reggaeton recording to debut and peak atop the latter chart. It ranked within the top 30 in the United States, Portugal, Switzerland and Spain. (Full article...)
    Barrio Fino (Spanish pronunciation: [ˈbarjo ˈfino]; English: "Fine 'Hood") is the third studio album by Puerto Rican rapper Daddy Yankee, released on July 13, 2004, in the United States by VI Music and El Cartel Records and internationally by Machete Music and Polydor Records. Released two years after his previous studio album, El Cangri.com (2002), the album was recorded in Puerto Rico between 2003 and 2004. It explores themes ranging from dance, sex, romance, introspection, and protest against political corruption and violence against women. Barrio Fino was instrumental in popularizing reggaeton in the mainstream market, enhancing Daddy Yankee's career, as well as cementing his status as one of the most successful Latin artists of the 2000s.[vague] The album is reported to have sold over 8 million copies in the world.

    Daddy Yankee wrote all the tracks, with co-writing credits on seven, and is credited as executive producer. Four of the 21 songs were released as singles. The first single, "Gasolina", charted within the top 10 in Denmark, Italy, Norway, Ireland, Switzerland, the United Kingdom, Germany, and Austria, while "Lo Que Pasó, Pasó" peaked at number two on the US Hot Latin Songs chart. Barrio Fino reached number one on the US Tropical Albums and the Top Latin Albums charts. It became the first reggaeton recording to debut and peak atop the latter chart. It ranked within the top 30 in the United States, Portugal, Switzerland and Spain. (Full article...)
  • Image 5 Dónde Están los Ladrones? (transl. Where Are the Thieves?, Spanish: [ˌd̪õn̪.d̪e esˌt̪ãn los laˈð̞ɾo.nes]) is the fourth studio album by Colombian singer-songwriter Shakira, released on 29 September 1998 by Sony Music Colombia. After attaining success in Latin America with her major-label debut, Pies Descalzos (1995), Shakira met producer Emilio Estefan, who identified her potential to break into the US Latin market and became her manager. As co-producer, Shakira enlisted previous collaborator Luis Fernando Ochoa along with Pablo Flores, Javier Garza, Lester Mendez, and Estefan, who served as executive producers. Dónde Están los Ladrones? incorporates Latin pop styles, with influences of rock en español and Middle Eastern music. Upon its release, Dónde Están los Ladrones? received positive reviews from music critics, who praised its sound and lyrics, with one reviewer comparing Shakira to Alanis Morissette. Commercially, the album was a success, selling over one million copies within its first month of release. Additionally, the album peaked at number 131 on the US Billboard 200, and topped the Top Latin and Latin Pop Albums charts. The album received numerous record certifications in various countries, including a platinum certification in the United States and a triple-platinum certification in Shakira's native Colombia. Dónde Están los Ladrones? won several accolades, and was nominated for Grammy Award for Best Latin Rock/Alternative Performance at the 41st Grammy Awards. In 2020, it was ranked number 496 on Rolling Stone's 500 Greatest Albums of All Time. (Full article...)
    Dónde Están los Ladrones? (transl. Where Are the Thieves?, Spanish: [ˌd̪õn̪.d̪e esˌt̪ãn los laˈð̞ɾo.nes]) is the fourth studio album by Colombian singer-songwriter Shakira, released on 29 September 1998 by Sony Music Colombia. After attaining success in Latin America with her major-label debut, Pies Descalzos (1995), Shakira met producer Emilio Estefan, who identified her potential to break into the US Latin market and became her manager. As co-producer, Shakira enlisted previous collaborator Luis Fernando Ochoa along with Pablo Flores, Javier Garza, Lester Mendez, and Estefan, who served as executive producers. Dónde Están los Ladrones? incorporates Latin pop styles, with influences of rock en español and Middle Eastern music.

    Upon its release, Dónde Están los Ladrones? received positive reviews from music critics, who praised its sound and lyrics, with one reviewer comparing Shakira to Alanis Morissette. Commercially, the album was a success, selling over one million copies within its first month of release. Additionally, the album peaked at number 131 on the US Billboard 200, and topped the Top Latin and Latin Pop Albums charts. The album received numerous record certifications in various countries, including a platinum certification in the United States and a triple-platinum certification in Shakira's native Colombia. Dónde Están los Ladrones? won several accolades, and was nominated for Grammy Award for Best Latin Rock/Alternative Performance at the 41st Grammy Awards. In 2020, it was ranked number 496 on Rolling Stone's 500 Greatest Albums of All Time. (Full article...)
  • Image 6 Ricky Martin is the first English album and fifth studio album by Puerto Rican singer Ricky Martin. It was released on May 11, 1999, by Columbia Records. Following the release of four Spanish-language albums, and the huge success of his fourth studio album, Vuelve (1998), Martin announced the recording of his first English language album. He worked with producers KC Porter, Robi Rosa, and Desmond Child to create the album. Musically, Ricky Martin consists of dance-pop tracks, power ballads, mid-tempo pop songs, and rock numbers. After the album's release, Martin embarked on the worldwide Livin' la Vida Loca Tour, which was the highest-grossing tour of 2000 by a Latin artist. The album was supported by four singles. The lead single "Livin' la Vida Loca" topped the charts in more than 20 countries and is considered to be Martin's biggest hit and one of the best-selling singles of all time. It topped the Billboard Hot 100 chart for five consecutive weeks, becoming Martin's first number one single on the chart. Follow-up singles "She's All I Ever Had", "Shake Your Bon-Bon", and "Private Emotion" became number one and top 10 hits around the world. Ricky Martin received generally favorable reviews from music critics, who complimented its various genres and styles. Paste ranked the album as one of the "10 Best Solo Albums by Former Boy Band Members" in 2020. It was nominated for Best Pop Album at the 42nd Annual Grammy Awards. (Full article...)
    Ricky Martin is the first English album and fifth studio album by Puerto Rican singer Ricky Martin. It was released on May 11, 1999, by Columbia Records. Following the release of four Spanish-language albums, and the huge success of his fourth studio album, Vuelve (1998), Martin announced the recording of his first English language album. He worked with producers KC Porter, Robi Rosa, and Desmond Child to create the album. Musically, Ricky Martin consists of dance-pop tracks, power ballads, mid-tempo pop songs, and rock numbers. After the album's release, Martin embarked on the worldwide Livin' la Vida Loca Tour, which was the highest-grossing tour of 2000 by a Latin artist.

    The album was supported by four singles. The lead single "Livin' la Vida Loca" topped the charts in more than 20 countries and is considered to be Martin's biggest hit and one of the best-selling singles of all time. It topped the Billboard Hot 100 chart for five consecutive weeks, becoming Martin's first number one single on the chart. Follow-up singles "She's All I Ever Had", "Shake Your Bon-Bon", and "Private Emotion" became number one and top 10 hits around the world. Ricky Martin received generally favorable reviews from music critics, who complimented its various genres and styles. Paste ranked the album as one of the "10 Best Solo Albums by Former Boy Band Members" in 2020. It was nominated for Best Pop Album at the 42nd Annual Grammy Awards. (Full article...)
  • Image 7 Bad Hair Day is the ninth studio album by the American parody musician "Weird Al" Yankovic, released on March 12, 1996. It was Yankovic's last studio album for the Scotti Brothers label before it was purchased by Volcano Entertainment in 1999. The album produced an array of hit comedy singles; lead single "Amish Paradise", which lampoons both Coolio's "Gangsta's Paradise" and the Amish lifestyle, charted at No. 53 on the Billboard Hot 100, while "Gump", which parodies "Lump" by the Presidents of the United States of America and the movie Forrest Gump, reached at No. 102. The musical styles on the album are built around parodies and pastiches of pop and rock music of the mid-1990s, largely targeting alternative rock and hip-hop alike. The album also includes style parodies, imitations of specific artists like They Might Be Giants and Elvis Costello. "Amish Paradise" caused a minor controversy after rapper Coolio expressed distaste at having his song parodied by Yankovic, although the two later made amends. (Full article...)
    Bad Hair Day is the ninth studio album by the American parody musician "Weird Al" Yankovic, released on March 12, 1996. It was Yankovic's last studio album for the Scotti Brothers label before it was purchased by Volcano Entertainment in 1999. The album produced an array of hit comedy singles; lead single "Amish Paradise", which lampoons both Coolio's "Gangsta's Paradise" and the Amish lifestyle, charted at No. 53 on the Billboard Hot 100, while "Gump", which parodies "Lump" by the Presidents of the United States of America and the movie Forrest Gump, reached at No. 102.

    The musical styles on the album are built around parodies and pastiches of pop and rock music of the mid-1990s, largely targeting alternative rock and hip-hop alike. The album also includes style parodies, imitations of specific artists like They Might Be Giants and Elvis Costello. "Amish Paradise" caused a minor controversy after rapper Coolio expressed distaste at having his song parodied by Yankovic, although the two later made amends. (Full article...)
  • Image 8 Hail to the Thief is the sixth studio album by the English rock band Radiohead. It was released on 9 June 2003 through Parlophone internationally and a day later through Capitol Records in the United States. It was the last album released under Radiohead's record contract with EMI, the parent company of Parlophone and Capitol. After transitioning to a more electronic style on their albums Kid A (2000) and Amnesiac (2001), which were recorded through protracted studio experimentation, Radiohead sought to work more spontaneously, combining electronic and rock music. They recorded most of Hail to the Thief in two weeks in Los Angeles with their longtime producer, Nigel Godrich, focusing on live takes rather than overdubs. (Full article...)
    Hail to the Thief is the sixth studio album by the English rock band Radiohead. It was released on 9 June 2003 through Parlophone internationally and a day later through Capitol Records in the United States. It was the last album released under Radiohead's record contract with EMI, the parent company of Parlophone and Capitol.

    After transitioning to a more electronic style on their albums Kid A (2000) and Amnesiac (2001), which were recorded through protracted studio experimentation, Radiohead sought to work more spontaneously, combining electronic and rock music. They recorded most of Hail to the Thief in two weeks in Los Angeles with their longtime producer, Nigel Godrich, focusing on live takes rather than overdubs. (Full article...)
  • Image 9 Goodies is the debut studio album by American singer Ciara. It was released on September 28, 2004, via Jazze Pha's Sho'nuff Records and LaFace Records. After writing songs for several established acts, Ciara's talents were noticed by Jazze Pha, and she began to work on what became Goodies. The album's conception came through the title track, produced by Lil Jon and created as a female crunk counterpart to other singles produced by Lil Jon such as Usher's "Yeah!" and Petey Pablo's "Freek-a-Leek". Ciara worked with additional writers and producers on the album, including Jazze Pha, Bangladesh, R. Kelly, Johntá Austin, Sean Garrett, and Keri Hilson, among others. With Goodies, Ciara was referred to as the "Princess" or "First Lady of Crunk&B". The album uses dance music while utilizing pop, R&B, and hip-hop influences. Critics gave the album positive to mixed reviews, commending the "Goodies"-esque songs, while deeming others as unoriginal and noting Ciara's limited vocal abilities. Most critics compared the work to late singer Aaliyah, and also said it had qualities of Destiny's Child. (Full article...)
    Goodies is the debut studio album by American singer Ciara. It was released on September 28, 2004, via Jazze Pha's Sho'nuff Records and LaFace Records. After writing songs for several established acts, Ciara's talents were noticed by Jazze Pha, and she began to work on what became Goodies. The album's conception came through the title track, produced by Lil Jon and created as a female crunk counterpart to other singles produced by Lil Jon such as Usher's "Yeah!" and Petey Pablo's "Freek-a-Leek". Ciara worked with additional writers and producers on the album, including Jazze Pha, Bangladesh, R. Kelly, Johntá Austin, Sean Garrett, and Keri Hilson, among others.

    With Goodies, Ciara was referred to as the "Princess" or "First Lady of Crunk&B". The album uses dance music while utilizing pop, R&B, and hip-hop influences. Critics gave the album positive to mixed reviews, commending the "Goodies"-esque songs, while deeming others as unoriginal and noting Ciara's limited vocal abilities. Most critics compared the work to late singer Aaliyah, and also said it had qualities of Destiny's Child. (Full article...)
  • Image 10 The Food Album is a compilation album by American singer-songwriter "Weird Al" Yankovic, released on June 22, 1993, by Scotti Brothers Records. The release features ten of Yankovic's song parodies, all of which pertain to food. A similar album, The TV Album, which features songs entirely about television, would be released two years later. The album was begrudgingly released by Yankovic, who felt that the compilation was unnecessary and merely a way for his record label to make money. Several food-related songs that Yankovic had recorded, such as "Girls Just Want to Have Lunch" and "Waffle King", were left off the record, although the former was due to personal preference, while the latter was due to scheduling issues. (Full article...)
    The Food Album is a compilation album by American singer-songwriter "Weird Al" Yankovic, released on June 22, 1993, by Scotti Brothers Records. The release features ten of Yankovic's song parodies, all of which pertain to food. A similar album, The TV Album, which features songs entirely about television, would be released two years later.

    The album was begrudgingly released by Yankovic, who felt that the compilation was unnecessary and merely a way for his record label to make money. Several food-related songs that Yankovic had recorded, such as "Girls Just Want to Have Lunch" and "Waffle King", were left off the record, although the former was due to personal preference, while the latter was due to scheduling issues. (Full article...)
  • Image 11 Here We Go Again is the second studio album by American singer Demi Lovato. It was released on July 21, 2009, through Hollywood Records. Unlike her previous album, Don't Forget (2008), Lovato did not collaborate with the Jonas Brothers, as she wanted to work with different people and give the album a personal approach. Lovato collaborated for the album with established songwriters and producers, such as E. Kidd Bogart, Gary Clark, Toby Gad, John Mayer, Jon McLaughlin, Lindy Robbins and John Fields. Here We Go Again derives mainly from the pop rock genre, mixed with influences of rock, power pop, soul and pop. Lovato described the album as more "relaxed" than her previous album, while exploring more mature sounds and lyrics. Critical reception of the album was positive; critics praised Lovato for not relying on vocal manipulations and instead showing off her natural ability. Although some critics called the album catchy, others felt that it was predictable and at times too much alike Kelly Clarkson. In the United States, the album debuted at number one on the Billboard 200 selling 108,000 copies during its first week of release, Lovato becoming the eighth solo artist to top the chart under the age of 18. Since its release, the album has sold over 500,000 copies in the country, and has been certified Gold by the Recording Industry Association of America (RIAA). Internationally, the album peaked inside the top 40 in Australia, Brazil, Canada, Greece, Mexico, New Zealand and Spain, and was certified platinum in Brazil. (Full article...)
    Here We Go Again is the second studio album by American singer Demi Lovato. It was released on July 21, 2009, through Hollywood Records. Unlike her previous album, Don't Forget (2008), Lovato did not collaborate with the Jonas Brothers, as she wanted to work with different people and give the album a personal approach. Lovato collaborated for the album with established songwriters and producers, such as E. Kidd Bogart, Gary Clark, Toby Gad, John Mayer, Jon McLaughlin, Lindy Robbins and John Fields.

    Here We Go Again derives mainly from the pop rock genre, mixed with influences of rock, power pop, soul and pop. Lovato described the album as more "relaxed" than her previous album, while exploring more mature sounds and lyrics. Critical reception of the album was positive; critics praised Lovato for not relying on vocal manipulations and instead showing off her natural ability. Although some critics called the album catchy, others felt that it was predictable and at times too much alike Kelly Clarkson. In the United States, the album debuted at number one on the Billboard 200 selling 108,000 copies during its first week of release, Lovato becoming the eighth solo artist to top the chart under the age of 18. Since its release, the album has sold over 500,000 copies in the country, and has been certified Gold by the Recording Industry Association of America (RIAA). Internationally, the album peaked inside the top 40 in Australia, Brazil, Canada, Greece, Mexico, New Zealand and Spain, and was certified platinum in Brazil. (Full article...)
  • Image 12 The Allman Brothers Band is the debut studio album by American rock band the Allman Brothers Band. Produced by Adrian Barber, it was released in the United States on November 4, 1969, by Atco Records subsidiary Capricorn. Formed in 1969, the Allman Brothers Band came together following various musical pursuits by each individual member. Guitarist and bandleader Duane Allman moved to Jacksonville, Florida where he led large jam sessions with his new band, one he had envisioned as having two guitarists and two drummers. After rounding out the lineup with the addition of his brother, Gregg Allman, the band moved to Macon, Georgia, where they were to be one of the premiere acts on Capricorn. The album was recorded and mixed in two weeks at Atlantic Studios in New York City. Much of its material was premiered live over the preceding months and combines blues, jazz and country music to varying degrees. It includes re-workings of "Trouble No More" and "Don't Want You No More," as well as notable originals such as "Dreams", which highlighted the band's jazz influence, and "Whipping Post", which became a crowd favorite. Although the group was arranged to work with producer Tom Dowd (whose credits included Cream and John Coltrane), he was unavailable, and they instead recorded with house engineer Adrian Barber. The album's artwork was photographed in Macon and surrounding areas. (Full article...)
    The Allman Brothers Band is the debut studio album by American rock band the Allman Brothers Band. Produced by Adrian Barber, it was released in the United States on November 4, 1969, by Atco Records subsidiary Capricorn. Formed in 1969, the Allman Brothers Band came together following various musical pursuits by each individual member. Guitarist and bandleader Duane Allman moved to Jacksonville, Florida where he led large jam sessions with his new band, one he had envisioned as having two guitarists and two drummers. After rounding out the lineup with the addition of his brother, Gregg Allman, the band moved to Macon, Georgia, where they were to be one of the premiere acts on Capricorn.

    The album was recorded and mixed in two weeks at Atlantic Studios in New York City. Much of its material was premiered live over the preceding months and combines blues, jazz and country music to varying degrees. It includes re-workings of "Trouble No More" and "Don't Want You No More," as well as notable originals such as "Dreams", which highlighted the band's jazz influence, and "Whipping Post", which became a crowd favorite. Although the group was arranged to work with producer Tom Dowd (whose credits included Cream and John Coltrane), he was unavailable, and they instead recorded with house engineer Adrian Barber. The album's artwork was photographed in Macon and surrounding areas. (Full article...)
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  • Image 1 Hot Country Songs is a chart that ranks the top-performing country music songs in the United States, published by Billboard magazine. In 1975, 43 different singles topped the chart, at the time published under the title Hot Country Singles, in 52 issues of the magazine. Chart placings were based on playlists submitted by country music radio stations and sales reports submitted by stores. Merle Haggard had the most number ones in 1975, taking four different singles to the top spot. The four singles spent a total of five weeks at number one, tying Haggard with Freddy Fender for the highest number of weeks spent atop the chart by a single artist in 1975. When Fender reached number one with "Before the Next Teardrop Falls" in the issue of Billboard dated March 15, he achieved the feat of topping the Hot Country chart with his first hit. The Tex-Mex-influenced song went on to be a crossover success, topping Billboard's all-genre singles chart, the Hot 100, in May. Five other singles released in 1975 reached number one on both charts: "(Hey Won't You Play) Another Somebody Done Somebody Wrong Song" by B.J. Thomas, "Rhinestone Cowboy" by Glen Campbell, both "Thank God I'm a Country Boy" and "I'm Sorry" by John Denver, and "Convoy" by C.W. McCall. "Rhinestone Cowboy" spent three non-consecutive weeks atop the country listing, the only song to spend more than two weeks in the top spot. (Full article...)

    Hot Country Songs is a chart that ranks the top-performing country music songs in the United States, published by Billboard magazine. In 1975, 43 different singles topped the chart, at the time published under the title Hot Country Singles, in 52 issues of the magazine. Chart placings were based on playlists submitted by country music radio stations and sales reports submitted by stores.

    Merle Haggard had the most number ones in 1975, taking four different singles to the top spot. The four singles spent a total of five weeks at number one, tying Haggard with Freddy Fender for the highest number of weeks spent atop the chart by a single artist in 1975. When Fender reached number one with "Before the Next Teardrop Falls" in the issue of Billboard dated March 15, he achieved the feat of topping the Hot Country chart with his first hit. The Tex-Mex-influenced song went on to be a crossover success, topping Billboard's all-genre singles chart, the Hot 100, in May. Five other singles released in 1975 reached number one on both charts: "(Hey Won't You Play) Another Somebody Done Somebody Wrong Song" by B.J. Thomas, "Rhinestone Cowboy" by Glen Campbell, both "Thank God I'm a Country Boy" and "I'm Sorry" by John Denver, and "Convoy" by C.W. McCall. "Rhinestone Cowboy" spent three non-consecutive weeks atop the country listing, the only song to spend more than two weeks in the top spot. (Full article...)
  • Image 2 Elmore James was an American blues slide guitarist and singer who recorded from 1951 until 1963. His most famous song, "Dust My Broom", an electrified adaptation of a Robert Johnson tune, was his first hit and features one of the most identifiable slide guitar figures in blues. James' composition "The Sky Is Crying" (which became a blues standard) and his rendition of Tampa Red's "It Hurts Me Too" were among his most successful singles on the record charts. Other popular James songs, such as "I Can't Hold Out", ""Madison Blues", "Shake Your Moneymaker", "Bleeding Heart", and "One Way Out", have been recorded by several other artists, including Fleetwood Mac, Jimi Hendrix, and the Allman Brothers Band. As with most blues artists in the 1950s and early 1960s, James' recordings were originally issued on two-song record singles. "Dust My Broom" was first issued by the small Trumpet Records label in 1951. Shortly thereafter, James began recording for several larger companies. From 1952 to 1956, he recorded for the Bihari brothers, who issued singles on their Meteor, Flair, and Modern labels. In 1957, he recorded for Mel London's Chief Records, and from 1959 to 1963, for Bobby Robinson's Fire Records. In 1953 and again in 1960, James also recorded some songs that appeared on Checker/Chess Records. He also played guitar on several recordings by other artists, including J. T. Brown, Big Joe Turner, Little Johnny Jones, and Junior Wells. (Full article...)
    Elmore James was an American blues slide guitarist and singer who recorded from 1951 until 1963. His most famous song, "Dust My Broom", an electrified adaptation of a Robert Johnson tune, was his first hit and features one of the most identifiable slide guitar figures in blues. James' composition "The Sky Is Crying" (which became a blues standard) and his rendition of Tampa Red's "It Hurts Me Too" were among his most successful singles on the record charts. Other popular James songs, such as "I Can't Hold Out", ""Madison Blues", "Shake Your Moneymaker", "Bleeding Heart", and "One Way Out", have been recorded by several other artists, including Fleetwood Mac, Jimi Hendrix, and the Allman Brothers Band.

    As with most blues artists in the 1950s and early 1960s, James' recordings were originally issued on two-song record singles. "Dust My Broom" was first issued by the small Trumpet Records label in 1951. Shortly thereafter, James began recording for several larger companies. From 1952 to 1956, he recorded for the Bihari brothers, who issued singles on their Meteor, Flair, and Modern labels. In 1957, he recorded for Mel London's Chief Records, and from 1959 to 1963, for Bobby Robinson's Fire Records. In 1953 and again in 1960, James also recorded some songs that appeared on Checker/Chess Records. He also played guitar on several recordings by other artists, including J. T. Brown, Big Joe Turner, Little Johnny Jones, and Junior Wells. (Full article...)
  • Image 3 From January 2007 to May 2007, the number-one singles in Canada were compiled by the American-based music sales tracking company, Nielsen SoundScan. The chart was compiled every Wednesday, and was published by Jam! Canoe on Thursdays. On March 31, 2007, Billboard magazine created the Canadian Hot 100, a chart specifically designed for Canada and the first Hot 100 chart that Billboard created for a country outside the United States. The chart was made available for the first time via Billboard online services on June 7, 2007, and it served as the successor to the Canadian Digital Song Sales Chart. (Full article...)
    From January 2007 to May 2007, the number-one singles in Canada were compiled by the American-based music sales tracking company, Nielsen SoundScan. The chart was compiled every Wednesday, and was published by Jam! Canoe on Thursdays. On March 31, 2007, Billboard magazine created the Canadian Hot 100, a chart specifically designed for Canada and the first Hot 100 chart that Billboard created for a country outside the United States. The chart was made available for the first time via Billboard online services on June 7, 2007, and it served as the successor to the Canadian Digital Song Sales Chart. (Full article...)
  • Image 4 Keith Urban had his first number one in 2001. Hot Country Songs is a chart that ranks the top-performing country music songs in the United States, published by Billboard magazine. In 2001, 22 different songs topped the chart, then published under the title Hot Country Singles & Tracks, in 52 issues of the magazine, based on weekly airplay data from country music radio stations compiled by Nielsen Broadcast Data Systems. Singer Tim McGraw's song "My Next Thirty Years" was at number one at the start of the year, having been at the top since the issue dated December 16, 2000, and remained at number one until the issue dated January 20, when it was replaced by "Born to Fly" by Sara Evans. McGraw also topped the chart with "Grown Men Don't Cry" in June and "Angry All the Time" in November. Toby Keith also achieved three number ones in 2001, "You Shouldn't Kiss Me Like This" in March, "I'm Just Talkin' About Tonight" in September and "I Wanna Talk About Me" in November–December, and had the most weeks at number one of any act during the year, with nine. Four acts each topped the charts with two songs, groups Lonestar and Brooks & Dunn and solo artists Jamie O'Neal and Alan Jackson, the latter of whom ended the year at the top of the chart with "Where Were You (When the World Stopped Turning)". Jackson's song, written in response to the September 11 attacks and premiered at the 2001 Country Music Association Awards, reached the top spot after just six weeks on the chart, the fastest such rise for four years. It would remain at number one until the chart dated February 2 of the following year. The longest run at number one during 2001 was six weeks, achieved by two songs, "Ain't Nothing 'bout You" by Brooks & Dunn and "I'm Already There" by Lonestar. "Ain't Nothing 'bout You" was ranked number one on Billboard's year-end chart of the most popular country songs, and is the longest-running of the duo's twenty number ones. (Full article...)
    A fman with long blond hair playing a bass guitar
    Keith Urban had his first number one in 2001.

    Hot Country Songs is a chart that ranks the top-performing country music songs in the United States, published by Billboard magazine. In 2001, 22 different songs topped the chart, then published under the title Hot Country Singles & Tracks, in 52 issues of the magazine, based on weekly airplay data from country music radio stations compiled by Nielsen Broadcast Data Systems.

    Singer Tim McGraw's song "My Next Thirty Years" was at number one at the start of the year, having been at the top since the issue dated December 16, 2000, and remained at number one until the issue dated January 20, when it was replaced by "Born to Fly" by Sara Evans. McGraw also topped the chart with "Grown Men Don't Cry" in June and "Angry All the Time" in November. Toby Keith also achieved three number ones in 2001, "You Shouldn't Kiss Me Like This" in March, "I'm Just Talkin' About Tonight" in September and "I Wanna Talk About Me" in November–December, and had the most weeks at number one of any act during the year, with nine. Four acts each topped the charts with two songs, groups Lonestar and Brooks & Dunn and solo artists Jamie O'Neal and Alan Jackson, the latter of whom ended the year at the top of the chart with "Where Were You (When the World Stopped Turning)". Jackson's song, written in response to the September 11 attacks and premiered at the 2001 Country Music Association Awards, reached the top spot after just six weeks on the chart, the fastest such rise for four years. It would remain at number one until the chart dated February 2 of the following year. The longest run at number one during 2001 was six weeks, achieved by two songs, "Ain't Nothing 'bout You" by Brooks & Dunn and "I'm Already There" by Lonestar. "Ain't Nothing 'bout You" was ranked number one on Billboard's year-end chart of the most popular country songs, and is the longest-running of the duo's twenty number ones. (Full article...)
  • Image 5 The Grammy Award for Best Urban/Alternative Performance was an honor presented at the Grammy Awards, a ceremony that was established in 1958 and originally called the Gramophone Awards, to recording artists for quality urban/alternative performances. Awards in several categories are distributed 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." The award was first awarded to India.Arie at the 45th Grammy Awards (2003) for her song "Little Things". According to the category description guide for the 52nd Grammy Awards, the award was presented to artists that had made "newly recorded urban/alternative performances with vocals". The award was intended to recognize artists "who have been influenced by a cross-section of urban music" and who create music that is out of the "mainstream trends". (Full article...)
    The Grammy Award for Best Urban/Alternative Performance was an honor presented at the Grammy Awards, a ceremony that was established in 1958 and originally called the Gramophone Awards, to recording artists for quality urban/alternative performances. Awards in several categories are distributed 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."

    The award was first awarded to India.Arie at the 45th Grammy Awards (2003) for her song "Little Things". According to the category description guide for the 52nd Grammy Awards, the award was presented to artists that had made "newly recorded urban/alternative performances with vocals". The award was intended to recognize artists "who have been influenced by a cross-section of urban music" and who create music that is out of the "mainstream trends". (Full article...)
  • Image 6 The Latin Grammy Hall of Fame is a hall of fame established by the Latin Recording Academy to recognize "early recordings of lasting qualitative or historical significance that were released more than 25 years ago". LARAS is also the same organization that distributes the Latin Grammy Awards. The albums and songs are picked by a panel of recording-arts professionals, such as musicologists and historians, and selected from all major categories of Latin music. The first inductions were made in 2001 to honor 17 recordings. These included Santana's cover of Tito Puente's "Oye Como Va", Javier Solís's rendition of "Sabor a Mí" and the 1948 performance of Joaquín Rodrigo's Concierto de Aranjuez by Regino Sainz de la Maza and the Orquesta Nacional de España. The inductions have each occurred six years apart from one another. (Full article...)
    The Latin Grammy Hall of Fame is a hall of fame established by the Latin Recording Academy to recognize "early recordings of lasting qualitative or historical significance that were released more than 25 years ago". LARAS is also the same organization that distributes the Latin Grammy Awards. The albums and songs are picked by a panel of recording-arts professionals, such as musicologists and historians, and selected from all major categories of Latin music.

    The first inductions were made in 2001 to honor 17 recordings. These included Santana's cover of Tito Puente's "Oye Como Va", Javier Solís's rendition of "Sabor a Mí" and the 1948 performance of Joaquín Rodrigo's Concierto de Aranjuez by Regino Sainz de la Maza and the Orquesta Nacional de España. The inductions have each occurred six years apart from one another. (Full article...)
  • Image 7 Pee Wee King ended the year at number one on all three charts. In 1951 Billboard magazine published three charts covering the best-performing country music songs in the United States: Most-Played Juke Box (Country & Western) Records, Best-Selling Retail Folk (Country & Western) Records and Country & Western Records Most Played By Folk Disk Jockeys. The juke box chart was compiled based on a "weekly survey among a selected group of jukebox operators whose locations require country and western records", the best sellers chart based on a "survey among a selected group of retail stores, the majority of whose customers purchase country and western records", and the jockeys chart based on a "weekly survey among a select list of over 400 disk jockeys specializing in country and western tunes". The juke box chart would be discontinued in 1957 and the other two charts merged in 1958 to form a multimetric chart, which has been published weekly since that date and since 2005 has been entitled Hot Country Songs. In the first issue of Billboard of 1951, each chart had a different number one, although two were by the same artist. Lefty Frizzell was atop both the juke box and jockeys charts, with "If You've Got the Money I've Got the Time" and "I Love You a Thousand Ways" respectively, while the best sellers chart was headed by Hank Snow with "The Golden Rocket". During the year, each of the three charts had a song spend more than ten consecutive weeks at number one: Frizzell had an unbroken run of eleven weeks in the top spot of the best sellers chart with "Always Late (with Your Kisses)" and had a similar run at number one on the jockeys chart with "I Want to Be with You Always". The longest run at number one on any of the charts, however, was the fourteen consecutive weeks which Tennessee Ernie spent atop the juke box chart with "Shotgun Boogie". Frizzell reached number one for the first time in late 1950 and achieved five chart-toppers within 18 months, but soon afterwards his chart performance began to decline, his career suffering in part due to issues in his personal life. He was the only artist with four number-one country songs in 1951; Snow and Eddy Arnold each had three. Hank Williams had two number ones on the jockeys chart, but none on either of the other two charts. (Full article...)
    A smiling man wearing a cowboy hat
    Pee Wee King ended the year at number one on all three charts.

    In 1951 Billboard magazine published three charts covering the best-performing country music songs in the United States: Most-Played Juke Box (Country & Western) Records, Best-Selling Retail Folk (Country & Western) Records and Country & Western Records Most Played By Folk Disk Jockeys. The juke box chart was compiled based on a "weekly survey among a selected group of jukebox operators whose locations require country and western records", the best sellers chart based on a "survey among a selected group of retail stores, the majority of whose customers purchase country and western records", and the jockeys chart based on a "weekly survey among a select list of over 400 disk jockeys specializing in country and western tunes". The juke box chart would be discontinued in 1957 and the other two charts merged in 1958 to form a multimetric chart, which has been published weekly since that date and since 2005 has been entitled Hot Country Songs.

    In the first issue of Billboard of 1951, each chart had a different number one, although two were by the same artist. Lefty Frizzell was atop both the juke box and jockeys charts, with "If You've Got the Money I've Got the Time" and "I Love You a Thousand Ways" respectively, while the best sellers chart was headed by Hank Snow with "The Golden Rocket". During the year, each of the three charts had a song spend more than ten consecutive weeks at number one: Frizzell had an unbroken run of eleven weeks in the top spot of the best sellers chart with "Always Late (with Your Kisses)" and had a similar run at number one on the jockeys chart with "I Want to Be with You Always". The longest run at number one on any of the charts, however, was the fourteen consecutive weeks which Tennessee Ernie spent atop the juke box chart with "Shotgun Boogie". Frizzell reached number one for the first time in late 1950 and achieved five chart-toppers within 18 months, but soon afterwards his chart performance began to decline, his career suffering in part due to issues in his personal life. He was the only artist with four number-one country songs in 1951; Snow and Eddy Arnold each had three. Hank Williams had two number ones on the jockeys chart, but none on either of the other two charts. (Full article...)
  • Image 8 Donovan never had a number-one single or number-one album in his native UK; however, his Universal Soldier EP spent eight weeks at the top of the EP chart. In the 1950s and 1960s "a third vinyl format" was introduced alongside long-playing (LP) albums, and singles. The extended play (EP) used the same formats as singles but contained more tracks. Singles were the popular record format at the time – predominantly 10-inch 78 rpm and 7-inch 45 rpm formats – and the first singles chart was published by New Musical Express in 1952 with many other publications also producing singles charts in the 1950s and 1960s. Record Mirror published the first album chart in 1956, and when Record Retailer began compiling an LP chart on 12 March 1960, they also compiled an EP chart. The EP chart consisted of a top ten and was expanded to fifteen positions the following week, and twenty the week after that. EPs "died out in the late 1960s" and Record Retailer reduced the chart to ten positions on 16 April 1966, publishing the final EP chart on 16 December 1967. For six weeks in 1966 and two weeks in December 1967, Record Retailer did not publish EP charts but they were compiled and Record Mirror published them; Record Mirror had begun publishing charts compiled by Record Retailer in March 1962, following a decision to stop compiling their own albums and singles charts. The longest consecutive duration at the top of the chart was 23 weeks for The Shadows' EP The Shadows to the Fore. The most weeks at number one was achieved by The Beach Boys' EP Hits which spent 34 weeks there from June 1966 and was the incumbent number one when the chart ceased at the end of 1967. The Beatles had eight different EPs top the chart as did The Shadows (four with Cliff Richard and four on their own). The Shadows spent 69 weeks with an EP on top of the chart in comparison to The Beatles' 63 weeks. Conversely, only four acts spent a total of one week atop the chart; Joan Baez, Jim Reeves, George Mitchell Minstrels and Bobby Vee (with The Crickets). Although official music recording sales certifications were not introduced until the British Phonographic Industry was formed in 1973, Disc introduced an initiative in 1959 to present a silver disc to records selling over 250,000 units. Seven EPs are recorded as going silver: The Beatles' number-one EPs Twist and Shout, The Beatles' Hits, All My Loving, Long Tall Sally as well as The Beatles (No. 1) and Magical Mystery Tour (which did not reach number one but would have done so had the EP chart lasted only a few more weeks) and The Rolling Stones' number-one EP Five by Five. (Full article...)
    Donovan never had a number-one single or number-one album in his native UK; however, his Universal Soldier EP spent eight weeks at the top of the EP chart.


    In the 1950s and 1960s "a third vinyl format" was introduced alongside long-playing (LP) albums, and singles. The extended play (EP) used the same formats as singles but contained more tracks. Singles were the popular record format at the time – predominantly 10-inch 78 rpm and 7-inch 45 rpm formats – and the first singles chart was published by New Musical Express in 1952 with many other publications also producing singles charts in the 1950s and 1960s. Record Mirror published the first album chart in 1956, and when Record Retailer began compiling an LP chart on 12 March 1960, they also compiled an EP chart. The EP chart consisted of a top ten and was expanded to fifteen positions the following week, and twenty the week after that. EPs "died out in the late 1960s" and Record Retailer reduced the chart to ten positions on 16 April 1966, publishing the final EP chart on 16 December 1967. For six weeks in 1966 and two weeks in December 1967, Record Retailer did not publish EP charts but they were compiled and Record Mirror published them; Record Mirror had begun publishing charts compiled by Record Retailer in March 1962, following a decision to stop compiling their own albums and singles charts.

    The longest consecutive duration at the top of the chart was 23 weeks for The Shadows' EP The Shadows to the Fore. The most weeks at number one was achieved by The Beach Boys' EP Hits which spent 34 weeks there from June 1966 and was the incumbent number one when the chart ceased at the end of 1967. The Beatles had eight different EPs top the chart as did The Shadows (four with Cliff Richard and four on their own). The Shadows spent 69 weeks with an EP on top of the chart in comparison to The Beatles' 63 weeks. Conversely, only four acts spent a total of one week atop the chart; Joan Baez, Jim Reeves, George Mitchell Minstrels and Bobby Vee (with The Crickets). Although official music recording sales certifications were not introduced until the British Phonographic Industry was formed in 1973, Disc introduced an initiative in 1959 to present a silver disc to records selling over 250,000 units. Seven EPs are recorded as going silver: The Beatles' number-one EPs Twist and Shout, The Beatles' Hits, All My Loving, Long Tall Sally as well as The Beatles (No. 1) and Magical Mystery Tour (which did not reach number one but would have done so had the EP chart lasted only a few more weeks) and The Rolling Stones' number-one EP Five by Five. (Full article...)
  • Image 9 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 10 Florida Georgia Line's song "Cruise" spent a record-breaking 24 weeks at number one on the Hot Country Songs chart. 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. At the start of the year, the number one song on the Hot Country Songs listing was "Cruise" by the duo Florida Georgia Line. After falling from the top spot at the end of January, the song rebounded to the top in April, beginning a run of 19 consecutive weeks at number one. Its final total was 24 weeks at the top of the chart, breaking the record which had stood since the 1940s for the most cumulative weeks spent atop one of Billboard's country song charts. This revival of the song's fortunes was due to the late spring release of a remix featuring rapper Nelly, which proved extremely popular on pop music radio. Thanks to the incorporation into the chart's methodology of airplay data from all radio formats, this support from top 40 radio allowed "Cruise" to hold the top spot throughout the summer. The remix did not prove as popular on country radio, however, and by the late summer, the song was in the unusual position of topping the Hot Country Songs chart but receiving so few plays on country stations that it did not appear in the 60-position airplay listing at all. (Full article...)
    The musical duo Florida Georgia Line
    Florida Georgia Line's song "Cruise" spent a record-breaking 24 weeks at number one on the Hot Country Songs chart.

    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.

    At the start of the year, the number one song on the Hot Country Songs listing was "Cruise" by the duo Florida Georgia Line. After falling from the top spot at the end of January, the song rebounded to the top in April, beginning a run of 19 consecutive weeks at number one. Its final total was 24 weeks at the top of the chart, breaking the record which had stood since the 1940s for the most cumulative weeks spent atop one of Billboard's country song charts. This revival of the song's fortunes was due to the late spring release of a remix featuring rapper Nelly, which proved extremely popular on pop music radio. Thanks to the incorporation into the chart's methodology of airplay data from all radio formats, this support from top 40 radio allowed "Cruise" to hold the top spot throughout the summer. The remix did not prove as popular on country radio, however, and by the late summer, the song was in the unusual position of topping the Hot Country Songs chart but receiving so few plays on country stations that it did not appear in the 60-position airplay listing at all. (Full article...)
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