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<u>'''General'''</u><br>
<u>'''General'''</u><br>
[[Album era]]{{•}} [[Album-equivalent unit]]{{•}} [[Audio engineering]]{{•}} [[Independent record label]]{{•}} [[Record producer]]{{•}} [[Music library]]{{•}} [[Lists of albums]]{{•}} [[List of most valuable records]]
[[Album era]]{{•}} [[Album-equivalent unit]]{{•}} [[Audio engineering]]{{•}} [[Independent record label]]{{•}} [[Record chart]]{{•}} [[Record producer]]{{•}} [[Music library]]{{•}} [[Lists of albums]]{{•}} [[List of most valuable records]]
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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)

  

Featured articles - load new batch

Featured articles are displayed here, which represent some of the best content on English Wikipedia.
  • Image 1 Achtung Baby (/ˈɑːxtʊŋ/ AKH-toong) is the seventh studio album by Irish rock band U2. It was produced by Daniel Lanois and Brian Eno, and was released on 18 November 1991 on Island Records. After criticism of their 1988 release Rattle and Hum, U2 shifted their direction to incorporate influences from alternative rock, industrial music, and electronic dance music into their sound. Thematically, Achtung Baby is darker, more introspective, and at times more flippant than their previous work. The album and the subsequent multimedia-intensive Zoo TV Tour were central to the group's 1990s reinvention, by which they abandoned their earnest public image for a more lighthearted and self-deprecating one. Seeking inspiration from German reunification, U2 began recording Achtung Baby at Berlin's Hansa Studios in October 1990. The sessions were fraught with conflict, as the band argued over their musical direction and the quality of their material. After tension and slow progress nearly prompted the group to disband, they made a breakthrough with the improvised writing of the song "One". Morale and productivity improved during subsequent recording sessions in Dublin, where the album was completed in 1991. To confound the public's expectations of the band and their music, U2 chose the record's facetious title and colourful multi-image sleeve. (Full article...)
    Achtung Baby (/ˈɑːxtʊŋ/ AKH-toong) is the seventh studio album by Irish rock band U2. It was produced by Daniel Lanois and Brian Eno, and was released on 18 November 1991 on Island Records. After criticism of their 1988 release Rattle and Hum, U2 shifted their direction to incorporate influences from alternative rock, industrial music, and electronic dance music into their sound. Thematically, Achtung Baby is darker, more introspective, and at times more flippant than their previous work. The album and the subsequent multimedia-intensive Zoo TV Tour were central to the group's 1990s reinvention, by which they abandoned their earnest public image for a more lighthearted and self-deprecating one.

    Seeking inspiration from German reunification, U2 began recording Achtung Baby at Berlin's Hansa Studios in October 1990. The sessions were fraught with conflict, as the band argued over their musical direction and the quality of their material. After tension and slow progress nearly prompted the group to disband, they made a breakthrough with the improvised writing of the song "One". Morale and productivity improved during subsequent recording sessions in Dublin, where the album was completed in 1991. To confound the public's expectations of the band and their music, U2 chose the record's facetious title and colourful multi-image sleeve. (Full article...)
  • Image 2 Homework is the debut studio album by the French electronic music duo Daft Punk, released on 20 January 1997 by Virgin Records and Soma Quality Recordings. It was released in the US on 25 March 1997. Daft Punk received attention from major labels after releasing several popular singles on Soma Quality Recordings, and signed to Virgin in 1996. Daft Punk initially planned to release the music as separate singles, but decided they had enough material for an album. According to the Daft Punk member Thomas Bangalter, the album title was a reference to the fact that it was recorded cheaply and quickly in their homes. (Full article...)
    Homework is the debut studio album by the French electronic music duo Daft Punk, released on 20 January 1997 by Virgin Records and Soma Quality Recordings. It was released in the US on 25 March 1997.

    Daft Punk received attention from major labels after releasing several popular singles on Soma Quality Recordings, and signed to Virgin in 1996. Daft Punk initially planned to release the music as separate singles, but decided they had enough material for an album. According to the Daft Punk member Thomas Bangalter, the album title was a reference to the fact that it was recorded cheaply and quickly in their homes. (Full article...)
  • Image 3 Powderfinger performing "These Days" on the Across the Great Divide tour, September 2007, Sydney. Left to right: Lachlan Doley (auxiliary musician), Jon Coghill, Darren Middleton, Bernard Fanning, John Collins (obscured), Ian Haug. Powderfinger were an Australian rock band formed in Brisbane in 1989. From 1992 until their break-up in 2010, the line-up consisted of vocalist Bernard Fanning, guitarists Darren Middleton and Ian Haug, bass guitarist John Collins and drummer Jon Coghill. The group's third studio album Internationalist peaked at No. 1 on the ARIA Albums Chart in September 1998. They followed with four more number-one studio albums in a row: Odyssey Number Five (September 2000), Vulture Street (July 2003), Dream Days at the Hotel Existence (June 2007) and Golden Rule (November 2009). Their top-ten hit singles are "My Happiness" (2000), "(Baby I've Got You) On My Mind" (2003) and "Lost and Running" (2007). Powderfinger earned a total of eighteen ARIA Awards, making them the second-most-awarded band, behind Silverchair. Ten Powderfinger albums and DVDs certified multiple-platinum, with Odyssey Number Five—their most successful album—achieving eightfold platinum certification for shipment of over 560,000 units. After the release of their first DVD, These Days: Live in Concert (September 2004), and the compilation album Fingerprints: The Best of Powderfinger, 1994–2000 (November 2004), the group announced a hiatus in 2005. The June 2007 announcement of a two-month-long nationwide tour with Silverchair, Across the Great Divide tour, followed the release of Dream Days at the Hotel Existence. Powderfinger were also involved in various philanthropic causes. In 2005, they performed at a WaveAid concert in Sydney, to help raise funds for areas affected by the 2004 Indian Ocean earthquake. Another performance at the Sydney Opera House in October 2007 raised funds for breast cancer victims and their families. One aim of their Across the Great Divide Tour was to promote the efforts of Reconciliation Australia, and awareness of the gap in life expectancy between Indigenous and non-Indigenous children. In April 2010, Powderfinger announced that they would be breaking up after their Sunsets Farewell Tour, declaring it would be their last, as they had musically said everything they wanted to say. On 13 November 2010, they played their last concert, signifying their disbandment. In November the following year, rock music journalist Dino Scatena and Powderfinger published a biography, Footprints: the inside story of Australia's best loved band. (Full article...)

    Powderfinger performing "These Days" on the Across the Great Divide tour, September 2007, Sydney.

    Left to right: Lachlan Doley (auxiliary musician), Jon Coghill, Darren Middleton, Bernard Fanning, John Collins (obscured), Ian Haug.

    Powderfinger were an Australian rock band formed in Brisbane in 1989. From 1992 until their break-up in 2010, the line-up consisted of vocalist Bernard Fanning, guitarists Darren Middleton and Ian Haug, bass guitarist John Collins and drummer Jon Coghill. The group's third studio album Internationalist peaked at No. 1 on the ARIA Albums Chart in September 1998. They followed with four more number-one studio albums in a row: Odyssey Number Five (September 2000), Vulture Street (July 2003), Dream Days at the Hotel Existence (June 2007) and Golden Rule (November 2009). Their top-ten hit singles are "My Happiness" (2000), "(Baby I've Got You) On My Mind" (2003) and "Lost and Running" (2007). Powderfinger earned a total of eighteen ARIA Awards, making them the second-most-awarded band, behind Silverchair. Ten Powderfinger albums and DVDs certified multiple-platinum, with Odyssey Number Five—their most successful album—achieving eightfold platinum certification for shipment of over 560,000 units.

    After the release of their first DVD, These Days: Live in Concert (September 2004), and the compilation album Fingerprints: The Best of Powderfinger, 1994–2000 (November 2004), the group announced a hiatus in 2005. The June 2007 announcement of a two-month-long nationwide tour with Silverchair, Across the Great Divide tour, followed the release of Dream Days at the Hotel Existence. Powderfinger were also involved in various philanthropic causes. In 2005, they performed at a WaveAid concert in Sydney, to help raise funds for areas affected by the 2004 Indian Ocean earthquake. Another performance at the Sydney Opera House in October 2007 raised funds for breast cancer victims and their families. One aim of their Across the Great Divide Tour was to promote the efforts of Reconciliation Australia, and awareness of the gap in life expectancy between Indigenous and non-Indigenous children. In April 2010, Powderfinger announced that they would be breaking up after their Sunsets Farewell Tour, declaring it would be their last, as they had musically said everything they wanted to say. On 13 November 2010, they played their last concert, signifying their disbandment. In November the following year, rock music journalist Dino Scatena and Powderfinger published a biography, Footprints: the inside story of Australia's best loved band. (Full article...)
  • Image 4 Walter Bache Walter Bache (/ˈbeɪtʃ/; 19 June 1842 – 26 March 1888) was an English pianist and conductor noted for his championing the music of Franz Liszt and other music of the New German School in England. He studied privately with Liszt in Italy from 1863 to 1865, one of the few students allowed to do so, and continued to attend Liszt's master classes in Weimar, Germany regularly until 1885, even after embarking on a solo career. This period of study was unparalleled by any other student of Liszt and led to a particularly close bond between Bache and Liszt. After initial hesitation on the part of English music critics because he was a Liszt pupil, Bache was publicly embraced for his keyboard prowess, even as parts of his repertoire were questioned. Bache's major accomplishment was the establishment of Liszt's music in England, to which he selflessly devoted himself between 1865 and his death in 1888. This was at the height of the War of the Romantics, when conservative and liberal musical factions openly argued about the future of classical music and the merits of the compositions written in their respective schools. Bache featured several of the orchestral and choral works through an annual series of concerts, which he single-handedly funded, organised and promoted. Likewise, he played an annual series of solo recitals that incorporated Liszt's piano music. (Full article...)
    A man in his forties, balding and with a mustache, wearing a dark suit and a tie
    Walter Bache

    Walter Bache (/ˈbeɪtʃ/; 19 June 1842 – 26 March 1888) was an English pianist and conductor noted for his championing the music of Franz Liszt and other music of the New German School in England. He studied privately with Liszt in Italy from 1863 to 1865, one of the few students allowed to do so, and continued to attend Liszt's master classes in Weimar, Germany regularly until 1885, even after embarking on a solo career. This period of study was unparalleled by any other student of Liszt and led to a particularly close bond between Bache and Liszt. After initial hesitation on the part of English music critics because he was a Liszt pupil, Bache was publicly embraced for his keyboard prowess, even as parts of his repertoire were questioned.

    Bache's major accomplishment was the establishment of Liszt's music in England, to which he selflessly devoted himself between 1865 and his death in 1888. This was at the height of the War of the Romantics, when conservative and liberal musical factions openly argued about the future of classical music and the merits of the compositions written in their respective schools. Bache featured several of the orchestral and choral works through an annual series of concerts, which he single-handedly funded, organised and promoted. Likewise, he played an annual series of solo recitals that incorporated Liszt's piano music. (Full article...)
  • Image 5 The London Coliseum, home of The English National Opera English National Opera (ENO) is a British opera company based in London, resident at the London Coliseum in St Martin's Lane. It is one of the two principal opera companies in London, along with The Royal Opera. ENO's productions are sung in English. The company's origins were in the late 19th century, when the philanthropist Emma Cons, later assisted by her niece Lilian Baylis, presented theatrical and operatic performances at the Old Vic, for the benefit of local people. Baylis subsequently built up both the opera and the theatre companies, and later added a ballet company; these evolved into the ENO, the Royal National Theatre and The Royal Ballet, respectively. (Full article...)
    Exterior of large theatre
    The London Coliseum, home of The English National Opera

    English National Opera (ENO) is a British opera company based in London, resident at the London Coliseum in St Martin's Lane. It is one of the two principal opera companies in London, along with The Royal Opera. ENO's productions are sung in English.

    The company's origins were in the late 19th century, when the philanthropist Emma Cons, later assisted by her niece Lilian Baylis, presented theatrical and operatic performances at the Old Vic, for the benefit of local people. Baylis subsequently built up both the opera and the theatre companies, and later added a ballet company; these evolved into the ENO, the Royal National Theatre and The Royal Ballet, respectively. (Full article...)
  • Image 6 Barbirolli in 1960 Sir John Barbirolli CH (né Giovanni Battista Barbirolli; 2 December 1899 – 29 July 1970) was a British conductor and cellist. He is remembered above all as conductor of the Hallé Orchestra in Manchester, which he helped save from dissolution in 1943 and conducted for the rest of his life. Earlier in his career he was Arturo Toscanini's successor as music director of the New York Philharmonic, serving from 1936 to 1943. He was also chief conductor of the Houston Symphony from 1961 to 1967, and was a guest conductor of many other orchestras, including the BBC Symphony Orchestra, London Symphony Orchestra, the Philharmonia, the Berlin Philharmonic and the Vienna Philharmonic, with all of which he made recordings. Born in London of Italian and French parentage, Barbirolli grew up in a family of professional musicians. After starting out as a cellist, he was given the chance to conduct, from 1926 with the British National Opera Company, and then with Covent Garden's touring company. On taking up the conductorship of the Hallé he had less opportunity to work in the opera house, but in the 1950s he conducted productions of works by Verdi, Wagner, Gluck, and Puccini at Covent Garden with such success that he was invited to become the company's permanent musical director, an invitation he declined. Late in his career he made several recordings of operas, of which his 1967 set of Puccini's Madama Butterfly for EMI is probably the best known. (Full article...)
    slender white man of mature years in formal costume; he is clean shaven and has a full head of greying hair and carries a walking stick
    Barbirolli in 1960


    Sir John Barbirolli CH (né Giovanni Battista Barbirolli; 2 December 1899 – 29 July 1970) was a British conductor and cellist. He is remembered above all as conductor of the Hallé Orchestra in Manchester, which he helped save from dissolution in 1943 and conducted for the rest of his life. Earlier in his career he was Arturo Toscanini's successor as music director of the New York Philharmonic, serving from 1936 to 1943. He was also chief conductor of the Houston Symphony from 1961 to 1967, and was a guest conductor of many other orchestras, including the BBC Symphony Orchestra, London Symphony Orchestra, the Philharmonia, the Berlin Philharmonic and the Vienna Philharmonic, with all of which he made recordings.

    Born in London of Italian and French parentage, Barbirolli grew up in a family of professional musicians. After starting out as a cellist, he was given the chance to conduct, from 1926 with the British National Opera Company, and then with Covent Garden's touring company. On taking up the conductorship of the Hallé he had less opportunity to work in the opera house, but in the 1950s he conducted productions of works by Verdi, Wagner, Gluck, and Puccini at Covent Garden with such success that he was invited to become the company's permanent musical director, an invitation he declined. Late in his career he made several recordings of operas, of which his 1967 set of Puccini's Madama Butterfly for EMI is probably the best known. (Full article...)
  • Image 7 Remain in Light is the fourth studio album by the American rock band Talking Heads, released on October 8, 1980, by Sire Records. The band's third and final album to be produced by Brian Eno, Remain in Light was recorded at Compass Point Studios in the Bahamas and Sigma Sound Studios in New York in July and August 1980. After the release of Fear of Music in 1979, Talking Heads and Eno sought to dispel notions of the band as a mere vehicle for frontman and songwriter David Byrne. Drawing influence from Nigerian Afrobeat musician Fela Kuti, they blended African polyrhythms and funk with electronics, recording instrumental tracks as a series of looping grooves. Session musicians included the guitarist Adrian Belew, the singer Nona Hendryx, and the trumpeter Jon Hassell. (Full article...)
    Remain in Light is the fourth studio album by the American rock band Talking Heads, released on October 8, 1980, by Sire Records. The band's third and final album to be produced by Brian Eno, Remain in Light was recorded at Compass Point Studios in the Bahamas and Sigma Sound Studios in New York in July and August 1980.

    After the release of Fear of Music in 1979, Talking Heads and Eno sought to dispel notions of the band as a mere vehicle for frontman and songwriter David Byrne. Drawing influence from Nigerian Afrobeat musician Fela Kuti, they blended African polyrhythms and funk with electronics, recording instrumental tracks as a series of looping grooves. Session musicians included the guitarist Adrian Belew, the singer Nona Hendryx, and the trumpeter Jon Hassell. (Full article...)
  • Image 8 Stereolab performing at the London Pitchfork Festival in 2021 Stereolab are an Anglo-French avant-pop band formed in London in 1990. Led by the songwriting team of Tim Gane and Lætitia Sadier, the group's sound features influences from krautrock and 1960s French pop music, often incorporating a repetitive motorik beat with the use of vintage electronic keyboards and female vocals sung in English and French. Their lyrics have political and philosophical themes influenced by the Surrealist and Situationist art movements. While performing, they play in a more feedback-driven and guitar-oriented style. From the mid-1990s, the band began to draw from funk, jazz and Brazilian music. Stereolab were formed by Gane (guitar and keyboards) and Sadier (vocals, keyboards and guitar) after the break-up of McCarthy. The two were romantically involved for fourteen years and are the group's only consistent members. Other longtime members included 1992 addition Mary Hansen (backing vocals, keyboards and guitar), who died in 2002, and 1993 addition Andy Ramsay (drums). The High Llamas' leader Sean O'Hagan (guitar and keyboards) was a member from 1993 to 1994 and continued appearing on later records for occasional guest appearances. (Full article...)

    Stereolab performing at the London Pitchfork Festival in 2021

    Stereolab are an Anglo-French avant-pop band formed in London in 1990. Led by the songwriting team of Tim Gane and Lætitia Sadier, the group's sound features influences from krautrock and 1960s French pop music, often incorporating a repetitive motorik beat with the use of vintage electronic keyboards and female vocals sung in English and French. Their lyrics have political and philosophical themes influenced by the Surrealist and Situationist art movements. While performing, they play in a more feedback-driven and guitar-oriented style. From the mid-1990s, the band began to draw from funk, jazz and Brazilian music.

    Stereolab were formed by Gane (guitar and keyboards) and Sadier (vocals, keyboards and guitar) after the break-up of McCarthy. The two were romantically involved for fourteen years and are the group's only consistent members. Other longtime members included 1992 addition Mary Hansen (backing vocals, keyboards and guitar), who died in 2002, and 1993 addition Andy Ramsay (drums). The High Llamas' leader Sean O'Hagan (guitar and keyboards) was a member from 1993 to 1994 and continued appearing on later records for occasional guest appearances. (Full article...)
  • Image 9 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 was kept intact 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 almost 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 was kept intact 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 almost 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 10 Fantasy Black Channel is the only studio album by British dance-punk band Late of the Pier. It was released on 30 July 2008 in Japan through Toshiba EMI and on 4 August 2008 in the British Isles on Parlophone, the band's primary label. Five tracks had already been released as singles in the United Kingdom: "Bathroom Gurgle", "The Bears Are Coming", "Space and the Woods" and "Focker" as a double A-side, and "Heartbeat". The record peaked at number 28 on the UK Albums Chart, but failed to chart in the United States. The album was recorded in lead vocalist Sam Eastgate's bedroom in Castle Donington, England, and at several locations in London. It went through a fractured creative process that lasted more than two years. It was eventually produced by Eastgate and DJ Erol Alkan between 2007 and 2008. Fantasy Black Channel does not contain a unifying musical or lyrical theme; rather, it is a collage of all the ideas, genres, and studio effects that fascinated the band members and Alkan, especially during live recording sessions. The record was very well received by critics. It was often treated as one of the best British albums of 2008 because of its eclecticism and spirit of invention. Late of the Pier did not record any further albums following the death of drummer Ross Dawson in 2015. (Full article...)
    Fantasy Black Channel is the only studio album by British dance-punk band Late of the Pier. It was released on 30 July 2008 in Japan through Toshiba EMI and on 4 August 2008 in the British Isles on Parlophone, the band's primary label. Five tracks had already been released as singles in the United Kingdom: "Bathroom Gurgle", "The Bears Are Coming", "Space and the Woods" and "Focker" as a double A-side, and "Heartbeat". The record peaked at number 28 on the UK Albums Chart, but failed to chart in the United States.

    The album was recorded in lead vocalist Sam Eastgate's bedroom in Castle Donington, England, and at several locations in London. It went through a fractured creative process that lasted more than two years. It was eventually produced by Eastgate and DJ Erol Alkan between 2007 and 2008. Fantasy Black Channel does not contain a unifying musical or lyrical theme; rather, it is a collage of all the ideas, genres, and studio effects that fascinated the band members and Alkan, especially during live recording sessions. The record was very well received by critics. It was often treated as one of the best British albums of 2008 because of its eclecticism and spirit of invention. Late of the Pier did not record any further albums following the death of drummer Ross Dawson in 2015. (Full article...)
  • Image 11 Walton in 1926 Sir William Turner Walton OM (29 March 1902 – 8 March 1983) was an English composer. During a sixty-year career, he wrote music in several classical genres and styles, from film scores to opera. His best-known works include Façade, the cantata Belshazzar's Feast, the Viola Concerto, the First Symphony, and the British coronation marches Crown Imperial and Orb and Sceptre. Born in Oldham, Lancashire, the son of a musician, Walton was a chorister and then an undergraduate at Christ Church, Oxford. On leaving the university, he was taken up by the literary Sitwell siblings, who provided him with a home and a cultural education. His earliest work of note was a collaboration with Edith Sitwell, Façade, which at first brought him notoriety as a modernist, but later became a popular ballet score. (Full article...)
    young white man, clean shaven, with full head of neat dark hair
    Walton in 1926


    Sir William Turner Walton OM (29 March 1902 – 8 March 1983) was an English composer. During a sixty-year career, he wrote music in several classical genres and styles, from film scores to opera. His best-known works include Façade, the cantata Belshazzar's Feast, the Viola Concerto, the First Symphony, and the British coronation marches Crown Imperial and Orb and Sceptre.

    Born in Oldham, Lancashire, the son of a musician, Walton was a chorister and then an undergraduate at Christ Church, Oxford. On leaving the university, he was taken up by the literary Sitwell siblings, who provided him with a home and a cultural education. His earliest work of note was a collaboration with Edith Sitwell, Façade, which at first brought him notoriety as a modernist, but later became a popular ballet score. (Full article...)
  • Image 12 Freak Out! is the debut studio album by the American rock band the Mothers of Invention, released on June 27, 1966, by Verve Records. Often cited as one of rock music's first concept albums, it is a satirical expression of guitarist/bandleader Frank Zappa's perception of American pop culture and the nascent freak scene of Los Angeles. It was the second rock music double album ever released, following Bob Dylan's Blonde on Blonde just one week earlier, as well as the first double debut album by a rock artist. In the UK, the album was originally released as an edited single disc. The album was produced by Tom Wilson, who signed the Mothers, formerly a bar band called the Soul Giants. Zappa said many years later that Wilson signed the band to a record deal under the impression that they were a white blues band. The album features Zappa on vocals and guitar, along with lead vocalist/tambourine player Ray Collins, bass player/vocalist Roy Estrada, drummer/vocalist Jimmy Carl Black and guitar player Elliot Ingber (later of Captain Beefheart's Magic Band, performing there under the pseudonym "Winged Eel Fingerling"). (Full article...)
    Freak Out! is the debut studio album by the American rock band the Mothers of Invention, released on June 27, 1966, by Verve Records. Often cited as one of rock music's first concept albums, it is a satirical expression of guitarist/bandleader Frank Zappa's perception of American pop culture and the nascent freak scene of Los Angeles. It was the second rock music double album ever released, following Bob Dylan's Blonde on Blonde just one week earlier, as well as the first double debut album by a rock artist. In the UK, the album was originally released as an edited single disc.

    The album was produced by Tom Wilson, who signed the Mothers, formerly a bar band called the Soul Giants. Zappa said many years later that Wilson signed the band to a record deal under the impression that they were a white blues band. The album features Zappa on vocals and guitar, along with lead vocalist/tambourine player Ray Collins, bass player/vocalist Roy Estrada, drummer/vocalist Jimmy Carl Black and guitar player Elliot Ingber (later of Captain Beefheart's Magic Band, performing there under the pseudonym "Winged Eel Fingerling"). (Full article...)
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  • Image 1 Foo Fighters is the debut studio album by American rock band Foo Fighters, released on July 4, 1995, through Roswell and Capitol Records. Former Nirvana drummer Dave Grohl wrote the entire album. He recorded it himself in six days with the assistance of producer Barrett Jones at Robert Lang Studios in Seattle, Washington, in 1994. Grohl said that he recorded the album just for fun, describing it as a cathartic experience to recover from the suicide of Nirvana bandmate Kurt Cobain. The album is considered to have started the post-grunge genre. After Grohl completed the recordings, he chose the name "Foo Fighters" for the project to hide his identity, and passed cassette copies of the sessions to personal friends. When the tapes attracted record label interest, Grohl signed with Capitol and recruited a full band to perform the songs live. The album was promoted through extensive tours and six singles, two of which were accompanied by music videos. (Full article...)
    Foo Fighters is the debut studio album by American rock band Foo Fighters, released on July 4, 1995, through Roswell and Capitol Records. Former Nirvana drummer Dave Grohl wrote the entire album. He recorded it himself in six days with the assistance of producer Barrett Jones at Robert Lang Studios in Seattle, Washington, in 1994. Grohl said that he recorded the album just for fun, describing it as a cathartic experience to recover from the suicide of Nirvana bandmate Kurt Cobain. The album is considered to have started the post-grunge genre.

    After Grohl completed the recordings, he chose the name "Foo Fighters" for the project to hide his identity, and passed cassette copies of the sessions to personal friends. When the tapes attracted record label interest, Grohl signed with Capitol and recruited a full band to perform the songs live. The album was promoted through extensive tours and six singles, two of which were accompanied by music videos. (Full article...)
  • Image 2 The Slim Shady LP is the second studio album and major label debut by American rapper Eminem. It was released through Aftermath Entertainment and Interscope Records on February 23, 1999. Recorded in Ferndale, Michigan following Eminem's recruitment by Dr. Dre and Jimmy Iovine, the album features production from Eminem himself, alongside Dr. Dre and the Bass Brothers. Featuring West Coast hip hop, G-funk, and horrorcore musical styles, the majority of The Slim Shady LP's lyrical content was written from the perspective of Eminem's alter ego, named Slim Shady, whom he introduced on his 1997's extended play of the same name. The Slim Shady LP contains cartoonish depictions of violence and heavy use of profanity, which Eminem described as horror film-esque, in that it is solely for entertainment value. Although many of the lyrics on the album are considered to be satirical, Eminem also depicts his frustrations of living in poverty. The Slim Shady LP debuted at number two on the US Billboard 200, just below TLC's FanMail, and number one on the Top R&B/Hip-Hop Albums chart. It was a critical and commercial success, with critics praising Eminem for his unique lyrical style, dark humor lyrics, and unusual personality. The first single, "My Name Is", became Eminem's first entry on the US Billboard Hot 100. The album won Best Rap Album at the 2000 Grammy Awards, while "My Name Is" won Best Rap Solo Performance. In 2000, The Slim Shady LP was certified quadruple platinum by the Recording Industry Association of America (RIAA). It is often mentioned in lists of the greatest albums of all time. While The Slim Shady LP's success turned Eminem from an underground rapper into a high-profile celebrity, he became a highly controversial figure due to his lyrical content, which some perceived to be misogynistic and a negative influence on U.S. youth. (Full article...)
    The Slim Shady LP is the second studio album and major label debut by American rapper Eminem. It was released through Aftermath Entertainment and Interscope Records on February 23, 1999. Recorded in Ferndale, Michigan following Eminem's recruitment by Dr. Dre and Jimmy Iovine, the album features production from Eminem himself, alongside Dr. Dre and the Bass Brothers. Featuring West Coast hip hop, G-funk, and horrorcore musical styles, the majority of The Slim Shady LP's lyrical content was written from the perspective of Eminem's alter ego, named Slim Shady, whom he introduced on his 1997's extended play of the same name. The Slim Shady LP contains cartoonish depictions of violence and heavy use of profanity, which Eminem described as horror film-esque, in that it is solely for entertainment value. Although many of the lyrics on the album are considered to be satirical, Eminem also depicts his frustrations of living in poverty.

    The Slim Shady LP debuted at number two on the US Billboard 200, just below TLC's FanMail, and number one on the Top R&B/Hip-Hop Albums chart. It was a critical and commercial success, with critics praising Eminem for his unique lyrical style, dark humor lyrics, and unusual personality. The first single, "My Name Is", became Eminem's first entry on the US Billboard Hot 100. The album won Best Rap Album at the 2000 Grammy Awards, while "My Name Is" won Best Rap Solo Performance. In 2000, The Slim Shady LP was certified quadruple platinum by the Recording Industry Association of America (RIAA). It is often mentioned in lists of the greatest albums of all time. While The Slim Shady LP's success turned Eminem from an underground rapper into a high-profile celebrity, he became a highly controversial figure due to his lyrical content, which some perceived to be misogynistic and a negative influence on U.S. youth. (Full article...)
  • Image 3 Owls is the debut studio album by American rock band Owls, which was released on July 31, 2001, through Jade Tree. After the disbandment of Joan of Arc, frontman Tim Kinsella reunited with the former members of Cap'n Jazz to form Owls. They recorded with Steve Albini at Electrical Audio in Chicago, Illinois, in April 2001. The album is an emo and indie rock record that has been compared with the works of Ghosts and Vodka, Pavement, and Captain Beefheart. Owls received generally favorable reviews from music critics, some of whom noted influence from the members' other bands, while others found it uninspiring. Rolling Stone ranked the album on their 2016 list of the 40 best emo albums. It was promoted with tours of the US and Europe before the members shifted focus on other projects. Following an appearance at CMJ Musicfest in late 2002, Owls broke up. (Full article...)
    Owls is the debut studio album by American rock band Owls, which was released on July 31, 2001, through Jade Tree. After the disbandment of Joan of Arc, frontman Tim Kinsella reunited with the former members of Cap'n Jazz to form Owls. They recorded with Steve Albini at Electrical Audio in Chicago, Illinois, in April 2001. The album is an emo and indie rock record that has been compared with the works of Ghosts and Vodka, Pavement, and Captain Beefheart.

    Owls received generally favorable reviews from music critics, some of whom noted influence from the members' other bands, while others found it uninspiring. Rolling Stone ranked the album on their 2016 list of the 40 best emo albums. It was promoted with tours of the US and Europe before the members shifted focus on other projects. Following an appearance at CMJ Musicfest in late 2002, Owls broke up. (Full article...)
  • Image 4 Cambodian Rocks is a compilation of 22 uncredited, untitled Cambodian psychedelic and garage rock songs from the late 1960s and early 1970s. When the tracks were recorded, musicians in the thriving music scene were combining Western rock and pop genres with their own styles and techniques. When the Khmer Rouge came to power in 1975, artists were among those viewed as a threat to the regime's agrarian socialist vision, and several of the performers on the album are believed to have been among those killed during the ensuing Cambodian genocide of 1975–1979. A great deal of information about them and their creative output was lost, although some has been recovered since the album's release. The compilation was assembled from cassette tapes purchased by an American tourist in 1994 and released on the Parallel World label in 1996. The album has been lauded for its music as well as its historical and cultural significance, though the label has been criticized for reissuing it years later without working to identify those involved. Through collaboration on the Internet, the songs have all been identified. Cambodian Rocks inspired the 2015 documentary film Don't Think I've Forgotten. (Full article...)
    Cambodian Rocks is a compilation of 22 uncredited, untitled Cambodian psychedelic and garage rock songs from the late 1960s and early 1970s. When the tracks were recorded, musicians in the thriving music scene were combining Western rock and pop genres with their own styles and techniques. When the Khmer Rouge came to power in 1975, artists were among those viewed as a threat to the regime's agrarian socialist vision, and several of the performers on the album are believed to have been among those killed during the ensuing Cambodian genocide of 1975–1979. A great deal of information about them and their creative output was lost, although some has been recovered since the album's release.

    The compilation was assembled from cassette tapes purchased by an American tourist in 1994 and released on the Parallel World label in 1996. The album has been lauded for its music as well as its historical and cultural significance, though the label has been criticized for reissuing it years later without working to identify those involved. Through collaboration on the Internet, the songs have all been identified. Cambodian Rocks inspired the 2015 documentary film Don't Think I've Forgotten. (Full article...)
  • Image 5 Avalanche United is the second studio album by American rock band, I Am the Avalanche, released by I Surrender Records on October 11, 2011. Following the release of their eponymous debut album in 2005, the band's activity slowed. Vocalist Vinnie Caruana went through a divorce and subsequently wrote an abundance of material. I Am the Avalanche recorded Avalanche United between February and July 2011 at Studio 159 in Waldwick, New Jersey. Described as a melodic hardcore and punk rock album, Avalanche United also features material written by guitarist Mike Ireland. Avalanche United received generally positive reviews from music critics, some praising the musicianship. "Holy Fuck" and "Brooklyn Dodgers" were released as singles in August and September 2011, respectively, before the release of the album. To promote Avalanche United, I Am the Avalanche supported the bands Saves the Day and Bayside on their co-headlining US tour, and released a music video for "Brooklyn Dodgers". The band ended the year with a headlining UK tour. In the first half of 2012, the band toured the UK and the US again, and appeared on that year's Warped Tour. (Full article...)
    Avalanche United is the second studio album by American rock band, I Am the Avalanche, released by I Surrender Records on October 11, 2011. Following the release of their eponymous debut album in 2005, the band's activity slowed. Vocalist Vinnie Caruana went through a divorce and subsequently wrote an abundance of material. I Am the Avalanche recorded Avalanche United between February and July 2011 at Studio 159 in Waldwick, New Jersey. Described as a melodic hardcore and punk rock album, Avalanche United also features material written by guitarist Mike Ireland.

    Avalanche United received generally positive reviews from music critics, some praising the musicianship. "Holy Fuck" and "Brooklyn Dodgers" were released as singles in August and September 2011, respectively, before the release of the album. To promote Avalanche United, I Am the Avalanche supported the bands Saves the Day and Bayside on their co-headlining US tour, and released a music video for "Brooklyn Dodgers". The band ended the year with a headlining UK tour. In the first half of 2012, the band toured the UK and the US again, and appeared on that year's Warped Tour. (Full article...)
  • Image 6 Bleach is the debut studio album by American rock band Nirvana, released on June 15, 1989, by Sub Pop. After the release of their debut single "Love Buzz" on Sub Pop in November 1988, Nirvana rehearsed for two to three weeks in preparation for recording a full-length album. The main recording sessions for Bleach took place at Reciprocal Recording in Seattle, Washington between December 1988 and January 1989. It is the only Nirvana album released on the Sub Pop label and their only studio album to feature drummer Chad Channing. Bleach did not chart upon initial release, but was well received by critics. When reissued internationally by Geffen Records in 1992 following the breakthrough success of Nirvana's second album, Nevermind (1991), Bleach peaked at number 89 on the Billboard 200, number 33 on the UK Albums Chart, and number 34 on the Australian albums chart. In 2009, Sub Pop released a 20th anniversary edition of Bleach featuring a live recording of a 1990 Nirvana performance in Portland, Oregon as bonus material. (Full article...)
    Bleach is the debut studio album by American rock band Nirvana, released on June 15, 1989, by Sub Pop. After the release of their debut single "Love Buzz" on Sub Pop in November 1988, Nirvana rehearsed for two to three weeks in preparation for recording a full-length album. The main recording sessions for Bleach took place at Reciprocal Recording in Seattle, Washington between December 1988 and January 1989. It is the only Nirvana album released on the Sub Pop label and their only studio album to feature drummer Chad Channing.

    Bleach did not chart upon initial release, but was well received by critics. When reissued internationally by Geffen Records in 1992 following the breakthrough success of Nirvana's second album, Nevermind (1991), Bleach peaked at number 89 on the Billboard 200, number 33 on the UK Albums Chart, and number 34 on the Australian albums chart. In 2009, Sub Pop released a 20th anniversary edition of Bleach featuring a live recording of a 1990 Nirvana performance in Portland, Oregon as bonus material. (Full article...)
  • Image 7 Scrooged is a 1988 American Christmas fantasy black comedy film directed by Richard Donner and written by Mitch Glazer and Michael O'Donoghue. Based on the 1843 novella A Christmas Carol by Charles Dickens, Scrooged is a modern retelling that follows Bill Murray as Frank Cross, a cynical and selfish television executive who is visited by a succession of ghosts on Christmas Eve intent on helping him regain his Christmas spirit. The film also stars Karen Allen, John Forsythe, John Glover, Bobcat Goldthwait, Carol Kane, Robert Mitchum, Michael J. Pollard, and Alfre Woodard. Scrooged was filmed on a $32 million budget over three months in New York City and Hollywood from December 1987 to March 1988. Murray returned to acting for the film after taking a four-year hiatus following the success of Ghostbusters, which he found overwhelming, although he had a minor role in Little Shop of Horrors. Murray worked with Glazer and O'Donoghue on reworking the script before agreeing to join the project. The production was tumultuous, as Murray and Donner had different visions for the film. Murray described his time on the film as "misery", while Donner called Murray "superbly creative but occasionally difficult". Along with Murray's three brothers, Brian, John and Joel, Scrooged features numerous celebrity cameos. (Full article...)
    Scrooged is a 1988 American Christmas fantasy black comedy film directed by Richard Donner and written by Mitch Glazer and Michael O'Donoghue. Based on the 1843 novella A Christmas Carol by Charles Dickens, Scrooged is a modern retelling that follows Bill Murray as Frank Cross, a cynical and selfish television executive who is visited by a succession of ghosts on Christmas Eve intent on helping him regain his Christmas spirit. The film also stars Karen Allen, John Forsythe, John Glover, Bobcat Goldthwait, Carol Kane, Robert Mitchum, Michael J. Pollard, and Alfre Woodard.

    Scrooged was filmed on a $32 million budget over three months in New York City and Hollywood from December 1987 to March 1988. Murray returned to acting for the film after taking a four-year hiatus following the success of Ghostbusters, which he found overwhelming, although he had a minor role in Little Shop of Horrors. Murray worked with Glazer and O'Donoghue on reworking the script before agreeing to join the project. The production was tumultuous, as Murray and Donner had different visions for the film. Murray described his time on the film as "misery", while Donner called Murray "superbly creative but occasionally difficult". Along with Murray's three brothers, Brian, John and Joel, Scrooged features numerous celebrity cameos. (Full article...)
  • Image 8 cê is an album by Brazilian singer, songwriter, and guitarist Caetano Veloso. Released on 1 September 2006 on Mercury Records, the album took its title from the colloquial Portuguese word meaning you. It was written with Veloso's band in mind, which was chosen in part by guitarist Pedro Sá. cê received positive critical commentary; several critics specifically noted the album's lyrical focus on human sexuality. (Full article...)
    cê is an album by Brazilian singer, songwriter, and guitarist Caetano Veloso. Released on 1 September 2006 on Mercury Records, the album took its title from the colloquial Portuguese word meaning you. It was written with Veloso's band in mind, which was chosen in part by guitarist Pedro Sá. cê received positive critical commentary; several critics specifically noted the album's lyrical focus on human sexuality. (Full article...)
  • Image 9 I Can Hear the Heart Beating as One is the eighth studio album by the American indie rock band Yo La Tengo, released on April 22, 1997, by Matador Records. It was produced by Roger Moutenot and recorded at House of David in Nashville, Tennessee. The album expands the guitar-based pop of its predecessor Electr-O-Pura to encompass a variety of other music genres, including bossa nova, krautrock, and electronic music. Most of the songs on the album deal with melancholy emotions and range from short and fragile ballads to long and open-ended dissonance. Upon release, I Can Hear the Heart Beating as One reached number 19 on the Billboard's Heatseekers Albums chart, becoming the first Yo La Tengo album to enter the charts. Three songs from the album, "Autumn Sweater", "Sugarcube", and the cover "Little Honda", were released as singles. The album received widespread acclaim from music critics, who praised the band's ability to successfully expand the boundaries of nearly any pop style. The album is widely regarded as the band's best work and is frequently included on several publications' best album lists. In 2020, Rolling Stone included it on its list of The 500 Greatest Albums of All Time as no. 423. (Full article...)
    I Can Hear the Heart Beating as One is the eighth studio album by the American indie rock band Yo La Tengo, released on April 22, 1997, by Matador Records. It was produced by Roger Moutenot and recorded at House of David in Nashville, Tennessee. The album expands the guitar-based pop of its predecessor Electr-O-Pura to encompass a variety of other music genres, including bossa nova, krautrock, and electronic music. Most of the songs on the album deal with melancholy emotions and range from short and fragile ballads to long and open-ended dissonance.

    Upon release, I Can Hear the Heart Beating as One reached number 19 on the Billboard's Heatseekers Albums chart, becoming the first Yo La Tengo album to enter the charts. Three songs from the album, "Autumn Sweater", "Sugarcube", and the cover "Little Honda", were released as singles. The album received widespread acclaim from music critics, who praised the band's ability to successfully expand the boundaries of nearly any pop style. The album is widely regarded as the band's best work and is frequently included on several publications' best album lists. In 2020, Rolling Stone included it on its list of The 500 Greatest Albums of All Time as no. 423. (Full article...)
  • Image 10 Joyas Prestadas: Pop and Joyas Prestadas: Banda (Borrowed Jewels) are the 11th and final studio albums by recording artist Jenni Rivera, released on November 21, 2011, by Fonovisa Records. Joyas Prestadas consists of a double album with eleven cover songs, each recorded with two distinct styles of music. The first half being recorded in pop, while the second was recorded in the Regional Mexican subgenre of banda. The album was produced by Enrique Martinez. According to Rivera, the songs she chose to cover were those she was enamored with while working as a cashier in a record store. Joyas Prestadas: Pop reached number one on the Mexican Albums Chart and number one on the Billboard Top Latin Albums chart in the United States while Joyas Prestadas: Banda peaked at number three on the Mexican Albums Chart and number two on the Billboard Top Latin Albums chart. Three singles were released from the album: "¡Basta Ya!", "A Cambio de Qué", and "Detrás de Mi Ventana". David Jeffries of Allmusic gave the album a positive review and called the productions "polished". (Full article...)
    Joyas Prestadas: Pop and Joyas Prestadas: Banda (Borrowed Jewels) are the 11th and final studio albums by recording artist Jenni Rivera, released on November 21, 2011, by Fonovisa Records. Joyas Prestadas consists of a double album with eleven cover songs, each recorded with two distinct styles of music. The first half being recorded in pop, while the second was recorded in the Regional Mexican subgenre of banda. The album was produced by Enrique Martinez. According to Rivera, the songs she chose to cover were those she was enamored with while working as a cashier in a record store.

    Joyas Prestadas: Pop reached number one on the Mexican Albums Chart and number one on the Billboard Top Latin Albums chart in the United States while Joyas Prestadas: Banda peaked at number three on the Mexican Albums Chart and number two on the Billboard Top Latin Albums chart. Three singles were released from the album: "¡Basta Ya!", "A Cambio de Qué", and "Detrás de Mi Ventana". David Jeffries of Allmusic gave the album a positive review and called the productions "polished". (Full article...)
  • Image 11 Quadrophenia is the sixth studio album by the English rock band the Who, released as a double album on 26 October 1973 by Track Records. It is the group's third rock opera, the previous two being the "mini-opera" song "A Quick One, While He's Away" (1966) and the album Tommy (1969). Set in London and Brighton in 1965, the story follows a young mod named Jimmy and his search for self-worth and importance. Quadrophenia is the only Who album entirely written & composed by Pete Townshend. The group started work on the album in 1972 in an attempt to follow up Tommy and Who's Next (1971), both of which had achieved substantial critical and commercial success. Recording was delayed while bassist John Entwistle and singer Roger Daltrey recorded solo albums and drummer Keith Moon worked on films. Because a new studio was not finished in time, the group had to use Ronnie Lane's Mobile Studio. The album makes significant use of Townshend's multi-track synthesizers and sound effects, as well as Entwistle's layered horn parts. Relationships between the group and manager Kit Lambert broke down irretrievably during recording and Lambert had left the band's service by the time the album was released. (Full article...)
    Quadrophenia is the sixth studio album by the English rock band the Who, released as a double album on 26 October 1973 by Track Records. It is the group's third rock opera, the previous two being the "mini-opera" song "A Quick One, While He's Away" (1966) and the album Tommy (1969). Set in London and Brighton in 1965, the story follows a young mod named Jimmy and his search for self-worth and importance. Quadrophenia is the only Who album entirely written & composed by Pete Townshend.

    The group started work on the album in 1972 in an attempt to follow up Tommy and Who's Next (1971), both of which had achieved substantial critical and commercial success. Recording was delayed while bassist John Entwistle and singer Roger Daltrey recorded solo albums and drummer Keith Moon worked on films. Because a new studio was not finished in time, the group had to use Ronnie Lane's Mobile Studio. The album makes significant use of Townshend's multi-track synthesizers and sound effects, as well as Entwistle's layered horn parts. Relationships between the group and manager Kit Lambert broke down irretrievably during recording and Lambert had left the band's service by the time the album was released. (Full article...)
  • Image 12 Teenage Dream: The Complete Confection is a reissue of American singer-songwriter Katy Perry's third studio album, Teenage Dream (2010). It was released on March 23, 2012, by Capitol Records, nearly two years after the original album. Perry collaborated with producers including Tricky Stewart to refine leftover material from the recording sessions at Playback Recording Studio for Teenage Dream. The final product features three newly recorded songs, which incorporate pop styles previously seen in the original album, an acoustic version of "The One That Got Away" and three additional official remixes. Upon its release, Teenage Dream: The Complete Confection was met with generally favorable reviews from music critics, who were ambivalent towards the new songs' production but questioned the decision to reissue Teenage Dream. As an independent release, the reissue reached the top ten in Australia, New Zealand, the United Kingdom and the United States. It sold one million copies globally by the end of 2012. (Full article...)
    Teenage Dream: The Complete Confection is a reissue of American singer-songwriter Katy Perry's third studio album, Teenage Dream (2010). It was released on March 23, 2012, by Capitol Records, nearly two years after the original album. Perry collaborated with producers including Tricky Stewart to refine leftover material from the recording sessions at Playback Recording Studio for Teenage Dream. The final product features three newly recorded songs, which incorporate pop styles previously seen in the original album, an acoustic version of "The One That Got Away" and three additional official remixes.

    Upon its release, Teenage Dream: The Complete Confection was met with generally favorable reviews from music critics, who were ambivalent towards the new songs' production but questioned the decision to reissue Teenage Dream. As an independent release, the reissue reached the top ten in Australia, New Zealand, the United Kingdom and the United States. It sold one million copies globally by the end of 2012. (Full article...)
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  • Image 1 Sam Hunt set a new record for the longest-running number-one country song when "Body Like a Back Road" spent 34 weeks atop the Hot Country Songs listing. Hot Country Songs and Country Airplay are charts that rank the top-performing country music songs in the United States, published by Billboard magazine. Hot Country Songs ranks songs based on digital downloads, streaming, and airplay not only from country stations but from stations of all formats, a methodology introduced in 2012. Country Airplay, which was published for the first time in 2012, is based solely on country radio airplay, a methodology which had previously been used for several decades for Hot Country Songs. In 2017, seven different songs topped the Hot Country Songs chart and 34 different songs topped Country Airplay in 52 issues of the magazine. In the issue of Billboard dated February 25, singer Sam Hunt reached number one with the song "Body Like a Back Road", which would remain in the top spot through the issue dated October 14. In August, the song broke the record for the most weeks spent at number one on the Hot Country Songs listing, surpassing the 24 weeks spent in the top spot by Florida Georgia Line's "Cruise" in 2012 and 2013. Hunt's song was finally knocked from the top of the chart in the issue dated October 21 by "What Ifs" by Kane Brown featuring Lauren Alaina. Two months later, "Meant to Be" by Bebe Rexha and Florida Georgia Line entered the Hot Country chart at number one, only the fourth time a song had debuted in the top position of the Hot Country Songs chart. The song would go on to break Hunt's record the following summer when it spent a 35th consecutive week at number one. On the Country Airplay chart, Dustin Lynch had the longest run at number one of 2017, spending four consecutive weeks at the top with "Small Town Boy". Lynch tied with Blake Shelton for the highest total number of weeks at number one on that chart, both artists spending five weeks in the top spot. Shelton took three different songs to number one, a feat also achieved by Thomas Rhett. No act achieved more than one chart-topper on the Hot Country Songs listing. (Full article...)
    Singer Sam Hunt
    Sam Hunt set a new record for the longest-running number-one country song when "Body Like a Back Road" spent 34 weeks atop the Hot Country Songs listing.

    Hot Country Songs and Country Airplay are charts that rank the top-performing country music songs in the United States, published by Billboard magazine. Hot Country Songs ranks songs based on digital downloads, streaming, and airplay not only from country stations but from stations of all formats, a methodology introduced in 2012. Country Airplay, which was published for the first time in 2012, is based solely on country radio airplay, a methodology which had previously been used for several decades for Hot Country Songs. In 2017, seven different songs topped the Hot Country Songs chart and 34 different songs topped Country Airplay in 52 issues of the magazine.

    In the issue of Billboard dated February 25, singer Sam Hunt reached number one with the song "Body Like a Back Road", which would remain in the top spot through the issue dated October 14. In August, the song broke the record for the most weeks spent at number one on the Hot Country Songs listing, surpassing the 24 weeks spent in the top spot by Florida Georgia Line's "Cruise" in 2012 and 2013. Hunt's song was finally knocked from the top of the chart in the issue dated October 21 by "What Ifs" by Kane Brown featuring Lauren Alaina. Two months later, "Meant to Be" by Bebe Rexha and Florida Georgia Line entered the Hot Country chart at number one, only the fourth time a song had debuted in the top position of the Hot Country Songs chart. The song would go on to break Hunt's record the following summer when it spent a 35th consecutive week at number one. On the Country Airplay chart, Dustin Lynch had the longest run at number one of 2017, spending four consecutive weeks at the top with "Small Town Boy". Lynch tied with Blake Shelton for the highest total number of weeks at number one on that chart, both artists spending five weeks in the top spot. Shelton took three different songs to number one, a feat also achieved by Thomas Rhett. No act achieved more than one chart-topper on the Hot Country Songs listing. (Full article...)
  • Image 2 MercyMe recorded seven number-one singles during the decade including "Word of God Speak", the longest-running number-one single of the decade. The Christian Songs chart is a record chart compiled by Billboard magazine. Launched on June 21, 2003, the chart was ranked during the decade by overall audience impressions (the approximate number of audience impressions made for each play, as determined by BDS data cross-referenced with Arbitron listener information). While the chart covers all Christian radio formats, it is dominated by Christian adult contemporary (Christian AC) radio stations, which cater to a mostly adult audience. As opposed to Christian stations that cater to young audiences, Christian AC stations tend to play hits often and for long periods. As a result, number-one singles on the Christian Songs chart often had lengthy stays at the top position. During the 2000s, 44 singles reached the number one position on the Christian Songs chart. MercyMe was the most successful group, with seven of their singles topping the chart during the 2000s. The band's "Word of God Speak" was the longest-running number one single of the 2000s, having spent a total of 23 non-consecutive weeks atop the chart. Casting Crowns spent the longest time atop the chart during the decade, as their six number one singles spent a combined total of 62 weeks at the summit. Out of the 44 singles that hit the number-one position during the 2000s, 15 singles spent two separate runs atop the chart. Three singles ("Word of God Speak", "My Savior My God", and "Cry Out to Jesus") returned to the top position for three distinct runs. Nineteen artists recorded number-one singles during the decade. The first number-one single of the 2000s on the chart was Third Day's "You Are So Good to Me", which led the chart's debut week of June 21, 2003, and seven consecutive weeks afterward; the final number-one single was TobyMac's "City On Our Knees", which led the chart for the final eleven weeks of the 2000s, and continued to lead into 2010. (Full article...)
    In a dark room, a singer holding a microphone in one hand and stand in the other is standing in front of a drummer
    MercyMe recorded seven number-one singles during the decade including "Word of God Speak", the longest-running number-one single of the decade.

    The Christian Songs chart is a record chart compiled by Billboard magazine. Launched on June 21, 2003, the chart was ranked during the decade by overall audience impressions (the approximate number of audience impressions made for each play, as determined by BDS data cross-referenced with Arbitron listener information). While the chart covers all Christian radio formats, it is dominated by Christian adult contemporary (Christian AC) radio stations, which cater to a mostly adult audience. As opposed to Christian stations that cater to young audiences, Christian AC stations tend to play hits often and for long periods. As a result, number-one singles on the Christian Songs chart often had lengthy stays at the top position.

    During the 2000s, 44 singles reached the number one position on the Christian Songs chart. MercyMe was the most successful group, with seven of their singles topping the chart during the 2000s. The band's "Word of God Speak" was the longest-running number one single of the 2000s, having spent a total of 23 non-consecutive weeks atop the chart. Casting Crowns spent the longest time atop the chart during the decade, as their six number one singles spent a combined total of 62 weeks at the summit. Out of the 44 singles that hit the number-one position during the 2000s, 15 singles spent two separate runs atop the chart. Three singles ("Word of God Speak", "My Savior My God", and "Cry Out to Jesus") returned to the top position for three distinct runs. Nineteen artists recorded number-one singles during the decade. The first number-one single of the 2000s on the chart was Third Day's "You Are So Good to Me", which led the chart's debut week of June 21, 2003, and seven consecutive weeks afterward; the final number-one single was TobyMac's "City On Our Knees", which led the chart for the final eleven weeks of the 2000s, and continued to lead into 2010. (Full article...)
  • Image 3 Pam Tillis achieved her only number one in 1995 with "Mi Vida Loca (My Crazy Life)". Hot Country Songs is a chart that ranks the top-performing country music songs in the United States, published by Billboard magazine. In 1995, 29 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. At the start of the year, the song at number one was "Pickup Man" by Joe Diffie, which had been in the top spot since the issue dated December 17, 1994. Alan Jackson was the only artist to achieve three number ones in 1995, topping the chart with "Gone Country", "I Don't Even Know Your Name" and "Tall, Tall Trees". Tim McGraw had the longest unbroken run in the top spot, spending five weeks at number one with "I Like It, I Love It", and the total of seven weeks which he spent at number one with that song and "Not a Moment Too Soon" was the highest by any artist. Brooks & Dunn, George Strait and John Michael Montgomery were the only other artists to achieve more than one number one in 1995. (Full article...)
    A woman with short brown hair, wearing a white shirt and leaning on a red guitar
    Pam Tillis achieved her only number one in 1995 with "Mi Vida Loca (My Crazy Life)".

    Hot Country Songs is a chart that ranks the top-performing country music songs in the United States, published by Billboard magazine. In 1995, 29 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.

    At the start of the year, the song at number one was "Pickup Man" by Joe Diffie, which had been in the top spot since the issue dated December 17, 1994. Alan Jackson was the only artist to achieve three number ones in 1995, topping the chart with "Gone Country", "I Don't Even Know Your Name" and "Tall, Tall Trees". Tim McGraw had the longest unbroken run in the top spot, spending five weeks at number one with "I Like It, I Love It", and the total of seven weeks which he spent at number one with that song and "Not a Moment Too Soon" was the highest by any artist. Brooks & Dunn, George Strait and John Michael Montgomery were the only other artists to achieve more than one number one in 1995. (Full article...)
  • Image 4 Westlife had 11 No. 1 singles between 2000 and 2009, including a cover of Phil Collins' "Against All Odds", which they released as a duet with Mariah Carey in 2000 The UK Singles Chart is compiled by the Official Charts Company (OCC) on behalf of the British record industry. In the 2000s the chart week ran from Sunday to Saturday, and the top 40 singles were revealed each Sunday on BBC Radio 1. At the start of the decade, before the advent of legal music downloads, it was based entirely on sales of physical singles from retail outlets, but in 2005 permanent downloads began to be included in the chart compilation. During the 2000s, 275 singles reached the No. 1 position on the chart, the most of any decade so far. Over this period, Westlife were the most successful group and music act at reaching the top spot, with 11 No. 1 singles. Rihanna and Jay-Z's song "Umbrella" spent 10 weeks at No. 1 in 2007, the longest spell at the top of the charts since Wet Wet Wet's 1994 hit "Love Is All Around", which topped the charts for 15 weeks. The Internet allowed music to be heard by vast numbers of people on social networking sites such as YouTube and Myspace; it also increased piracy. This and the introduction of the UK Singles Downloads Chart in 2004 led to a decrease in record sales and a reduction in the number of copies sold of a No. 1 record on the singles chart. Gnarls Barkley's "Crazy" became the first song to reach the top of the charts based on downloads alone in 2006, remaining at No. 1 for nine consecutive weeks. (Full article...)
    Westlife had 11 No. 1 singles between 2000 and 2009, including a cover of Phil Collins' "Against All Odds", which they released as a duet with Mariah Carey in 2000

    The UK Singles Chart is compiled by the Official Charts Company (OCC) on behalf of the British record industry. In the 2000s the chart week ran from Sunday to Saturday, and the top 40 singles were revealed each Sunday on BBC Radio 1. At the start of the decade, before the advent of legal music downloads, it was based entirely on sales of physical singles from retail outlets, but in 2005 permanent downloads began to be included in the chart compilation.

    During the 2000s, 275 singles reached the No. 1 position on the chart, the most of any decade so far. Over this period, Westlife were the most successful group and music act at reaching the top spot, with 11 No. 1 singles. Rihanna and Jay-Z's song "Umbrella" spent 10 weeks at No. 1 in 2007, the longest spell at the top of the charts since Wet Wet Wet's 1994 hit "Love Is All Around", which topped the charts for 15 weeks. The Internet allowed music to be heard by vast numbers of people on social networking sites such as YouTube and Myspace; it also increased piracy. This and the introduction of the UK Singles Downloads Chart in 2004 led to a decrease in record sales and a reduction in the number of copies sold of a No. 1 record on the singles chart. Gnarls Barkley's "Crazy" became the first song to reach the top of the charts based on downloads alone in 2006, remaining at No. 1 for nine consecutive weeks. (Full article...)
  • Image 5 Keith Whitley, who died the previous year, had a posthumous number one in January 1990 with "It Ain't Nothin'". Hot Country Songs is a chart that ranks the top-performing country music songs in the United States, published by Billboard magazine. In 1990, 24 different songs topped the chart in 52 issues of the magazine. The chart was published under the title Hot Country Singles through the February 10 issue and Hot Country Singles & Tracks thereafter. With effect from the January 20 issue, Billboard discontinued its longstanding methodology of compiling the chart based on playlists submitted by country music radio stations and sales reports submitted by stores and instead began basing the chart on weekly airplay data from radio stations compiled by Nielsen Broadcast Data Systems. At the start of the year, the number one song on the chart was Highway 101's "Who's Lonely Now", which had been at the top of the chart since the issue of Billboard dated December 30, 1989. It remained in the top spot for one further week in 1990 before being replaced by "It Ain't Nothin'" by Keith Whitley. This was the second of two posthumous number ones for Whitley, who had died in May of the previous year. Three months later, Whitley's widow Lorrie Morgan topped the chart for the first time with "Five Minutes". Other artists who topped the chart for the first time in 1990 were Travis Tritt, who spent one week at number one with "Help Me Hold On", and Joe Diffie, who reached number one with his debut single "Home". (Full article...)
    A man with long curly hair and a beard, wearing a white jacket and grey shirt, playing a guitar and singing into a microphone
    Keith Whitley, who died the previous year, had a posthumous number one in January 1990 with "It Ain't Nothin'".

    Hot Country Songs is a chart that ranks the top-performing country music songs in the United States, published by Billboard magazine. In 1990, 24 different songs topped the chart in 52 issues of the magazine. The chart was published under the title Hot Country Singles through the February 10 issue and Hot Country Singles & Tracks thereafter. With effect from the January 20 issue, Billboard discontinued its longstanding methodology of compiling the chart based on playlists submitted by country music radio stations and sales reports submitted by stores and instead began basing the chart on weekly airplay data from radio stations compiled by Nielsen Broadcast Data Systems.

    At the start of the year, the number one song on the chart was Highway 101's "Who's Lonely Now", which had been at the top of the chart since the issue of Billboard dated December 30, 1989. It remained in the top spot for one further week in 1990 before being replaced by "It Ain't Nothin'" by Keith Whitley. This was the second of two posthumous number ones for Whitley, who had died in May of the previous year. Three months later, Whitley's widow Lorrie Morgan topped the chart for the first time with "Five Minutes". Other artists who topped the chart for the first time in 1990 were Travis Tritt, who spent one week at number one with "Help Me Hold On", and Joe Diffie, who reached number one with his debut single "Home". (Full article...)
  • Image 6 R&B singer Usher broke Billboard records with four number-one singles for 28 weeks on the top spot in a calendar year. The Billboard Hot 100 is a chart that ranks the best-performing singles of the United States. Published by Billboard magazine, the data are compiled by Nielsen SoundScan based collectively on each single's weekly physical sales and airplay. In 2004, there were 11 singles that topped the chart. Although there were 12 singles that claimed the top spot in the 52 issues of the chart, hip hop duo Outkast's "Hey Ya!" began its peak position in 2003, and is thus excluded. In 2004, 13 acts achieved their first U.S. number-one single, either as a lead artist or featured guest, including Sleepy Brown, Twista, Kanye West, Jamie Foxx, Lil Jon, Fantasia Barrino, Juvenile, Soulja Slim, Terror Squad, Ciara, Petey Pablo, Snoop Dogg, and Pharrell. Barrino and Ciara were the only acts to have earned a number-one debut single this year. R&B singer Usher had four number-one singles that appeared in the 2004 issues, and Outkast had two. Soulja Slim became the sixth artist to have a number one song posthumously, after his death in November 2003. During the year, seven collaboration singles reached the number-one position, tying the record set in 2003. (Full article...)
    A young black man in a black-and-white checked suit, waistcoat and tie, with his left hand in his trouser pocket and his right hand raised.
    R&B singer Usher broke Billboard records with four number-one singles for 28 weeks on the top spot in a calendar year.

    The Billboard Hot 100 is a chart that ranks the best-performing singles of the United States. Published by Billboard magazine, the data are compiled by Nielsen SoundScan based collectively on each single's weekly physical sales and airplay. In 2004, there were 11 singles that topped the chart. Although there were 12 singles that claimed the top spot in the 52 issues of the chart, hip hop duo Outkast's "Hey Ya!" began its peak position in 2003, and is thus excluded.

    In 2004, 13 acts achieved their first U.S. number-one single, either as a lead artist or featured guest, including Sleepy Brown, Twista, Kanye West, Jamie Foxx, Lil Jon, Fantasia Barrino, Juvenile, Soulja Slim, Terror Squad, Ciara, Petey Pablo, Snoop Dogg, and Pharrell. Barrino and Ciara were the only acts to have earned a number-one debut single this year. R&B singer Usher had four number-one singles that appeared in the 2004 issues, and Outkast had two. Soulja Slim became the sixth artist to have a number one song posthumously, after his death in November 2003. During the year, seven collaboration singles reached the number-one position, tying the record set in 2003. (Full article...)
  • Image 7 The Beatles had eighteen number-one singles on the NME chart, only one of which never topped the Record Retailer chart. The NME (or New Musical Express) was a British weekly popular music newspaper. Record charts in the United Kingdom began on 14 November 1952 when NME imitated an idea started in American Billboard magazine compiled their own hit parade. Until 15 February 1969, when the British Market Research Bureau (BMRB) chart was established, many periodicals compiled their own charts. During this time the BBC used aggregated results of the prominent NME, Melody Maker, Disc, Record Mirror and, later, Record Retailer charts to compile their Pick of the Pops chart. Prior to 1969 there was no universally accepted source or "official" singles chart; however, the Official Charts Company and Guinness' British Hit Singles & Albums regard the canonical sources for this period as NME before 10 March 1960 and Record Retailer from then until the BMRB took over in 1969. Although Record Retailer is now the most predominantly used source for charting music in the 1960s, NME had the biggest circulation of charts in the decade and was more widely followed. After the BMRB was formed, the NME continued compiling its own chart up until 14 May 1988. The Allisons' entry for the Eurovision Song Contest, entitled "Are You Sure?", was the first single to be number one on the NME chart but not to reach the top spot on Record Retailer's chart. In total, sixteen songs failed to reach number one with Record Retailer but topped the NME chart. In 1969, after the BMRB chart was introduced, four songs topped the NME but not the BMRB chart. Notable discrepancies include "19th Nervous Breakdown", which reached number one for the Rolling Stones on the NME, Disc, and Melody Maker charts, topped the BBC's Pick of the Pops aggregated chart and was announced as number one on Top of the Pops; however, because it did not reach number one on the Record Retailer chart, it is omitted from the Official Charts Company's canon. The Beatles' "Please Please Me" suffered the same fate so, arguably, should be considered the Beatles' first number-one single. Conversely, Elvis Presley's double A-side, "Rock-A-Hula Baby"/"Can't Help Falling in Love", reached number one on all charts except NME because the entries were split by NME according to which song was requested when the shop returned its figures. (Full article...)
    The Beatles had eighteen number-one singles on the NME chart, only one of which never topped the Record Retailer chart.

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

    The Allisons' entry for the Eurovision Song Contest, entitled "Are You Sure?", was the first single to be number one on the NME chart but not to reach the top spot on Record Retailer's chart. In total, sixteen songs failed to reach number one with Record Retailer but topped the NME chart. In 1969, after the BMRB chart was introduced, four songs topped the NME but not the BMRB chart. Notable discrepancies include "19th Nervous Breakdown", which reached number one for the Rolling Stones on the NME, Disc, and Melody Maker charts, topped the BBC's Pick of the Pops aggregated chart and was announced as number one on Top of the Pops; however, because it did not reach number one on the Record Retailer chart, it is omitted from the Official Charts Company's canon. The Beatles' "Please Please Me" suffered the same fate so, arguably, should be considered the Beatles' first number-one single. Conversely, Elvis Presley's double A-side, "Rock-A-Hula Baby"/"Can't Help Falling in Love", reached number one on all charts except NME because the entries were split by NME according to which song was requested when the shop returned its figures. (Full article...)
  • Image 8 The Grammy Award for Best Remixed Recording, Non-Classical is an honor presented to producers for quality remixed recordings at the Grammy Awards, a ceremony that was established in 1958 and originally called the Gramophone Awards. Honors in several categories are presented at the ceremony annually by the National Academy of Recording Arts and Sciences of the United States to "honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position". The award was first presented as the Grammy Award for Remixer of the Year, Non-Classical at the 40th Grammy Awards in 1998 to Frankie Knuckles. While the award was under this name, it was presented without specifying a work; when it shifted to its current name in 2002 works were named. According to the category description guide for the 52nd Grammy Awards, the award is presented "to recognize an individual(s) who takes previously recorded material and adds or alters it in such a way as to create a new and unique performance". The prize is given to the remixer(s), not the original artist(s). (Full article...)
    The Grammy Award for Best Remixed Recording, Non-Classical is an honor presented to producers for quality remixed recordings at the Grammy Awards, a ceremony that was established in 1958 and originally called the Gramophone Awards. Honors in several categories are presented at the ceremony annually by the National Academy of Recording Arts and Sciences of the United States to "honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position".

    The award was first presented as the Grammy Award for Remixer of the Year, Non-Classical at the 40th Grammy Awards in 1998 to Frankie Knuckles. While the award was under this name, it was presented without specifying a work; when it shifted to its current name in 2002 works were named. According to the category description guide for the 52nd Grammy Awards, the award is presented "to recognize an individual(s) who takes previously recorded material and adds or alters it in such a way as to create a new and unique performance". The prize is given to the remixer(s), not the original artist(s). (Full article...)
  • Image 9 Enrique Iglesias's debut single "Si Tú Te Vas" became his first song to reach number one on the Latin Pop Airplay chart in 1996. He also had the best-performing song of the year with "Por Amarte". Latin Pop Airplay is a chart that ranks the top-performing songs (regardless of genre or language) on Latin pop radio stations in the United States, published by Billboard magazine based on weekly airplay data compiled by Nielsen's Broadcast Data Systems. It is a subchart of Hot Latin Songs, which lists the best-performing Spanish-language songs in the country. In 1996, 16 songs topped the chart, in 52 issues of the magazine. The first number one of the year was "Más Allá" by Gloria Estefan, which had been in the top spot since the issue dated December 30, 1995, and spent a total of three weeks at this position. Enrique Iglesias, Cristian Castro, Luis Miguel, and Soraya were the only acts to have more than one chart-topper in 1996. Iglesias's debut single, "Si Tú Te Vas", became his first chart-topper and spent two weeks at number one. He also had the best-performing Latin pop song of the year with "Por Amarte" despite it only spending one week at number one. Castro's self-penned track, "Amor", held the top spot for the longest in 1996 with 10 weeks. "Sueña", which spent four weeks at number one, is the Spanish-language adaptation of "Someday" from Disney's 1996 film The Hunchback of Notre Dame, which Miguel recorded for the Latin American edition of the movie's soundtrack. Soraya achieved her only number ones with "De Repente" and "Amor en Tus Ojos". (Full article...)
    A man wearing a cap and a dark green shirt is holding a microphone on his left hand
    Enrique Iglesias's debut single "Si Tú Te Vas" became his first song to reach number one on the Latin Pop Airplay chart in 1996. He also had the best-performing song of the year with "Por Amarte".

    Latin Pop Airplay is a chart that ranks the top-performing songs (regardless of genre or language) on Latin pop radio stations in the United States, published by Billboard magazine based on weekly airplay data compiled by Nielsen's Broadcast Data Systems. It is a subchart of Hot Latin Songs, which lists the best-performing Spanish-language songs in the country. In 1996, 16 songs topped the chart, in 52 issues of the magazine.

    The first number one of the year was "Más Allá" by Gloria Estefan, which had been in the top spot since the issue dated December 30, 1995, and spent a total of three weeks at this position. Enrique Iglesias, Cristian Castro, Luis Miguel, and Soraya were the only acts to have more than one chart-topper in 1996. Iglesias's debut single, "Si Tú Te Vas", became his first chart-topper and spent two weeks at number one. He also had the best-performing Latin pop song of the year with "Por Amarte" despite it only spending one week at number one. Castro's self-penned track, "Amor", held the top spot for the longest in 1996 with 10 weeks. "Sueña", which spent four weeks at number one, is the Spanish-language adaptation of "Someday" from Disney's 1996 film The Hunchback of Notre Dame, which Miguel recorded for the Latin American edition of the movie's soundtrack. Soraya achieved her only number ones with "De Repente" and "Amor en Tus Ojos". (Full article...)
  • Image 10 The UK Singles Chart is the official record chart in the United Kingdom. Record charts in the UK began life in 1952 when Percy Dickins from New Musical Express (NME) imitated an idea started in American Billboard magazine and began compiling a hit parade. Prior to this, a song's popularity was measured by the sales of sheet music. Initially, Dickins telephoned a sample of around 20 shops asking for a list of the 10 best-selling songs. These results were then aggregated to give a Top 12 chart published in NME on 14 November 1952. The number-one single was "Here in My Heart" by Al Martino. According to The Official Charts Company and Guinness' British Hit Singles & Albums, the NME is considered the official British singles chart before 10 March 1960. However, until 15 February 1969, when the British Market Research Bureau chart was established, there was no universally accepted chart. Other charts existed and different artists may have placed at number one in charts by Record Mirror, Disc or Melody Maker. Alternatively, some considered the BBC's Pick of the Pops, which averaged all these charts, to be a better indicator of the number-one single. (Full article...)
    The UK Singles Chart is the official record chart in the United Kingdom. Record charts in the UK began life in 1952 when Percy Dickins from New Musical Express (NME) imitated an idea started in American Billboard magazine and began compiling a hit parade. Prior to this, a song's popularity was measured by the sales of sheet music. Initially, Dickins telephoned a sample of around 20 shops asking for a list of the 10 best-selling songs. These results were then aggregated to give a Top 12 chart published in NME on 14 November 1952. The number-one single was "Here in My Heart" by Al Martino.

    According to The Official Charts Company and Guinness' British Hit Singles & Albums, the NME is considered the official British singles chart before 10 March 1960. However, until 15 February 1969, when the British Market Research Bureau chart was established, there was no universally accepted chart. Other charts existed and different artists may have placed at number one in charts by Record Mirror, Disc or Melody Maker. Alternatively, some considered the BBC's Pick of the Pops, which averaged all these charts, to be a better indicator of the number-one single. (Full article...)
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