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The Record Production Portal

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

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

  

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Featured articles are displayed here, which represent some of the best content on English Wikipedia.
  • Image 1 "I Don't Remember" is a song by Australian alternative rock band Powderfinger, from the album Dream Days at the Hotel Existence. It made its radio debut on 9 July 2007 on Australian radio stations, and was subsequently released as a single and digital download on 4 August 2007 in Australia, 3 September 2007 in New Zealand, and 13 August 2007 in the United States. The song was written by Powderfinger lead singer Bernard Fanning, and influenced by bassist John Collins. The riff was then developed by guitarist Ian Haug. The song is about reconciling difficulties and arguments, rather than shifting the blame. "I Don't Remember" was lauded by some reviewers, who appreciated its energy, while other reviewers were more critical, dubbing it an "advertisement song". The music video also received critical acclaim, especially for the parodies it contained. Despite the reviews, the single charted poorly, reaching number 42 on the ARIA Singles Chart. (Full article...)
    "I Don't Remember" is a song by Australian alternative rock band Powderfinger, from the album Dream Days at the Hotel Existence. It made its radio debut on 9 July 2007 on Australian radio stations, and was subsequently released as a single and digital download on 4 August 2007 in Australia, 3 September 2007 in New Zealand, and 13 August 2007 in the United States. The song was written by Powderfinger lead singer Bernard Fanning, and influenced by bassist John Collins. The riff was then developed by guitarist Ian Haug. The song is about reconciling difficulties and arguments, rather than shifting the blame.

    "I Don't Remember" was lauded by some reviewers, who appreciated its energy, while other reviewers were more critical, dubbing it an "advertisement song". The music video also received critical acclaim, especially for the parodies it contained. Despite the reviews, the single charted poorly, reaching number 42 on the ARIA Singles Chart. (Full article...)
  • Image 2 The Fifth Element is a 1997 English-language French science fiction action film conceived and directed by Luc Besson, as well as co-written by Besson and Robert Mark Kamen. It stars Bruce Willis, Milla Jovovich, Gary Oldman, Ian Holm, and Chris Tucker. Primarily set in the 23rd century, the film's central plot involves the survival of planet Earth, which becomes the responsibility of Korben Dallas (Willis), a taxicab driver and former special forces major, after a young woman (Jovovich) falls into his cab. To accomplish this, Dallas joins forces with her to recover four mystical stones essential for the defence of Earth against the impending attack of a malevolent cosmic entity. Besson started writing the story that was developed as The Fifth Element when he was 16 years old; he was 38 when the film opened in cinemas. Besson wanted to shoot the film in France, but suitable facilities could not be found; filming took place in London and Mauritania instead. He hired comic artists Jean "Moebius" Giraud and Jean-Claude Mézières, whose books inspired parts of the film, for production design. Costume design was by Jean Paul Gaultier. (Full article...)
    The Fifth Element is a 1997 English-language French science fiction action film conceived and directed by Luc Besson, as well as co-written by Besson and Robert Mark Kamen. It stars Bruce Willis, Milla Jovovich, Gary Oldman, Ian Holm, and Chris Tucker. Primarily set in the 23rd century, the film's central plot involves the survival of planet Earth, which becomes the responsibility of Korben Dallas (Willis), a taxicab driver and former special forces major, after a young woman (Jovovich) falls into his cab. To accomplish this, Dallas joins forces with her to recover four mystical stones essential for the defence of Earth against the impending attack of a malevolent cosmic entity.

    Besson started writing the story that was developed as The Fifth Element when he was 16 years old; he was 38 when the film opened in cinemas. Besson wanted to shoot the film in France, but suitable facilities could not be found; filming took place in London and Mauritania instead. He hired comic artists Jean "Moebius" Giraud and Jean-Claude Mézières, whose books inspired parts of the film, for production design. Costume design was by Jean Paul Gaultier. (Full article...)
  • Image 3 Blonde on Blonde is the seventh studio album by the American singer-songwriter Bob Dylan, released as a double album on June 20, 1966, by Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album—"One of Us Must Know (Sooner or Later)". At producer Bob Johnston's suggestion, Dylan, keyboardist Al Kooper, and guitarist Robbie Robertson moved to the CBS studios in Nashville, Tennessee. These sessions, augmented by some of Nashville's top session musicians, were more fruitful, and in February and March all the remaining songs for the album were recorded. Blonde on Blonde completed the trilogy of rock albums that Dylan recorded in 1965 and 1966, starting with Bringing It All Back Home and Highway 61 Revisited (both 1965). Critics often rank Blonde on Blonde as one of the greatest albums of all time. Combining the expertise of Nashville session musicians with a modernist literary sensibility, the album's songs have been described as operating on a grand scale musically, while featuring lyrics one critic called "a unique mixture of the visionary and the colloquial". It was one of the first double albums in rock music. (Full article...)
    Blonde on Blonde is the seventh studio album by the American singer-songwriter Bob Dylan, released as a double album on June 20, 1966, by Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album—"One of Us Must Know (Sooner or Later)". At producer Bob Johnston's suggestion, Dylan, keyboardist Al Kooper, and guitarist Robbie Robertson moved to the CBS studios in Nashville, Tennessee. These sessions, augmented by some of Nashville's top session musicians, were more fruitful, and in February and March all the remaining songs for the album were recorded.

    Blonde on Blonde completed the trilogy of rock albums that Dylan recorded in 1965 and 1966, starting with Bringing It All Back Home and Highway 61 Revisited (both 1965). Critics often rank Blonde on Blonde as one of the greatest albums of all time. Combining the expertise of Nashville session musicians with a modernist literary sensibility, the album's songs have been described as operating on a grand scale musically, while featuring lyrics one critic called "a unique mixture of the visionary and the colloquial". It was one of the first double albums in rock music. (Full article...)
  • Image 4 The Dark Side of the Moon is the eighth studio album by the English rock band Pink Floyd, released on 1 March 1973, by Harvest Records in the UK and Capitol Records in the US. Developed during live performances before recording began, it was conceived as a concept album that would focus on the pressures faced by the band during their arduous lifestyle, and also deal with the mental health problems of the former band member Syd Barrett, who had departed the group in 1968. New material was recorded in two sessions in 1972 and 1973 at EMI Studios (now Abbey Road Studios) in London. The record builds on ideas explored in Pink Floyd's earlier recordings and performances, while omitting the extended instrumentals that characterised the band's earlier work. The group employed multitrack recording, tape loops, and analogue synthesisers, including experimentation with the EMS VCS 3 and a Synthi A. The engineer Alan Parsons was responsible for many of the sonic aspects of the recording, and for the recruitment of the session singer Clare Torry, who appears on "The Great Gig in the Sky". (Full article...)
    The Dark Side of the Moon is the eighth studio album by the English rock band Pink Floyd, released on 1 March 1973, by Harvest Records in the UK and Capitol Records in the US. Developed during live performances before recording began, it was conceived as a concept album that would focus on the pressures faced by the band during their arduous lifestyle, and also deal with the mental health problems of the former band member Syd Barrett, who had departed the group in 1968. New material was recorded in two sessions in 1972 and 1973 at EMI Studios (now Abbey Road Studios) in London.

    The record builds on ideas explored in Pink Floyd's earlier recordings and performances, while omitting the extended instrumentals that characterised the band's earlier work. The group employed multitrack recording, tape loops, and analogue synthesisers, including experimentation with the EMS VCS 3 and a Synthi A. The engineer Alan Parsons was responsible for many of the sonic aspects of the recording, and for the recruitment of the session singer Clare Torry, who appears on "The Great Gig in the Sky". (Full article...)
  • Image 5 Sir Adrian Cedric Boult, CH (/boʊlt/; 8 April 1889 – 22 February 1983) was a British conductor. Brought up in a prosperous mercantile family, he followed musical studies in England and at Leipzig, Germany, with early conducting work in London for the Royal Opera House and Sergei Diaghilev's ballet company. His first prominent post was conductor of the City of Birmingham Orchestra in 1924. When the British Broadcasting Corporation appointed him director of music in 1930, he established the BBC Symphony Orchestra and became its chief conductor. The orchestra set standards of excellence that were rivalled in Britain only by the London Philharmonic Orchestra (LPO), founded two years later. Forced to leave the BBC in 1950 on reaching retirement age, Boult became principal conductor of the London Philharmonic Orchestra. The orchestra had declined from its peak of the 1930s, but under his guidance its fortunes were revived. He retired as its chief conductor in 1957, and later accepted the post of president. Although in the latter part of his career he worked with several other orchestras, including the London Symphony Orchestra, the Philharmonia Orchestra, the Royal Philharmonic Orchestra, and his former orchestra, the BBC Symphony, it was the LPO with which he was primarily associated, conducting it in concerts and recordings until 1978, in what was widely called his "Indian summer". (Full article...)
    Sir Adrian Cedric Boult, CH (/boʊlt/; 8 April 1889 – 22 February 1983) was a British conductor. Brought up in a prosperous mercantile family, he followed musical studies in England and at Leipzig, Germany, with early conducting work in London for the Royal Opera House and Sergei Diaghilev's ballet company. His first prominent post was conductor of the City of Birmingham Orchestra in 1924. When the British Broadcasting Corporation appointed him director of music in 1930, he established the BBC Symphony Orchestra and became its chief conductor. The orchestra set standards of excellence that were rivalled in Britain only by the London Philharmonic Orchestra (LPO), founded two years later.

    Forced to leave the BBC in 1950 on reaching retirement age, Boult became principal conductor of the London Philharmonic Orchestra. The orchestra had declined from its peak of the 1930s, but under his guidance its fortunes were revived. He retired as its chief conductor in 1957, and later accepted the post of president. Although in the latter part of his career he worked with several other orchestras, including the London Symphony Orchestra, the Philharmonia Orchestra, the Royal Philharmonic Orchestra, and his former orchestra, the BBC Symphony, it was the LPO with which he was primarily associated, conducting it in concerts and recordings until 1978, in what was widely called his "Indian summer". (Full article...)
  • Image 6 Christgau's Record Guide: Rock Albums of the Seventies is a music reference book by American music journalist and essayist Robert Christgau. It was first published in October 1981 by Ticknor & Fields. The book compiles approximately 3,000 of Christgau's capsule album reviews, most of which were originally written for his "Consumer Guide" column in The Village Voice throughout the 1970s. The entries feature annotated details about each record's release and cover a variety of genres related to rock music. Christgau's reviews are informed by an interest in the aesthetic and political dimensions of popular music, a belief that it could be consumed intelligently, and a desire to communicate his ideas to readers in an entertaining, provocative, and compact way. Many of the older reviews were rewritten for the guide to reflect his changed perspective and matured stylistic approach. He undertook an intense preparation process for the book during 1979 and 1980, which temporarily hindered both his awareness of current music and his marriage to fellow writer Carola Dibbell, whom he later credited as an influence on his work. (Full article...)

    Christgau's Record Guide: Rock Albums of the Seventies is a music reference book by American music journalist and essayist Robert Christgau. It was first published in October 1981 by Ticknor & Fields. The book compiles approximately 3,000 of Christgau's capsule album reviews, most of which were originally written for his "Consumer Guide" column in The Village Voice throughout the 1970s. The entries feature annotated details about each record's release and cover a variety of genres related to rock music.

    Christgau's reviews are informed by an interest in the aesthetic and political dimensions of popular music, a belief that it could be consumed intelligently, and a desire to communicate his ideas to readers in an entertaining, provocative, and compact way. Many of the older reviews were rewritten for the guide to reflect his changed perspective and matured stylistic approach. He undertook an intense preparation process for the book during 1979 and 1980, which temporarily hindered both his awareness of current music and his marriage to fellow writer Carola Dibbell, whom he later credited as an influence on his work. (Full article...)
  • Image 7 Hajji Chrismansyah Rahadi ([xrisˈmanʃah raˈhadi]; born Christian Rahadi [xristiˈan raˈhadi]; 16 September 1949 – 30 March 2007), better known by his stage name Chrisye ([xəˈriʃə]), was an Indonesian progressive pop singer and songwriter. In 2011, Rolling Stone Indonesia declared him the third-greatest Indonesian musician of all time. Born in Jakarta of mixed Chinese-Indonesian descent, Chrisye became interested in music at an early age. At high school he played bass guitar in a band he formed with his brother, Joris. In the late 1960s he joined Sabda Nada (later Gipsy), a band led by his neighbours, the Nasutions. In 1973, after a short hiatus, he rejoined the band to play in New York for a year. He briefly returned to Indonesia and then went back to New York with another band, the Pro's. After once again returning to Indonesia, he collaborated with Gipsy and Guruh Sukarnoputra to record the 1976 indie album Guruh Gipsy. (Full article...)

    Hajji Chrismansyah Rahadi ([xrisˈmanʃah raˈhadi]; born Christian Rahadi [xristiˈan raˈhadi]; 16 September 1949 – 30 March 2007), better known by his stage name Chrisye ([xəˈriʃə]), was an Indonesian progressive pop singer and songwriter. In 2011, Rolling Stone Indonesia declared him the third-greatest Indonesian musician of all time.

    Born in Jakarta of mixed Chinese-Indonesian descent, Chrisye became interested in music at an early age. At high school he played bass guitar in a band he formed with his brother, Joris. In the late 1960s he joined Sabda Nada (later Gipsy), a band led by his neighbours, the Nasutions. In 1973, after a short hiatus, he rejoined the band to play in New York for a year. He briefly returned to Indonesia and then went back to New York with another band, the Pro's. After once again returning to Indonesia, he collaborated with Gipsy and Guruh Sukarnoputra to record the 1976 indie album Guruh Gipsy. (Full article...)
  • Image 8 Shostakovich in 1942 Dmitri Dmitriyevich Shostakovich[a] (25 September [O.S. 12 September] 1906 – 9 August 1975) was a Soviet-era Russian composer and pianist who became internationally known after the premiere of his First Symphony in 1926 and thereafter was regarded as a major composer. Shostakovich achieved early fame in the Soviet Union, but had a complex relationship with its government. His 1934 opera Lady Macbeth of Mtsensk was initially a success but later condemned by the Soviet government, putting his career at risk. In 1948, his work was denounced under the Zhdanov Doctrine, with professional consequences lasting several years. Even after his censure was rescinded in 1956, performances of his music were occasionally subject to state interventions, as with his Thirteenth Symphony (1962). Nevertheless, Shostakovich was a member of the Supreme Soviet of the RSFSR (1947) and the Supreme Soviet of the Soviet Union (from 1962 until his death), as well as chairman of the RSFSR Union of Composers (1960–1968). Over the course of his career, he earned several important awards, including the Order of Lenin, from the Soviet government. (Full article...)

    Shostakovich in 1942

    Dmitri Dmitriyevich Shostakovich[a] (25 September [O.S. 12 September] 1906 – 9 August 1975) was a Soviet-era Russian composer and pianist who became internationally known after the premiere of his First Symphony in 1926 and thereafter was regarded as a major composer.


    Shostakovich achieved early fame in the Soviet Union, but had a complex relationship with its government. His 1934 opera Lady Macbeth of Mtsensk was initially a success but later condemned by the Soviet government, putting his career at risk. In 1948, his work was denounced under the Zhdanov Doctrine, with professional consequences lasting several years. Even after his censure was rescinded in 1956, performances of his music were occasionally subject to state interventions, as with his Thirteenth Symphony (1962). Nevertheless, Shostakovich was a member of the Supreme Soviet of the RSFSR (1947) and the Supreme Soviet of the Soviet Union (from 1962 until his death), as well as chairman of the RSFSR Union of Composers (1960–1968). Over the course of his career, he earned several important awards, including the Order of Lenin, from the Soviet government. (Full article...)
  • Image 9 3 of Hearts is the eponymous debut studio album by American girl group 3 of Hearts. It was released on July 24, 2001, through the record label RCA Nashville. 3 of Hearts is a teen pop and country music album, though according to some music critics, it leans more towards pop music. The album was managed by American producer Byron Gallimore; its marketing focused on the group's crossover appeal to target a teenaged and young-adult audience. 3 of Hearts performed on two national tours sponsored by Seventeen magazine and Walmart respectively, and the singers were featured in several marketing campaigns. Reviews of 3 of Hearts were mixed; some critics praised the group's vocals and public image, but others criticized the songs as generic and lacking an authentic country sound. The album peaked at number 45 on Billboard's Top Country Albums chart. Two singles – "Love Is Enough" and "Arizona Rain" – were released and made appearances on the Country Airplay Billboard chart. The album's low sales and lack of appeal to country radio audiences led to RCA dropping the group. (Full article...)
    3 of Hearts is the eponymous debut studio album by American girl group 3 of Hearts. It was released on July 24, 2001, through the record label RCA Nashville. 3 of Hearts is a teen pop and country music album, though according to some music critics, it leans more towards pop music. The album was managed by American producer Byron Gallimore; its marketing focused on the group's crossover appeal to target a teenaged and young-adult audience. 3 of Hearts performed on two national tours sponsored by Seventeen magazine and Walmart respectively, and the singers were featured in several marketing campaigns.

    Reviews of 3 of Hearts were mixed; some critics praised the group's vocals and public image, but others criticized the songs as generic and lacking an authentic country sound. The album peaked at number 45 on Billboard's Top Country Albums chart. Two singles – "Love Is Enough" and "Arizona Rain" – were released and made appearances on the Country Airplay Billboard chart. The album's low sales and lack of appeal to country radio audiences led to RCA dropping the group. (Full article...)
  • Image 10 Damageplan was an American heavy metal band from Dallas, Texas, formed in 2003. Following the demise of their previous group Pantera, brothers Dimebag Darrell and Vinnie Paul Abbott wanted to start a new band. The pair recruited former Halford guitarist Patrick Lachman on vocals, and later Bob Zilla on bass. Damageplan released New Found Power, their only album, in February 2004. New Found Power debuted at number 38 on the Billboard 200, selling 44,676 copies in its first week. While Damageplan was promoting the album at a concert on December 8, 2004 at the Alrosa Villa nightclub in Columbus, Ohio, deranged fan Nathan Gale climbed on stage and killed guitarist Dimebag Darrell and three others before being fatally shot by a police officer. Although no motive was found, some of Gale's friends reported that he believed that Pantera had stolen his lyrics and that its former members were attempting to steal his identity. Damageplan's manager confirmed there are unreleased Damageplan recordings, although they have not surfaced, and the band has been inactive since the incident. Vinnie and Zilla joined the band Hellyeah, and Lachman joined the Mercy Clinic. Vinnie Paul died in 2018. (Full article...)
    Damageplan was an American heavy metal band from Dallas, Texas, formed in 2003. Following the demise of their previous group Pantera, brothers Dimebag Darrell and Vinnie Paul Abbott wanted to start a new band. The pair recruited former Halford guitarist Patrick Lachman on vocals, and later Bob Zilla on bass. Damageplan released New Found Power, their only album, in February 2004. New Found Power debuted at number 38 on the Billboard 200, selling 44,676 copies in its first week.

    While Damageplan was promoting the album at a concert on December 8, 2004 at the Alrosa Villa nightclub in Columbus, Ohio, deranged fan Nathan Gale climbed on stage and killed guitarist Dimebag Darrell and three others before being fatally shot by a police officer. Although no motive was found, some of Gale's friends reported that he believed that Pantera had stolen his lyrics and that its former members were attempting to steal his identity. Damageplan's manager confirmed there are unreleased Damageplan recordings, although they have not surfaced, and the band has been inactive since the incident. Vinnie and Zilla joined the band Hellyeah, and Lachman joined the Mercy Clinic. Vinnie Paul died in 2018. (Full article...)
  • Image 11 Mother's Milk is the fourth studio album by American rock band Red Hot Chili Peppers, released on August 16, 1989 by EMI Records. After the death of founding guitarist Hillel Slovak and the subsequent departure of drummer Jack Irons, vocalist Anthony Kiedis and bassist Flea regrouped with the addition of guitarist John Frusciante and drummer Chad Smith. Frusciante's influence altered the band's sound by placing more emphasis on melody than rhythm, which had dominated the band's previous material. Returning producer Michael Beinhorn favored heavy metal guitar riffs as well as overdubbing. Frusciante perceived Beinhorn's taste as excessive, and as a result, the two constantly fought over the album's guitar sound. Mother's Milk was a greater commercial success than the band's first three albums, peaking at number 52 on the US Billboard 200. It received widespread airplay for the three singles which are the cover of Stevie Wonder's "Higher Ground", "Knock Me Down" and "Taste the Pain", and it became their first gold record in early 1990. Although it was not met with the same positive critical reception that its predecessor The Uplift Mofo Party Plan (1987) had garnered, Mother's Milk was the first step for the band in achieving international success and, according to Amy Hanson of AllMusic, "turned the tide and transformed the band from underground funk-rocking rappers to mainstream bad boys with seemingly very little effort." (Full article...)
    Mother's Milk is the fourth studio album by American rock band Red Hot Chili Peppers, released on August 16, 1989 by EMI Records. After the death of founding guitarist Hillel Slovak and the subsequent departure of drummer Jack Irons, vocalist Anthony Kiedis and bassist Flea regrouped with the addition of guitarist John Frusciante and drummer Chad Smith. Frusciante's influence altered the band's sound by placing more emphasis on melody than rhythm, which had dominated the band's previous material. Returning producer Michael Beinhorn favored heavy metal guitar riffs as well as overdubbing. Frusciante perceived Beinhorn's taste as excessive, and as a result, the two constantly fought over the album's guitar sound.

    Mother's Milk was a greater commercial success than the band's first three albums, peaking at number 52 on the US Billboard 200. It received widespread airplay for the three singles which are the cover of Stevie Wonder's "Higher Ground", "Knock Me Down" and "Taste the Pain", and it became their first gold record in early 1990. Although it was not met with the same positive critical reception that its predecessor The Uplift Mofo Party Plan (1987) had garnered, Mother's Milk was the first step for the band in achieving international success and, according to Amy Hanson of AllMusic, "turned the tide and transformed the band from underground funk-rocking rappers to mainstream bad boys with seemingly very little effort." (Full article...)
  • Image 12 When You Get a Little Lonely is the debut studio album by American actress and singer Maureen McCormick. It was released on April 4, 1995, through the label Phantom Hill. After playing Marcia Brady in the sitcom The Brady Bunch, she was offered a solo record deal in the mid-1970s but rejected the offer to attend school. McCormick had previously recorded four albums as part of The Brady Bunch and a duet album with her co-star Christopher Knight. In 1994, she signed with her brother's record label, Phantom Hill, and recorded When You Get a Little Lonely in Nashville, Tennessee and Hollywood, California. Barry Coffing was the executive producer and arranged and produced all the songs. McCormick wanted to fuse genres into the album's overall country sound. The album received mainly negative reviews; some reviewers were critical of McCormick's choice to record country music. She promoted it through live performances and CD signings. Its title track and "Tell Mama" were released as singles. When You Get a Little Lonely was re-released in 2008 as a Circuit City exclusive. Since the album's release, McCormick has continued to perform country music and has participated in the reality television show Gone Country. In a 2008 interview, McCormick said she was disappointed by restrictions to the recording process and wished she had written at least one song for it. When You Get A Little Lonely is her only album as a solo artist. (Full article...)
    When You Get a Little Lonely is the debut studio album by American actress and singer Maureen McCormick. It was released on April 4, 1995, through the label Phantom Hill. After playing Marcia Brady in the sitcom The Brady Bunch, she was offered a solo record deal in the mid-1970s but rejected the offer to attend school. McCormick had previously recorded four albums as part of The Brady Bunch and a duet album with her co-star Christopher Knight. In 1994, she signed with her brother's record label, Phantom Hill, and recorded When You Get a Little Lonely in Nashville, Tennessee and Hollywood, California. Barry Coffing was the executive producer and arranged and produced all the songs. McCormick wanted to fuse genres into the album's overall country sound.

    The album received mainly negative reviews; some reviewers were critical of McCormick's choice to record country music. She promoted it through live performances and CD signings. Its title track and "Tell Mama" were released as singles. When You Get a Little Lonely was re-released in 2008 as a Circuit City exclusive. Since the album's release, McCormick has continued to perform country music and has participated in the reality television show Gone Country. In a 2008 interview, McCormick said she was disappointed by restrictions to the recording process and wished she had written at least one song for it. When You Get A Little Lonely is her only album as a solo artist. (Full article...)
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Born this day

Birthdays in Music: December 4


  • Amie Comeaux (Record production, 1976 –December 21, 1997), American country music singer, would have turned 48 this year.
  • Eric Roche (Record production, 1967 –September 06, 2005), American arranger and guitarist, would have turned 57 this year.
  • Dennis Wilson (Record production, 1944 –December 28, 1983), American drummer and vocalist for Beach Boys, would have turned 80 this year.
  • Ernie Carson (Record production, 1937 –January 09, 2012), American trumpeter, would have turned 87 this year.
  • Denis Charles (Record production, 1933 –March 26, 1998), American drummer, would have turned 91 this year.
  • Jim Hall (Record production, 1930 –December 10, 2013), American guitarist, would have turned 94 this year.
  • Deanna Durbin (Record production, 1921 –April 17, 2013), Canadian actress and singer, would have turned 103 this year.
  • Russell Jacquet (Record production, 1917 –February 28, 1990), American big band trumpeter, would have turned 107 this year.
  • Herman Autrey (Record production, 1904 –June 14, 1980), American trumpeter and vocalist, would have turned 120 this year.
  • Hamilton Harty (Record production, 1879 –February 19, 1941), (born Herbert Hamilton Harty) British composer, would have turned 145 this year.
  • Lillian Russell (Record production, 1861 –June 06, 1922), American singer and actress, would have turned 163 this year.
  • Michel Montéclair (Record production, 1667 –September 22, 1737), French composer, would have turned 357 this year.
  • André Campra (Record production, 1660 –June 29, 1744), French composer and conductor, would have turned 364 this year.


  

Selected albums - load new batch

These are all Good articles, which meet a core set of high editorial standards.
  • Image 1 The Fame is the debut studio album by American singer Lady Gaga. It was released on August 19, 2008, by Interscope Records. After joining KonLive Distribution and Cherrytree Records in 2008, Gaga began working on the album with different producers, primarily RedOne, Martin Kierszenbaum, and Rob Fusari. Musically, The Fame is an electropop, synth-pop, and dance-pop record that displays influences from 1980s music. Lyrically, it visualizes Gaga's love of fame in general, while also dealing with subjects such as love, sex, money, drugs, and sexual identity. The album was primarily promoted through The Fame Ball Tour and multiple television appearances, and was reissued as a deluxe edition with The Fame Monster on November 18, 2009. The album received generally favorable reviews from critics, who commended its lyrical content, Gaga's musicianship and vocal ability. It was a commercial success, topping the charts in several countries including the United Kingdom, Canada, Germany, Ireland, Poland, and Switzerland. It peaked at number two on the US Billboard 200, and also topped the Dance/Electronic Albums chart for 190 non-consecutive weeks, the most time on top in history. It has since been certified six-times Platinum by the Recording Industry Association of America (RIAA). The Fame became the fifth best-selling album of 2009, and has sold over 4.9 million copies in the United States as of January 2019. Combined with The Fame Monster, the album had sold over 18 million copies worldwide as of August 2019. (Full article...)
    The Fame is the debut studio album by American singer Lady Gaga. It was released on August 19, 2008, by Interscope Records. After joining KonLive Distribution and Cherrytree Records in 2008, Gaga began working on the album with different producers, primarily RedOne, Martin Kierszenbaum, and Rob Fusari. Musically, The Fame is an electropop, synth-pop, and dance-pop record that displays influences from 1980s music. Lyrically, it visualizes Gaga's love of fame in general, while also dealing with subjects such as love, sex, money, drugs, and sexual identity. The album was primarily promoted through The Fame Ball Tour and multiple television appearances, and was reissued as a deluxe edition with The Fame Monster on November 18, 2009.

    The album received generally favorable reviews from critics, who commended its lyrical content, Gaga's musicianship and vocal ability. It was a commercial success, topping the charts in several countries including the United Kingdom, Canada, Germany, Ireland, Poland, and Switzerland. It peaked at number two on the US Billboard 200, and also topped the Dance/Electronic Albums chart for 190 non-consecutive weeks, the most time on top in history. It has since been certified six-times Platinum by the Recording Industry Association of America (RIAA). The Fame became the fifth best-selling album of 2009, and has sold over 4.9 million copies in the United States as of January 2019. Combined with The Fame Monster, the album had sold over 18 million copies worldwide as of August 2019. (Full article...)
  • Image 2 End of the Century is the fifth studio album by the American punk rock band Ramones, released on February 4, 1980, through Sire Records. The album was the band's first to be produced by Phil Spector, though he had offered the band his assistance earlier in their career. With Spector fully producing the album, it was the first release that excluded original member Tommy Ramone, who had left the band in 1978 but had produced their previous album Road to Ruin. Spector used more advanced standards of engineering, such as high-quality overdubbing and echo chambers. These painstaking methods caused conflict between the band and Spector since the Ramones were accustomed to a quicker recording process. Spector emphasized the production value as well, working with a budget of around $200,000, far exceeding their earlier album sessions. The songs on End of the Century were written primarily to expand the band's fan base, straying from the band's original punk genre and steering toward a more pop oriented sound. The lyrics on the album deal with various topics, ranging from drug addictions to the band's lifestyle while touring. The album also features a cover of the Ronettes' song "Baby, I Love You", as well as successors to the previous Ramones songs "Judy Is a Punk" and "Havana Affair". (Full article...)
    End of the Century is the fifth studio album by the American punk rock band Ramones, released on February 4, 1980, through Sire Records. The album was the band's first to be produced by Phil Spector, though he had offered the band his assistance earlier in their career. With Spector fully producing the album, it was the first release that excluded original member Tommy Ramone, who had left the band in 1978 but had produced their previous album Road to Ruin. Spector used more advanced standards of engineering, such as high-quality overdubbing and echo chambers. These painstaking methods caused conflict between the band and Spector since the Ramones were accustomed to a quicker recording process. Spector emphasized the production value as well, working with a budget of around $200,000, far exceeding their earlier album sessions.

    The songs on End of the Century were written primarily to expand the band's fan base, straying from the band's original punk genre and steering toward a more pop oriented sound. The lyrics on the album deal with various topics, ranging from drug addictions to the band's lifestyle while touring. The album also features a cover of the Ronettes' song "Baby, I Love You", as well as successors to the previous Ramones songs "Judy Is a Punk" and "Havana Affair". (Full article...)
  • Image 3 The System Has Failed is the tenth studio album by American thrash metal band Megadeth, released on September 14, 2004. It was the band's second and final studio album to be distributed by Sanctuary Records. The System Has Failed was the first album to be released after Dave Mustaine recovered from his arm injury sustained in 2002. It is also the first of four Megadeth studio albums not to include original bassist and co-founder David Ellefson. The album features former Megadeth member Chris Poland (guitar), who previously performed on Killing Is My Business... and Business Is Good! (1985) and Peace Sells... but Who's Buying? (1986), and session musicians Vinnie Colaiuta (drums) and Jimmie Lee Sloas (bass). The System Has Failed received positive reception from critics and debuted at number 18 on the Billboard 200. The album was generally thought of as being a return to form for the band, after the release of more commercially accessible albums through the 1990s. "Die Dead Enough" and "Of Mice and Men" were released as singles in 2004, and "The Scorpion" was released as a single in 2005. The track "Back in the Day" was featured in the Duck Dodgers episode "In Space, No One Can Hear You Rock" in 2005, which featured an animated version of the band performing the song. (Full article...)
    The System Has Failed is the tenth studio album by American thrash metal band Megadeth, released on September 14, 2004. It was the band's second and final studio album to be distributed by Sanctuary Records. The System Has Failed was the first album to be released after Dave Mustaine recovered from his arm injury sustained in 2002. It is also the first of four Megadeth studio albums not to include original bassist and co-founder David Ellefson. The album features former Megadeth member Chris Poland (guitar), who previously performed on Killing Is My Business... and Business Is Good! (1985) and Peace Sells... but Who's Buying? (1986), and session musicians Vinnie Colaiuta (drums) and Jimmie Lee Sloas (bass).

    The System Has Failed received positive reception from critics and debuted at number 18 on the Billboard 200. The album was generally thought of as being a return to form for the band, after the release of more commercially accessible albums through the 1990s. "Die Dead Enough" and "Of Mice and Men" were released as singles in 2004, and "The Scorpion" was released as a single in 2005. The track "Back in the Day" was featured in the Duck Dodgers episode "In Space, No One Can Hear You Rock" in 2005, which featured an animated version of the band performing the song. (Full article...)
  • Image 4 Mellon Collie and the Infinite Sadness is the third studio album and first double album by the American alternative rock band the Smashing Pumpkins, released on October 23, 1995, in the United Kingdom and on October 24 in the United States by Virgin Records. It was produced by vocalist and guitarist Billy Corgan, alongside producers Flood and Alan Moulder. The lengthy 28-track album was released as a two-disc CD and a triple LP. It features a wide array of musical styles, including art rock, grunge, alternative pop, and heavy metal. Propelled by its lead single "Bullet with Butterfly Wings", the album debuted at number one on the US Billboard 200 with first-week sales of 246,500 units. It remains the band's only album to top the Billboard 200. It spawned five more singles—"1979", "Zero", "Tonight, Tonight", the promotional "Muzzle" and "Thirty-Three"—over the course of 1996, and was certified diamond by the RIAA, signifying over ten million units sold in the US. Recording sessions saw a wealth of productivity: dozens of fully completed songs were cut from the album and resurfaced on later releases. A box set released in November 1996 titled The Aeroplane Flies High compiled its promotional singles and around 30 fully completed songs from the Mellon Collie sessions that had not made the final cut (including "Pastichio Medley", a pastiche or medley of about 70 short pieces). Both albums were reissued years later with even more session tracks. (Full article...)
    Mellon Collie and the Infinite Sadness is the third studio album and first double album by the American alternative rock band the Smashing Pumpkins, released on October 23, 1995, in the United Kingdom and on October 24 in the United States by Virgin Records. It was produced by vocalist and guitarist Billy Corgan, alongside producers Flood and Alan Moulder. The lengthy 28-track album was released as a two-disc CD and a triple LP. It features a wide array of musical styles, including art rock, grunge, alternative pop, and heavy metal.

    Propelled by its lead single "Bullet with Butterfly Wings", the album debuted at number one on the US Billboard 200 with first-week sales of 246,500 units. It remains the band's only album to top the Billboard 200. It spawned five more singles—"1979", "Zero", "Tonight, Tonight", the promotional "Muzzle" and "Thirty-Three"—over the course of 1996, and was certified diamond by the RIAA, signifying over ten million units sold in the US. Recording sessions saw a wealth of productivity: dozens of fully completed songs were cut from the album and resurfaced on later releases. A box set released in November 1996 titled The Aeroplane Flies High compiled its promotional singles and around 30 fully completed songs from the Mellon Collie sessions that had not made the final cut (including "Pastichio Medley", a pastiche or medley of about 70 short pieces). Both albums were reissued years later with even more session tracks. (Full article...)
  • Image 5 All the Way... A Decade of Song is the first English-language greatest hits album by Canadian singer Celine Dion. Released by Sony Music on 12 November 1999, it features nine previously released songs on most editions and seven new recordings on all editions. Dion worked on new tracks mainly with David Foster. Other producers include Max Martin, Kristian Lundin, Robert John "Mutt" Lange, James Horner, and Matt Serletic. It is the best-selling greatest hits album in the US during the Nielsen SoundScan era. All the Way... A Decade of Song has sold over 22 million copies worldwide, including over nine million in the United States, five million in Europe, two million in Japan and one million units in Canada. All the Way... A Decade of Song garnered mostly positive reviews from music critics. Out of all of the new recordings, they especially praised the first uptempo single "That's the Way It Is" and a ballad "If Walls Could Talk". The album became a commercial success throughout the world and peaked at number one in every major music market around the globe. It placed at No. 7 on the US Billboard 200 Year-End Chart in the year 2000 and placed at No. 26 on the US Billboard 200 Decade-End chart. (Full article...)
    All the Way... A Decade of Song is the first English-language greatest hits album by Canadian singer Celine Dion. Released by Sony Music on 12 November 1999, it features nine previously released songs on most editions and seven new recordings on all editions. Dion worked on new tracks mainly with David Foster. Other producers include Max Martin, Kristian Lundin, Robert John "Mutt" Lange, James Horner, and Matt Serletic. It is the best-selling greatest hits album in the US during the Nielsen SoundScan era. All the Way... A Decade of Song has sold over 22 million copies worldwide, including over nine million in the United States, five million in Europe, two million in Japan and one million units in Canada.

    All the Way... A Decade of Song garnered mostly positive reviews from music critics. Out of all of the new recordings, they especially praised the first uptempo single "That's the Way It Is" and a ballad "If Walls Could Talk". The album became a commercial success throughout the world and peaked at number one in every major music market around the globe. It placed at No. 7 on the US Billboard 200 Year-End Chart in the year 2000 and placed at No. 26 on the US Billboard 200 Decade-End chart. (Full article...)
  • Image 6 E=MC² is the eleventh studio album by American singer-songwriter Mariah Carey, released on April 15, 2008 in the United States, by Island Records, Def Jam Recordings and The Island Def Jam Music Group. The singer began recording the album in 2007 in Anguilla, after writing and composing most of its material during and after her 2006 Adventures of Mimi Tour. Carey worked with various songwriters and producers on the project, including Jermaine Dupri, Bryan-Michael Cox, Stargate, The-Dream, Tricky Stewart, Scott Storch and Danja. The album revealed a more personal side of the singer, illustrated in its declarative theme of emancipation from her previous marriage, and from her personal and professional setbacks. It was meant to be a continuation, or a second part of her tenth studio album, The Emancipation of Mimi (2005). Although it shared similar vocal production as well as an inclination to her signature pop and R&B ballads, the album also encompassed a variety of dance-oriented and uptempo styles. Carey collaborated with a number of artists on the album, including T-Pain, Damian Marley and Young Jeezy. Though considered by critics very similar to the formula its predecessor had been built on, E=MC² included other genres she had never explored, such as reggae, and her continued recording of gospel-influenced hymns. (Full article...)
    E=MC² is the eleventh studio album by American singer-songwriter Mariah Carey, released on April 15, 2008 in the United States, by Island Records, Def Jam Recordings and The Island Def Jam Music Group. The singer began recording the album in 2007 in Anguilla, after writing and composing most of its material during and after her 2006 Adventures of Mimi Tour. Carey worked with various songwriters and producers on the project, including Jermaine Dupri, Bryan-Michael Cox, Stargate, The-Dream, Tricky Stewart, Scott Storch and Danja.

    The album revealed a more personal side of the singer, illustrated in its declarative theme of emancipation from her previous marriage, and from her personal and professional setbacks. It was meant to be a continuation, or a second part of her tenth studio album, The Emancipation of Mimi (2005). Although it shared similar vocal production as well as an inclination to her signature pop and R&B ballads, the album also encompassed a variety of dance-oriented and uptempo styles. Carey collaborated with a number of artists on the album, including T-Pain, Damian Marley and Young Jeezy. Though considered by critics very similar to the formula its predecessor had been built on, E=MC² included other genres she had never explored, such as reggae, and her continued recording of gospel-influenced hymns. (Full article...)
  • Image 7 Tupelo Honey is the fifth studio album by Northern Irish singer-songwriter Van Morrison. It was released in October 1971 by Warner Bros. Records. Morrison had written all of the songs in Woodstock, New York, before his move to Marin County, California, except for "You're My Woman", which he wrote during the recording sessions. Recording began at the beginning of the second quarter of 1971 at Wally Heider Studios in San Francisco. Morrison moved to the Columbia Studios in May 1971 to complete the album. The namesake for the album and its title track is a varietal honey produced from the flowers of the tupelo tree found in the Southeastern United States. The album features various musical genres, most prominently country, but also R&B, soul, folk-rock and blue-eyed soul. The lyrics echo the domestic bliss portrayed on the album cover; they largely describe and celebrate the rural surroundings of Woodstock and Morrison's family life with then-wife Janet "Planet" Rigsbee. (Full article...)
    Tupelo Honey is the fifth studio album by Northern Irish singer-songwriter Van Morrison. It was released in October 1971 by Warner Bros. Records. Morrison had written all of the songs in Woodstock, New York, before his move to Marin County, California, except for "You're My Woman", which he wrote during the recording sessions. Recording began at the beginning of the second quarter of 1971 at Wally Heider Studios in San Francisco. Morrison moved to the Columbia Studios in May 1971 to complete the album.

    The namesake for the album and its title track is a varietal honey produced from the flowers of the tupelo tree found in the Southeastern United States. The album features various musical genres, most prominently country, but also R&B, soul, folk-rock and blue-eyed soul. The lyrics echo the domestic bliss portrayed on the album cover; they largely describe and celebrate the rural surroundings of Woodstock and Morrison's family life with then-wife Janet "Planet" Rigsbee. (Full article...)
  • Image 8 Speechless is a 1981 solo album by English guitarist, composer and improviser Fred Frith of the group Henry Cow. It was Frith's third solo album, and was originally released in the United States on LP record on the Residents' Ralph record label. It was the second of three solo albums Frith made for the label. Speechless was recorded in France, Switzerland and the United States, and featured Frith with French Rock in Opposition group Etron Fou Leloublan on the first side of the LP, and Frith's New York City band Massacre on the second. It is mostly a studio album with extracts from a Massacre concert mixed into four of the tracks on side two of the LP. (Full article...)
    Speechless is a 1981 solo album by English guitarist, composer and improviser Fred Frith of the group Henry Cow. It was Frith's third solo album, and was originally released in the United States on LP record on the Residents' Ralph record label. It was the second of three solo albums Frith made for the label.

    Speechless was recorded in France, Switzerland and the United States, and featured Frith with French Rock in Opposition group Etron Fou Leloublan on the first side of the LP, and Frith's New York City band Massacre on the second. It is mostly a studio album with extracts from a Massacre concert mixed into four of the tracks on side two of the LP. (Full article...)
  • Image 9 Takin' My Time is the third studio album by American musician Bonnie Raitt. It was released in 1973 by Warner Bros. Records. The album is an amalgamation of several different genres, including blues, folk, jazz, New Orleans rhythm and blues, and calypso. The 10 tracks on the album are covers, ranging from soft sentimental ballads to upbeat, rhythmic-heavy tracks. Lowell George was originally hired to handle the production, but was ultimately replaced by John Hall when Raitt became unhappy with his production. Takin' My Time received positive reviews from music critics, and reached number 87 on the US Billboard Top LPs & Tapes chart. Retrospective reviews have also been positive, with critics praising the eclecticism, as well as Raitt's attempts to broaden her musical horizon. Raitt went on an accompanying tour of the United States. (Full article...)
    Takin' My Time is the third studio album by American musician Bonnie Raitt. It was released in 1973 by Warner Bros. Records. The album is an amalgamation of several different genres, including blues, folk, jazz, New Orleans rhythm and blues, and calypso. The 10 tracks on the album are covers, ranging from soft sentimental ballads to upbeat, rhythmic-heavy tracks. Lowell George was originally hired to handle the production, but was ultimately replaced by John Hall when Raitt became unhappy with his production.

    Takin' My Time received positive reviews from music critics, and reached number 87 on the US Billboard Top LPs & Tapes chart. Retrospective reviews have also been positive, with critics praising the eclecticism, as well as Raitt's attempts to broaden her musical horizon. Raitt went on an accompanying tour of the United States. (Full article...)
  • Image 10 Divine Intervention is the sixth studio album by American thrash metal band Slayer, released on September 27, 1994, by American Recordings. The album's production posed a challenge to the label, as its marketing situation drew arguments over its explicitness; to give them time to decide over its style, the band released the live album Decade of Aggression. Since it was released nearly four years after its predecessor Seasons in the Abyss (1990), vocalist Tom Araya said there was more time spent on its production compared to the band's previous albums. Divine Intervention was the band's first album to feature Paul Bostaph, replacing original drummer Dave Lombardo, who left the band in 1992. Its songs' origins came not only from television shows, but were also inspired by various other subjects including Rush Limbaugh, Holocaust architect Reinhard Heydrich, and serial killer Jeffrey Dahmer. Its cover artwork was painted and designed by Wes Benscoter as a re-imaging of the band's early "Slayergram" graphic. Although so much time was spent on its production, Kerry King has expressed his disapproval over the album's final mix, saying it should have had more attention. (Full article...)
    Divine Intervention is the sixth studio album by American thrash metal band Slayer, released on September 27, 1994, by American Recordings. The album's production posed a challenge to the label, as its marketing situation drew arguments over its explicitness; to give them time to decide over its style, the band released the live album Decade of Aggression. Since it was released nearly four years after its predecessor Seasons in the Abyss (1990), vocalist Tom Araya said there was more time spent on its production compared to the band's previous albums.

    Divine Intervention was the band's first album to feature Paul Bostaph, replacing original drummer Dave Lombardo, who left the band in 1992. Its songs' origins came not only from television shows, but were also inspired by various other subjects including Rush Limbaugh, Holocaust architect Reinhard Heydrich, and serial killer Jeffrey Dahmer. Its cover artwork was painted and designed by Wes Benscoter as a re-imaging of the band's early "Slayergram" graphic. Although so much time was spent on its production, Kerry King has expressed his disapproval over the album's final mix, saying it should have had more attention. (Full article...)
  • Image 11 Backspacer is the ninth studio album by the American rock band Pearl Jam, released on September 20, 2009. The band members started writing instrumental and demo tracks in 2007, and got together the following year to work on an album. It was recorded from February through April 2009 with producer Brendan O'Brien, who had worked on every Pearl Jam album except their 1991 debut Ten and 2006's self-titled record—although this was his first production credit since 1998's Yield. Material was recorded at Henson Recording Studios in Los Angeles, California, and O'Brien's own Southern Tracks Recording in Atlanta, Georgia. The album features lyrics with a more optimistic look than the politically infused predecessors Riot Act and Pearl Jam, something frontman Eddie Vedder attributed to the election of Barack Obama. This is also the first album since 1996's No Code for which all lyrics for the album were written solely by Vedder. At 36 minutes and 38 seconds, Backspacer has the shortest running time of any Pearl Jam studio album. The band released the album through its own label Monkeywrench Records with worldwide distribution by Universal Music Group via a licensing agreement with Island Records. Physical copies of the record were sold through Target in North America, and promotion included a deal with Verizon, a world tour, and moderately successful singles "The Fixer" and "Got Some"/"Just Breathe". Reviews for Backspacer were largely positive, praising the sound and composition, and the album became Pearl Jam's first chart topper in the U.S. Billboard 200 since No Code, while also topping the charts in Canada, Australia and New Zealand. (Full article...)
    Backspacer is the ninth studio album by the American rock band Pearl Jam, released on September 20, 2009. The band members started writing instrumental and demo tracks in 2007, and got together the following year to work on an album. It was recorded from February through April 2009 with producer Brendan O'Brien, who had worked on every Pearl Jam album except their 1991 debut Ten and 2006's self-titled record—although this was his first production credit since 1998's Yield. Material was recorded at Henson Recording Studios in Los Angeles, California, and O'Brien's own Southern Tracks Recording in Atlanta, Georgia. The album features lyrics with a more optimistic look than the politically infused predecessors Riot Act and Pearl Jam, something frontman Eddie Vedder attributed to the election of Barack Obama. This is also the first album since 1996's No Code for which all lyrics for the album were written solely by Vedder. At 36 minutes and 38 seconds, Backspacer has the shortest running time of any Pearl Jam studio album.

    The band released the album through its own label Monkeywrench Records with worldwide distribution by Universal Music Group via a licensing agreement with Island Records. Physical copies of the record were sold through Target in North America, and promotion included a deal with Verizon, a world tour, and moderately successful singles "The Fixer" and "Got Some"/"Just Breathe". Reviews for Backspacer were largely positive, praising the sound and composition, and the album became Pearl Jam's first chart topper in the U.S. Billboard 200 since No Code, while also topping the charts in Canada, Australia and New Zealand. (Full article...)
  • Image 12 The Rise and Fall of Ziggy Stardust and the Spiders from Mars (often shortened to Ziggy Stardust) is the fifth studio album by the English musician David Bowie, released on 16 June 1972 in the United Kingdom through RCA Records. It was co-produced by Bowie and Ken Scott and features Bowie's backing band the Spiders from Mars — Mick Ronson (guitar), Trevor Bolder (bass) and Mick Woodmansey (drums). It was recorded from November 1971 to February 1972 at Trident Studios in London. Described as a loose concept album and rock opera, Ziggy Stardust focuses on Bowie's titular alter ego Ziggy Stardust, a fictional androgynous and bisexual rock star who is sent to Earth as a saviour before an impending apocalyptic disaster. In the story, Ziggy wins the hearts of fans but suffers a fall from grace after succumbing to his own ego. The character was inspired by numerous musicians, including Vince Taylor. Most of the album's concept was developed after the songs were recorded. The glam rock and proto-punk musical styles were influenced by Iggy Pop, The Velvet Underground and Marc Bolan. The lyrics discuss the artificiality of rock music, political issues, drug use, sexuality and stardom. The album cover, photographed in monochrome and recoloured, was taken in London outside the home of furriers "K. West". (Full article...)
    The Rise and Fall of Ziggy Stardust and the Spiders from Mars (often shortened to Ziggy Stardust) is the fifth studio album by the English musician David Bowie, released on 16 June 1972 in the United Kingdom through RCA Records. It was co-produced by Bowie and Ken Scott and features Bowie's backing band the Spiders from Mars — Mick Ronson (guitar), Trevor Bolder (bass) and Mick Woodmansey (drums). It was recorded from November 1971 to February 1972 at Trident Studios in London.

    Described as a loose concept album and rock opera, Ziggy Stardust focuses on Bowie's titular alter ego Ziggy Stardust, a fictional androgynous and bisexual rock star who is sent to Earth as a saviour before an impending apocalyptic disaster. In the story, Ziggy wins the hearts of fans but suffers a fall from grace after succumbing to his own ego. The character was inspired by numerous musicians, including Vince Taylor. Most of the album's concept was developed after the songs were recorded. The glam rock and proto-punk musical styles were influenced by Iggy Pop, The Velvet Underground and Marc Bolan. The lyrics discuss the artificiality of rock music, political issues, drug use, sexuality and stardom. The album cover, photographed in monochrome and recoloured, was taken in London outside the home of furriers "K. West". (Full article...)
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  • Image 1 The UK Singles Chart is the official record chart in the United Kingdom. Prior to 1969 there was no official singles chart; however, The Official Charts Company and Guinness' British Hit Singles & Albums regard the canonical sources as New Musical Express (NME) before 10 March 1960 and Record Retailer from then until 15 February 1969 when Retailer and the BBC jointly commissioned the British Market Research Bureau (BMRB) to compile the charts. The choice to use Record Retailer as the canonical source for the 1960s has been contentious because NME (which continued compiling charts beyond March 1960) had the biggest circulation of periodicals in the decade and was more widely followed. As well as the chart compilers mentioned previously, Melody Maker, Disc and Record Mirror all compiled their own charts during the decade. Due to the lack of any official chart the BBC aggregated results from all these charts to announce its own Pick of the Pops chart. One source explains that the reason for using the Record Retailer chart for the 1960s was that it was "the only chart to have as many as 50 positions for almost the entire decade". The sample size of Record Retailer in the early 1960s was around 30 stores whereas NME and Melody Maker were sampling over 100 stores. In 1969, the first BMRB chart was compiled using postal returns of sales logs from 250 record shops. (Full article...)
    The UK Singles Chart is the official record chart in the United Kingdom. Prior to 1969 there was no official singles chart; however, The Official Charts Company and Guinness' British Hit Singles & Albums regard the canonical sources as New Musical Express (NME) before 10 March 1960 and Record Retailer from then until 15 February 1969 when Retailer and the BBC jointly commissioned the British Market Research Bureau (BMRB) to compile the charts. The choice to use Record Retailer as the canonical source for the 1960s has been contentious because NME (which continued compiling charts beyond March 1960) had the biggest circulation of periodicals in the decade and was more widely followed.

    As well as the chart compilers mentioned previously, Melody Maker, Disc and Record Mirror all compiled their own charts during the decade. Due to the lack of any official chart the BBC aggregated results from all these charts to announce its own Pick of the Pops chart. One source explains that the reason for using the Record Retailer chart for the 1960s was that it was "the only chart to have as many as 50 positions for almost the entire decade". The sample size of Record Retailer in the early 1960s was around 30 stores whereas NME and Melody Maker were sampling over 100 stores. In 1969, the first BMRB chart was compiled using postal returns of sales logs from 250 record shops. (Full article...)
  • Image 2 The Grammy Award for Best Pop Collaboration with Vocals was an honor presented at the Grammy Awards, a ceremony that was established in 1958 and originally called the Gramophone Awards, to recording artists for quality pop songs on which singers collaborate. Awards in several categories are distributed annually by the National Academy of Recording Arts and Sciences of the United States to "honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position." The award for Best Pop Collaboration with Vocals was first presented to Al Green and Lyle Lovett at the 37th Grammy Awards (1995) for the song "Funny How Time Slips Away". According to the category description guide for the 52nd Grammy Awards, the award was presented to artists that performed "newly recorded collaborative pop performances" that "do not normally perform together." (Full article...)
    The Grammy Award for Best Pop Collaboration with Vocals was an honor presented at the Grammy Awards, a ceremony that was established in 1958 and originally called the Gramophone Awards, to recording artists for quality pop songs on which singers collaborate. Awards in several categories are distributed annually by the National Academy of Recording Arts and Sciences of the United States to "honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position."

    The award for Best Pop Collaboration with Vocals was first presented to Al Green and Lyle Lovett at the 37th Grammy Awards (1995) for the song "Funny How Time Slips Away". According to the category description guide for the 52nd Grammy Awards, the award was presented to artists that performed "newly recorded collaborative pop performances" that "do not normally perform together." (Full article...)
  • Image 3 The Grammy Award for Best Dance/Electronic Recording (formerly known as Best Dance Recording) is an award presented at the Grammy Awards, a ceremony that was established in 1958 and originally called the Gramophone Awards, to recording artists for works containing quality vocal performances in the dance music and/or electronic music genres. 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 for Best Dance Recording was first presented to Donna Summer and Giorgio Moroder in 1998 for the song "Carry On". In 2003, the Academy moved the category from the "Pop" field into a new "Dance" field, alongside the category Best Dance/Electronic Album. According to the Academy, the award is designated for solo, duo, group or collaborative performances (vocal or instrumental), and is limited to singles or tracks only. (Full article...)
    The Grammy Award for Best Dance/Electronic Recording (formerly known as Best Dance Recording) is an award presented at the Grammy Awards, a ceremony that was established in 1958 and originally called the Gramophone Awards, to recording artists for works containing quality vocal performances in the dance music and/or electronic music genres. 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 for Best Dance Recording was first presented to Donna Summer and Giorgio Moroder in 1998 for the song "Carry On". In 2003, the Academy moved the category from the "Pop" field into a new "Dance" field, alongside the category Best Dance/Electronic Album. According to the Academy, the award is designated for solo, duo, group or collaborative performances (vocal or instrumental), and is limited to singles or tracks only. (Full article...)
  • Image 4 The change in methodology of the Hot Country Songs chart enabled Taylor Swift's song "We Are Never Ever Getting Back Together" to rise twenty places to number one and spend nine consecutive weeks in the top spot, a record-breaking run for a solo female singer. Hot Country Songs and Country Airplay are charts that rank the top-performing country music songs in the United States, published by Billboard magazine. At the start of 2012, Hot Country Songs ranked songs based on weekly airplay data from country music radio stations compiled by Nielsen Broadcast Data Systems. With effect from the issue dated October 20, 2012, however, the magazine significantly altered the methodology of this chart, incorporating digital downloads, streaming, and airplay not only from country stations but from stations of all formats. These changes were controversial, as some critics felt that they unduly benefited acts with crossover appeal, as opposed to those whose songs were played only on country stations. At the same time, Billboard launched the new Country Airplay listing, which used the methodology of ranking tracks based solely on country radio airplay. Although this chart was published for the first time in 2012, Billboard retrospectively considers the period since Hot Country Songs began using Nielsen data in 1990 to also form part of the history of the Country Airplay listing. An immediate beneficiary of the change in methodology for the Hot Country Songs chart was Taylor Swift. In the first week of the new system, her song "We Are Never Ever Getting Back Together", which had been falling down the chart and had been at number 21 the previous week based on country radio airplay alone, rose straight to number one when streaming, downloads, and plays on other radio formats began to be counted. Swift's song would remain in the top spot for nine consecutive weeks, setting a new record for the longest unbroken run at number one by a female singer held since 1965 by Connie Smith's "Once a Day". Based on country radio airplay alone, however, Swift's song dropped even further to number 36 on the first published Country Airplay chart, the same week that it jumped to number one on Hot Country Songs. The song's greater popularity on pop music radio than country stations highlighted Swift's increasing move away from the country genre. (Full article...)
    A young woman with long blonde hair singing into a microphone
    The change in methodology of the Hot Country Songs chart enabled Taylor Swift's song "We Are Never Ever Getting Back Together" to rise twenty places to number one and spend nine consecutive weeks in the top spot, a record-breaking run for a solo female singer.

    Hot Country Songs and Country Airplay are charts that rank the top-performing country music songs in the United States, published by Billboard magazine. At the start of 2012, Hot Country Songs ranked songs based on weekly airplay data from country music radio stations compiled by Nielsen Broadcast Data Systems. With effect from the issue dated October 20, 2012, however, the magazine significantly altered the methodology of this chart, incorporating digital downloads, streaming, and airplay not only from country stations but from stations of all formats. These changes were controversial, as some critics felt that they unduly benefited acts with crossover appeal, as opposed to those whose songs were played only on country stations. At the same time, Billboard launched the new Country Airplay listing, which used the methodology of ranking tracks based solely on country radio airplay. Although this chart was published for the first time in 2012, Billboard retrospectively considers the period since Hot Country Songs began using Nielsen data in 1990 to also form part of the history of the Country Airplay listing.

    An immediate beneficiary of the change in methodology for the Hot Country Songs chart was Taylor Swift. In the first week of the new system, her song "We Are Never Ever Getting Back Together", which had been falling down the chart and had been at number 21 the previous week based on country radio airplay alone, rose straight to number one when streaming, downloads, and plays on other radio formats began to be counted. Swift's song would remain in the top spot for nine consecutive weeks, setting a new record for the longest unbroken run at number one by a female singer held since 1965 by Connie Smith's "Once a Day". Based on country radio airplay alone, however, Swift's song dropped even further to number 36 on the first published Country Airplay chart, the same week that it jumped to number one on Hot Country Songs. The song's greater popularity on pop music radio than country stations highlighted Swift's increasing move away from the country genre. (Full article...)
  • Image 5 The Grammy Award for Best Jazz Vocal Performance, Female was an honor presented at the Grammy Awards, a ceremony that was established in 1958 and originally called the Gramophone Awards, to female recording artists for quality jazz vocal performances (songs or albums). Honors in several categories are presented at the ceremony annually by the National Academy of Recording Arts and Sciences of the United States to "honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position". Prior to 1981, the gender-neutral category of Best Jazz Vocal Performance existed. The first award specifically for female performances was presented to Ella Fitzgerald in 1981 for the album A Perfect Match. The category remained unchanged until 1985, when it was combined with the award for Best Jazz Vocal Performance, Male and presented in the genderless category. Gender-specific awards were once again presented from 1986 until 1991. In 1992, the two categories were combined and presented as the category Best Jazz Vocal Performance. This category was later renamed to Best Jazz Vocal Album beginning in 2001. While the gender-specific award has not been presented since the category merge in 1992, an official confirmation of its retirement has not been announced. (Full article...)
    The Grammy Award for Best Jazz Vocal Performance, Female was an honor presented at the Grammy Awards, a ceremony that was established in 1958 and originally called the Gramophone Awards, to female recording artists for quality jazz vocal performances (songs or albums). Honors in several categories are presented at the ceremony annually by the National Academy of Recording Arts and Sciences of the United States to "honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position".

    Prior to 1981, the gender-neutral category of Best Jazz Vocal Performance existed. The first award specifically for female performances was presented to Ella Fitzgerald in 1981 for the album A Perfect Match. The category remained unchanged until 1985, when it was combined with the award for Best Jazz Vocal Performance, Male and presented in the genderless category. Gender-specific awards were once again presented from 1986 until 1991. In 1992, the two categories were combined and presented as the category Best Jazz Vocal Performance. This category was later renamed to Best Jazz Vocal Album beginning in 2001. While the gender-specific award has not been presented since the category merge in 1992, an official confirmation of its retirement has not been announced. (Full article...)
  • Image 6 Hank Williams (third from right) and his Drifting Cowboys band reached number one for the first time in 1949. In 1949 Billboard magazine published three charts covering the best-performing country music songs in the United States. At the start of the year, the magazine published two charts covering the genre: Most-Played Juke Box Folk Records, which had appeared in Billboard since 1944, and Best Selling Folk Retail Records, which had debuted in 1948. With effect from the issue of the magazine dated June 25, Billboard began using the term "country and western" for the first time in the titles of the charts, renaming the juke box chart to Most-Played Juke Box (Country & Western) Records and the best sellers chart to Best-Selling Retail Folk (Country & Western) Records. In December the magazine added a third country chart when it began publishing the Country & Western Records Most Played By Folk Disk Jockeys listing. All three charts are considered part of the lineage of the current Hot Country Songs chart, which was first published in 1958. The artist with the most weeks at number one on the juke box chart was Eddy Arnold, who spent a total of twenty weeks in the top spot with five different songs. On the retail chart, singing cowboy actor Jimmy Wakely had the highest number of total weeks at number one, comprising ten weeks in the top spot with two solo singles and a further thirteen with "Slipping Around", a duet with Margaret Whiting. The ten consecutive weeks which "Slipping Around" spent atop the juke box chart from late October until the end of the year tied with "Don't Rob Another Man's Castle" by Eddy Arnold for the longest unbroken run of the year at number one on that chart, and its spell at number one on the retail chart was the longest run in the peak position on that listing. Arnold's song spent a total of twelve non-consecutive weeks at number one on the juke box chart, the highest cumulative total for any one song. On the retail chart, "Lovesick Blues" by Hank Williams and his Drifting Cowboys spent the most total weeks in the top spot, with sixteen non-consecutive weeks at number one. Wakely and Arnold were the only artists to take more than one song to number one in 1949, a feat which they each achieved on both the juke box and retail charts. (Full article...)
    A group of six men and one woman wearing cowboy hats, standing around a microphone. The man third from right is holding a guitar.
    Hank Williams (third from right) and his Drifting Cowboys band reached number one for the first time in 1949.

    In 1949 Billboard magazine published three charts covering the best-performing country music songs in the United States. At the start of the year, the magazine published two charts covering the genre: Most-Played Juke Box Folk Records, which had appeared in Billboard since 1944, and Best Selling Folk Retail Records, which had debuted in 1948. With effect from the issue of the magazine dated June 25, Billboard began using the term "country and western" for the first time in the titles of the charts, renaming the juke box chart to Most-Played Juke Box (Country & Western) Records and the best sellers chart to Best-Selling Retail Folk (Country & Western) Records. In December the magazine added a third country chart when it began publishing the Country & Western Records Most Played By Folk Disk Jockeys listing. All three charts are considered part of the lineage of the current Hot Country Songs chart, which was first published in 1958.

    The artist with the most weeks at number one on the juke box chart was Eddy Arnold, who spent a total of twenty weeks in the top spot with five different songs. On the retail chart, singing cowboy actor Jimmy Wakely had the highest number of total weeks at number one, comprising ten weeks in the top spot with two solo singles and a further thirteen with "Slipping Around", a duet with Margaret Whiting. The ten consecutive weeks which "Slipping Around" spent atop the juke box chart from late October until the end of the year tied with "Don't Rob Another Man's Castle" by Eddy Arnold for the longest unbroken run of the year at number one on that chart, and its spell at number one on the retail chart was the longest run in the peak position on that listing. Arnold's song spent a total of twelve non-consecutive weeks at number one on the juke box chart, the highest cumulative total for any one song. On the retail chart, "Lovesick Blues" by Hank Williams and his Drifting Cowboys spent the most total weeks in the top spot, with sixteen non-consecutive weeks at number one. Wakely and Arnold were the only artists to take more than one song to number one in 1949, a feat which they each achieved on both the juke box and retail charts. (Full article...)
  • Image 7 The early recordings of "King of Rock and Roll" Elvis Presley were successful on the country charts, and he achieved four number ones on the best sellers chart in 1956. In 1956, Billboard magazine published three charts covering the best-performing country music songs in the United States. At the start of the year, the charts were published under the titles Most Played in Juke Boxes, Best Sellers in Stores, and Most Played By Jockeys, with the genre denoted in an overall page heading. With effect from the issue of Billboard dated June 30, the genre was added to the specific titles of the charts, which were thus published as Most Played C&W in Juke Boxes, C&W Best Sellers in Stores, and Most Played C&W By Jockeys, the C&W standing for "country and western". All three charts are considered part of the lineage of the current Hot Country Songs chart, which was first published in 1958. The number-one positions on both the juke box and best sellers charts were dominated in 1956 by Elvis Presley, who spent a total of 26 weeks in the top spot on the best sellers listing and 28 weeks (including one tied with another single) atop the juke box chart with four different singles. Presley achieved the first country chart-topper of his career in February when he reached the number one spot on the best sellers chart with "I Forgot to Remember to Forget"; its B-side, "Mystery Train" was listed jointly at number one for the first week of the run only. The release was the final single which he recorded for Sun Records, the label for which he had honed his early rockabilly style. After he signed for new label RCA Victor, his recordings began to show more of a pop music influence, but for a time continued to appear on the country charts, and one week after "I Forgot to Remember to Forget" was replaced at number one, Presley regained the top spot with the two-sided success "Heartbreak Hotel" / "I Was the One", which remained atop the listing for 17 consecutive weeks. He would go on to be regarded as the most successful and influential recording artist of all time and feted as the "King of Rock and Roll". (Full article...)
    Singer Elvis Presley sitting on a motorcycle
    The early recordings of "King of Rock and Roll" Elvis Presley were successful on the country charts, and he achieved four number ones on the best sellers chart in 1956.

    In 1956, Billboard magazine published three charts covering the best-performing country music songs in the United States. At the start of the year, the charts were published under the titles Most Played in Juke Boxes, Best Sellers in Stores, and Most Played By Jockeys, with the genre denoted in an overall page heading. With effect from the issue of Billboard dated June 30, the genre was added to the specific titles of the charts, which were thus published as Most Played C&W in Juke Boxes, C&W Best Sellers in Stores, and Most Played C&W By Jockeys, the C&W standing for "country and western". All three charts are considered part of the lineage of the current Hot Country Songs chart, which was first published in 1958.

    The number-one positions on both the juke box and best sellers charts were dominated in 1956 by Elvis Presley, who spent a total of 26 weeks in the top spot on the best sellers listing and 28 weeks (including one tied with another single) atop the juke box chart with four different singles. Presley achieved the first country chart-topper of his career in February when he reached the number one spot on the best sellers chart with "I Forgot to Remember to Forget"; its B-side, "Mystery Train" was listed jointly at number one for the first week of the run only. The release was the final single which he recorded for Sun Records, the label for which he had honed his early rockabilly style. After he signed for new label RCA Victor, his recordings began to show more of a pop music influence, but for a time continued to appear on the country charts, and one week after "I Forgot to Remember to Forget" was replaced at number one, Presley regained the top spot with the two-sided success "Heartbreak Hotel" / "I Was the One", which remained atop the listing for 17 consecutive weeks. He would go on to be regarded as the most successful and influential recording artist of all time and feted as the "King of Rock and Roll". (Full article...)
  • Image 8 "(We're Gonna) Rock Around the Clock" by Bill Haley & His Comets was the first single to sell 1 million copies in the UK. The definition of a million-selling single, as regarded by the Official Charts Company (OCC), has changed in line with new technology for music consumption. Originally only physical record sales were counted since the start of the UK Singles Chart in November 1952. Digital downloads of a track were included from 2004 onwards and from 2014 onwards BPI-certified awards (Silver, Gold and Platinum) and the weekly charts include audio streaming. In 2017, the OCC included streaming in their definition of a million-seller and published a full list of the 311 songs which had achieved this. Certified awards can also include shipments (sales to trade). The OCC and Music Week regularly announce when a record becomes a million seller. (Full article...)
    "(We're Gonna) Rock Around the Clock" by Bill Haley & His Comets was the first single to sell 1 million copies in the UK.

    The definition of a million-selling single, as regarded by the Official Charts Company (OCC), has changed in line with new technology for music consumption. Originally only physical record sales were counted since the start of the UK Singles Chart in November 1952. Digital downloads of a track were included from 2004 onwards and from 2014 onwards BPI-certified awards (Silver, Gold and Platinum) and the weekly charts include audio streaming. In 2017, the OCC included streaming in their definition of a million-seller and published a full list of the 311 songs which had achieved this. Certified awards can also include shipments (sales to trade). The OCC and Music Week regularly announce when a record becomes a million seller. (Full article...)
  • Image 9 The Latin Grammy Hall of Fame is a hall of fame established by the Latin Recording Academy to recognize "early recordings of lasting qualitative or historical significance that were released more than 25 years ago". LARAS is also the same organization that distributes the Latin Grammy Awards. The albums and songs are picked by a panel of recording-arts professionals, such as musicologists and historians, and selected from all major categories of Latin music. The first inductions were made in 2001 to honor 17 recordings. These included Santana's cover of Tito Puente's "Oye Como Va", Javier Solís's rendition of "Sabor a Mí" and the 1948 performance of Joaquín Rodrigo's Concierto de Aranjuez by Regino Sainz de la Maza and the Orquesta Nacional de España. The inductions have each occurred six years apart from one another. (Full article...)
    The Latin Grammy Hall of Fame is a hall of fame established by the Latin Recording Academy to recognize "early recordings of lasting qualitative or historical significance that were released more than 25 years ago". LARAS is also the same organization that distributes the Latin Grammy Awards. The albums and songs are picked by a panel of recording-arts professionals, such as musicologists and historians, and selected from all major categories of Latin music.

    The first inductions were made in 2001 to honor 17 recordings. These included Santana's cover of Tito Puente's "Oye Como Va", Javier Solís's rendition of "Sabor a Mí" and the 1948 performance of Joaquín Rodrigo's Concierto de Aranjuez by Regino Sainz de la Maza and the Orquesta Nacional de España. The inductions have each occurred six years apart from one another. (Full article...)
  • Image 10 Marty Robbins spent 10 weeks at number one with "Don't Worry". Hot Country Songs is a chart that ranks the top-performing country music songs in the United States, published by Billboard magazine. In 1961, nine different singles topped the chart, which at the time was published under the title Hot C&W Sides, C&W being an abbreviation for country and western. Chart placings were based on playlists submitted by country music radio stations and sales reports submitted by stores. Each of the nine number ones during the year was by a different artist. In the first issue of 1961, dated January 9,[A] Johnny Horton reached number one with "North To Alaska", replacing Ferlin Husky's "Wings Of A Dove", the final chart-topper of 1960. Horton's single spent five weeks at number one before Husky's song returned to the top of the chart for two further weeks. "North to Alaska" was a posthumous number one for Horton, who had died in an automobile accident the previous November. Following Husky's spell in the top spot, Marty Robbins had the longest unbroken run at number one of the year, spending ten consecutive weeks atop the chart with "Don't Worry". Immediately after this run, Faron Young had a nine-week spell atop the listing with "Hello Walls", an early songwriting success for Willie Nelson, who would go on to be one of the most successful and celebrated singers in country music history. Despite continuing to chart regularly, Young would not reach number one again until 1972. (Full article...)
    A dark-haired man wearing a cardigan sweater, smiling broadly
    Marty Robbins spent 10 weeks at number one with "Don't Worry".

    Hot Country Songs is a chart that ranks the top-performing country music songs in the United States, published by Billboard magazine. In 1961, nine different singles topped the chart, which at the time was published under the title Hot C&W Sides, C&W being an abbreviation for country and western. Chart placings were based on playlists submitted by country music radio stations and sales reports submitted by stores.

    Each of the nine number ones during the year was by a different artist. In the first issue of 1961, dated January 9,[A] Johnny Horton reached number one with "North To Alaska", replacing Ferlin Husky's "Wings Of A Dove", the final chart-topper of 1960. Horton's single spent five weeks at number one before Husky's song returned to the top of the chart for two further weeks. "North to Alaska" was a posthumous number one for Horton, who had died in an automobile accident the previous November. Following Husky's spell in the top spot, Marty Robbins had the longest unbroken run at number one of the year, spending ten consecutive weeks atop the chart with "Don't Worry". Immediately after this run, Faron Young had a nine-week spell atop the listing with "Hello Walls", an early songwriting success for Willie Nelson, who would go on to be one of the most successful and celebrated singers in country music history. Despite continuing to chart regularly, Young would not reach number one again until 1972. (Full article...)
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