We Get Letters
We Get Letters is a 1957 album by Perry Como, his second RCA Victor 12" long-play album. The LP's concept is an album of requests from Como's television show, but forgoing the usual big-band sound of Mitchell Ayres' Orchestra and the Ray Charles Singers for a small group known as "Como's little Combo", with soft, breezy jazz arrangements; the album was recorded between June 1956 and February 1957. As with his previous album, So Smooth, Como eschewed the kind of novelties he was recording for singles release in favor of LP collections devoted to well-known pop standards dating back to the 1920s and 30s. Side one "Swingin' Down the Lane" "It's Easy To Remember" "South of The Border" "That's What I Like" "Honey, Honey" "Angry" Side two "They Can't Take That Away From Me" "Sposin'" "I Had the Craziest Dream" "'Deed I Do" "Somebody Loves Me" "Sleepy Time Gal" (Music by Ange Lorenzo and Richard A. Whiting with lyrics by Joseph R. Alden and Raymond B. Egan, 1925 Perry Como Discography
Ray Charles (musician, born 1918)
Ray Charles was an American musician, songwriter, vocal arranger and conductor, best known as organizer and leader of the Ray Charles Singers who were featured on Perry Como's records and television shows for 35 years and were known for a series of 30 choral record albums produced in the 1950s and 1960s for the Essex, MGM, Decca and Command labels. As a vocalist, along with Julia Rinker Miller, sang the theme song to the television series Three's Company; as a songwriter, Charles was best known for the choral anthem "Fifty Nifty United States" in which he set the names of the states to music in alphabetical order. It was written for The Perry Como Show, he is known for "Letters, We Get Letters" originally written for Como's show and used on the Late Show with David Letterman. In his years, he continued to serve as a musical consultant to television programs, most notably for 31 years on the Kennedy Center Honors. Charles was acknowledged as an authority on American popular music. At the age of 13, Charles Raymond "Chuck" Offenberg won a contest to sing on the radio in Chicago.
At 16, while still at Hyde Park High School, he had his own 15 minute radio program on WENR and won a vocal scholarship to the Chicago Musical College. After graduation, he attended Central YMCA College, where he met fellow future choral director Norman Luboff, to become a lifelong friend. In 1936, Offenberg joined the Federal Theater show O Say Can You Sing, sharing a dressing room with the young Buddy Rich. In 1942, with his wife and son, came to New York City and he started getting work, singing on the radio for Lyn Murray, Ray Bloch and other choral directors. By 1944, he was doing 10 radio shows a week. In May 1944, Offenberg changed his name to Ray Charles, it would be 10 more years until the "other" Ray Charles changed his name from "Ray Charles Robinson" to Ray Charles. Close harmony was all the rage and Charles became the arranger and tenor for the Double Daters, a quartet featured on Million Dollar Band. Drafted into the Navy in 1944, Charles was assigned to Hunter College, where he created an entire new music library for the WAVE choruses and trained the "Singing Platoons", three choruses of 80 WAVES each, on six-week training cycles that sang on the radio, bond rallies and at local veterans hospitals.
He conducted the band on their two CBS weekly shows. Discharged in 1946, Charles sang on many record dates. In 1947, he was the conductor for the Broadway hit Finian's Rainbow, conducted the original cast recording. Charles became associated with Perry Como in 1948 through his arrangements for the vocal group the Satisfiers; the group performed on Como's The Chesterfield Supper Club. From 1949 to 1951, he was choral arranger-conductor on The Big Show, the last big radio variety show with Tallulah Bankhead and Meredith Willson. Charles was a soloist and sang in the choir on Manhattan Merry-Go-Round, Tuesday on Broadway, The Prudential Family Hour, The Celenese Hour, The Schafer Beer Program and The American Melody Hour, he wrote the theme for Danny Kaye's 7-Up Radio Show. Before its relocation to Los Angeles, Charles did some singing on Your Hit Parade. In 1950, when the show returned to New York, he became the arranger and conductor of the Hit Paraders, the choral group on the show, first on radio and when it went to television, for seven years.
Charles never got screen credit for his work as arranger and choral director of the Hit Paraders because the sponsor of Your Hit Parade was Lucky Strike and he was getting a choral-director credit on The Perry Como Chesterfield Show. Lucky Strike and Chesterfield were competitors and Como's Chesterfield show aired three times a week on CBS. For the next 35 years the Ray Charles Singers became a fixture on the Perry Como television show, it was a busy time with television's top variety shows and commercial jingles. In 1955, the 15-minute Perry Como Show became an hour-long program, it was here. The Screen Actors Guild does not allow two members to have the same name, but Charles the performer was registered as Ray Robinson though he performed as Ray Charles. Charles the composer wrote special material and did the choral work on Caesar's Hour with Sid Caesar, the successor to Your Show of Shows. In 1959, Charles produced the summer replacement for The Perry Como Show. Allan Sherman, a friend of Charles', was the head writer.
On the staff was Andy Rooney. The stars were Teresa Brewer and the Four Lads. In June 1959, the Ray Charles Singers, a name bestowed on them by Perry Como, began recording a series of albums. Due to advances in recording technology, they were able to create a softer sound than had been heard before and this was the birth of what has been called "easy listening". Record producer Jack Hansen used some of the singers to provide backing vocals for Buddy Holly's last songs, which Holly had composed and recorded shortly before his death in February 1959; the singers' close harmonies behind Holly's lead vocals simulated the sound of Holly's hit records with the Crickets. Six songs resulted from the Hansen sessions, led by the 45-rpm single "Peggy Sue Got Married"/"Crying, Hoping". On a cruise in 1964, Charles heard a Mexican song called "Cuando Calienta el Sol", he liked it, recorded it, under the English title "Love Me with All Your Heart", his recording became a hit, riding to #3 on Billboard Magazine, #2 on Cashbox Magazine.
This was followed by
When You Come to the End of the Day
When You Come to the End of the Day is Perry Como's fourth RCA Victor 12" long-playing album, released in 1958 and the second recorded in stereophonic sound. It was recorded as an album of inspirational songs featuring well known traditional hymns such as "In the Garden" and modern inspirational tunes including "May The Good Lord Bless and Keep You"; the album was reissued on compact disc in 2001. Side one "He's Got The Whole World In His Hands" "Whither Thou Goest" "No Well On Earth" "Only One" "Scarlet Ribbons" "I May Never Pass This Way Again" Side two "A Still Small Voice" "In the Garden" "May The Good Lord Bless And Keep You" "Prayer For Peace" "All Through The Night" "When You Come to The End of The Day" Perry Como Discography When You Come to the End of the Day
Music recording certification
Music recording certification is a system of certifying that a music recording has shipped, sold, or streamed a certain number of units. The threshold quantity varies by nation or territory. All countries follow variations of the RIAA certification categories, which are named after precious materials; the threshold required for these awards depends upon the population of the territory where the recording is released. They are awarded only to international releases and are awarded individually for each country where the album is sold. Different sales levels, some 10 times lower than others, may exist for different music media; the original gold and silver record awards were presented to artists by their own record companies to publicize their sales achievements. The first silver disc was awarded by Regal Zonophone to George Formby in December 1937 for sales of 100,000 copies of "The Window Cleaner"; the first gold disc was awarded by RCA Victor to Glenn Miller and His Orchestra in February 1942, celebrating the sale of 1.2 million copies of single "Chattanooga Choo Choo".
Another example of a company award is the gold record awarded to Elvis Presley in 1956 for one million units sold of his single "Don't Be Cruel". The first gold record for an LP was awarded by RCA Victor to Harry Belafonte in 1957 for the album Calypso, the first album to sell over 1,000,000 copies in RCA's reckoning. At the industry level, in 1958 the Recording Industry Association of America introduced its gold record award program for records of any kind, albums or singles, which achieved one million dollars in retail sales; these sales were restricted to U. S.-based record companies and did not include exports to other countries. For albums in 1968, this would mean shipping 250,000 units; the platinum certification was introduced in 1976 for the sale of one million units for albums and two million for singles, with the gold certification redefined to mean sales of 500,000 units for albums and one million for singles. No album was certified platinum prior to this year. For instance, the recording by Van Cliburn of the Tchaikovsky Piano Concerto from 1958 would be awarded a platinum citation, but this would not happen until two decades after its release.
In 1999, the diamond certification was introduced for sales of ten million units. In the late 1980s, the certification thresholds for singles were dropped to match that of albums; the first official designation of a "gold record" by the Recording Industry Association of America was established for singles in 1958, the RIAA trademarked the term "gold record" in the United States. On 14 March 1958, the RIAA certified its first gold record, Perry Como's hit single "Catch a Falling Star"; the Oklahoma! Soundtrack was certified as the first gold album four months later. In 1976, RIAA introduced the platinum certification, first awarded to the Eagles compilation album Their Greatest Hits on 24 February 1976, to Johnnie Taylor's single "Disco Lady" on 22 April 1976; as music sales increased with the introduction of compact discs, the RIAA created the Multi-Platinum award in 1984. Diamond awards, honoring those artists whose sales of singles or albums reached 10,000,000 copies, were introduced in 1999.
In the 20th century, for a part of the first decade of the 21st, it was common for distributors to claim certifications based on their shipments – wholesale to retail outlets – which led to many certifications which outstripped the actual final retail sales figures. This became much less common once the majority of retail sales became paid digital downloads and digital streaming. In most countries certifications no longer apply to physical media but now include sales awards recognizing digital downloads. In June 2006, the RIAA certified the ringtone downloads of songs. Streaming from on-demand services such as Apple Music, Spotify and Napster has been included into existing digital certification in the U. S since 2013 and the U. K. and Germany since 2014. In the U. S. and Germany video streaming services like YouTube, VEVO, Yahoo! Music began to be counted towards the certification, in both cases using the formula of 100 streams being equivalent to one download. Other countries, such as Denmark and Spain, maintain separate awards for digital download singles and streaming.
The International Federation of the Phonographic Industry was founded in 1996, grants the IFPI Platinum Europe Award for album sales over one million within Europe and the Middle East. Multi-platinum Europe Awards are presented for sales in subsequent multiples of one million. Eligibility is unaffected by time, is not restricted to European-based artists; the Independent Music Companies Association was founded in 2000 to grow the independent music sector and promote independent music in the interests of artistic and cultural diversity. IMPALA sales awards were launched in 2005 as the first sales awards recognising that success on a pan-European basis begins well before sales reach one million; the award levels are Silver, Double Silver, Double Gold, Diamond and Double Platinum. Below are certification thresholds for the United States, United Kingdom and France; the numbers in the tables are in terms of "units", where a unit represents one sale or one shipment of a given medium. Certific
Ronnie Hilton was an English singer and radio presenter. According to his obituary in The Guardian newspaper, "For a time Hilton was a star – for home consumption – with nine Top 20 hits between 1954 and 1957, that transitional era between 78 and 45rpm records. A quarter of a century he became the voice of BBC Radio 2's Sounds of the Fifties series". Born Adrian Hill in Hull, East Riding of Yorkshire, Hilton left school at 14 and worked in an aircraft factory at the beginning of the Second World War was part of the Highland Light Infantry. Following demobilisation in 1947, he became a fitter in a Leeds sewing plant, he started singing professionally under his adopted name in 1954 after leaving his safe job in a Leeds engineering factory. A true Yorkshireman, Hilton always remained loyal to his roots – to Leeds United, he composed and recorded several anthems as tribute to the club. He came to fame by supplying smoothly delivered cover versions of popular American songs during the 1950s, his most enduring recordings were "No Other Love".
The latter spent a total of 13 weeks on the UK Singles Chart, peaking at No. 23 in the chart of 17 February 1965. The song's composers were granted an Ivor Novello Award in 1966 for the Year’s Outstanding Novelty Composition. Despite the prominence of rock and roll in his recording career, he amassed a formidable array of best-sellers in the UK Singles Chart, albeit with cover versions of US hit records; this was common practice at the time, many British recording artists followed this trend. His chart single recording career alone spanned from 1954 to 1965, which flew in the face of the changing trends of pop music. From a comparatively unknown Rodgers and Hammerstein musical, "Me and Juliet" written in 1953, Ronnie Hilton took the hit tune "No Other Love", scored his one and only UK Number One hit in 1956. In securing the Number One, Hilton fought off competition from the UK-based Canadian Edmund Hockridge, from the Johnston Brothers. Oddly, no American versions of "No Other Love" reached the UK Singles Chart at the time.
Perry Como had been successful with the song in America, but his version was released much earlier in 1953, when "Me and Juliet" first opened on Broadway. Hilton's light operatic style, similar to fellow Hullensian, David Whitfield, was by the mid-1950s being overtaken by events. By the time "No Other Love" dropped off the UK Singles Chart, Elvis Presley had clocked up his first three UK hit singles. Hilton performed in three Royal Variety Performances, he took part in the inaugural A Song For Europe contest in 1957, failing in his attempt to be the UK's first representative in the Eurovision Song Contest. Hilton's last chart hit for five years, in 1959, was "The Wonder of You". Hilton kept on performing well into the 1960s, in summer seasons and Christmas shows, was a regular fixture in pantomimes in Hull, at the New Theatre, but knew that his chart days were behind him. In 1967 he released a single with covers of "If I Were a Rich Man" and "The Laughing Gnome" on the A-side and B-side respectively.
It did not chart. In 1968 he participated in a successful album of songs from the newly released film Chitty Chitty Bang Bang; this was issued on the budget Music For Pleasure label, was his only charting album. He appeared as a guest on the BBC's Morecambe & Wise Show in June 1971. Hilton suffered a stroke in 1976, he encountered financial problems. Following his recovery, he presented Sounds of the Fifties, a nostalgic radio series for BBC Radio 2; the British Academy of Song Composers and Authors honoured him with its gold medal for services to popular music in 1989. He died in Hailsham, East Sussex from another stroke, aged 75, he was twice married. He had three children with Joan, she died in 1985. He was married to Christine Westoll from 1989 to 2001. "I Still Believe" – UK Chart – no. 3 "Veni Vidi Vici" – no. 12 "A Blossom Fell" – no. 10 "Stars Shine in Your Eyes" – no. 13 "The Yellow Rose of Texas" – no. 15 "Young and Foolish" – no. 17 "No Other Love" – no. 1 "Who Are We" – no. 6 "A Woman in Love" – no. 30 "Two Different Worlds" – no. 13 "Around the World" – no. 4 "Wonderful!
Wonderful!" – no. 27 "Magic Moments" – no. 22 "I May Never Pass This Way Again" – no. 27 "The World Outside" – no. 18 "The Wonder of You" – no. 22 "Don't Let the Rain Come Down" – no. 21 "A Windmill in Old Amsterdam" / "Dear Heart" – no. 23 "The Ballad of Billy Bremner" / "The Lads of Leeds" / "The Tale of Johnny Giles" List of Eurovision: Your Decision contestants Early British popular music List of artists who reached number one on the UK Singles Chart Bands and musicians from Yorkshire and North East England Ronnie Hilton Obituary Ronnie Hilton biography @ Allmusic.com
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular