UK Singles Chart
The UK Singles Chart is compiled by the Official Charts Company, on behalf of the British record industry, listing the top-selling singles in the United Kingdom, based upon physical sales, paid-for downloads and streaming. The Official Chart, broadcast on BBC Radio 1 and MTV, is the UK music industry's recognised official measure of singles and albums popularity because it is the most comprehensive research panel of its kind, today surveying over 15,000 retailers and digital services daily, capturing 99.9% of all singles consumed in Britain across the week, over 98% of albums. To be eligible for the chart, a single is defined by the Official Charts Company as either a'single bundle' having no more than four tracks and not lasting longer than 25 minutes or one digital audio track not longer than 15 minutes with a minimum sale price of 40 pence; the rules have changed many times as technology has developed, the most notable being the inclusion of digital downloads in 2005 and streaming in July 2014.
The OCC website contains the Top 100 chart. Some media outlets only list the Top 75 of this list; the chart week runs from 00:01 Friday to midnight Thursday, with most UK physical and digital singles being released on Fridays. From 3 August 1969 until 5 July 2015, the chart week ran from 00:01 Sunday to midnight Saturday; the Top 40 chart is first issued on Friday afternoons by BBC Radio 1 as The Official Chart from 16:00 to 17:45, before the full Official Singles Chart Top 100 is posted on the Official Charts Company's website. A rival chart show, The Vodafone Big Top 40, is based on iTunes downloads and commercial radio airplay across the Global Radio network only, is broadcast on Sunday afternoons from 16:00 to 19:00 on 145 local commercial radio stations across the United Kingdom; the Big Top 40 is not regarded by the industry or wider media. There is a show called "Official KISS Top 40", counting down 40 most played songs on Kiss FM every Sunday 17:00 to 19:00; the UK Singles Chart began to be compiled in 1952.
According to the Official Charts Company's statistics, as of 1 July 2012, 1,200 singles have topped the UK Singles Chart. The precise number of chart-toppers is debatable due to the profusion of competing charts from the 1950s to the 1980s, but the usual list used is that endorsed by the Guinness Book of British Hit Singles and subsequently adopted by the Official Charts Company; the company regards a selected period of the New Musical Express chart and the Record Retailer chart from 1960 to 1969 as predecessors for the period prior to 11 February 1969, where multiples of competing charts coexisted side by side. For example, the BBC compiled its own chart based on an average of the music papers of the time; the first number one on the UK Singles Chart was "Here in My Heart" by Al Martino for the week ending date 14 November 1952. As of the week ending date 18 April 2019, the UK Singles Chart has had 1352 different number-one hits; the current number-one single is "Someone You Loved" by Lewis Capaldi.
Before the compilation of sales of records, the music market measured a song's popularity by sales of sheet music. The idea of compiling a chart based on sales originated in the United States, where the music-trade paper Billboard compiled the first chart incorporating sales figures on 20 July 1940. Record charts in the UK began in 1952, when Percy Dickins of the New Musical Express gathered a pool of 52 stores willing to report sales figures. For the first British chart Dickins telephoned 20 shops, asking for a list of the 10 best-selling songs; these results were aggregated into a Top 12 chart published in NME on 14 November 1952, with Al Martino's "Here in My Heart" awarded the number-one position. The chart became a successful feature of the periodical. Record Mirror compiled its own Top 10 chart for 22 January 1955; the NME chart was based on a telephone poll. Both charts expanded in size, with Mirror's becoming a Top 20 in October 1955 and NME's becoming a Top 30 in April 1956. Another rival publication, Melody Maker, began compiling its own chart.
It was the first chart to include Northern Ireland in its sample. Record Mirror began running a Top 5 album chart in July 1956. In March 1960, Record Retailer had a Top 50 singles chart. Although NME had the largest circulation of charts in the 1960s and was followed, in March 1962 Record Mirror stopped compiling its own chart and published Record Retailer's instead. Retailer began independent auditing in January 1963, has been used by the UK Singles Chart as the source for number-ones since the week ending 12 March 1960; the choice of Record Retailer as the source has been criticised. With available lists of which record shops were sampled to compile the charts some shops were subjected to "hyping" but, with Record Retailer being less followed than some charts, it was subject to less hyping. Additionally, Retailer was set up by independent record shops and had no funding or affiliation with record companies. However, it had a smaller sample size than some ri
Made in Heaven (1987 film)
Made in Heaven is a 1987 fantasy-comedy film directed by Alan Rudolph, script from Bruce A. Evans and Raynold Gideon, produced by Lorimar Productions; the film stars Timothy Hutton and Kelly McGillis and has cameos by Tom Petty, Ric Ocasek, Ellen Barkin and Neil Young. An additional character known only as "Emmett" in the film was played by Debra Winger, who acted as a chain-smoking male angel; the original music score was composed by Mark Isham. The film was marketed with the tagline "How in Heaven did they meet? How on Earth will they find each other?" Made in Heaven concerns two souls who cross paths in Heaven and attempt to reconnect once they are reborn on Earth. In 1988, the film was released on VHS format as well as digital stereo LaserDisc format. In 2009, the film made its DVD debut as part of the Warner Archive Collection. In a small Pennsylvania town in 1957, Mike Shea dreams of escaping small town life and moving to California with his girlfriend Brenda Carlucci, but Brenda leaves him with his motor running and Mike takes off alone.
Along the way, he perishes himself. He finds himself in Heaven, where his Aunt Lisa greets him, explains the rules and regulations. Once in the ethereal realm, Mike falls in love with a heavenly guide named Annie Packert, their love is abruptly interrupted. Mike is beside himself with despair, but the heavenly powers, in the form of Emmett Humbird, chain-smoking and sporting an orange crew-cut, offer him a deal. Mike can return with the stipulation neither he nor Annie will remember each other, he has thirty years in which they must find each other again. Made in Heaven: Original Motion Picture Soundtrack was released through Elektra Records on LP and cassette, but not on CD. Martha Davis - "We Never Danced" R. E. M. - "Romance" Ric Ocasek - "I Still Want You" Luther Vandross - "There's Only You" The Nylons - "Up the Ladder to the Roof" Buffalo Springfield - "Mr. Soul" Buffalo Springfield - "I Am a Child" Mark Isham - "Same Time, Another Place" Mark Isham - "Beyond the Frames" Mark Isham - "Instead of Floating"Pre-recorded songs from the film that were not on the soundtrack album: Sly and the Family Stone - "If You Want Me to Stay" Buffalo Springfield - "For What It's Worth" Alberta Hunter - "Long May We Love" Hank Williams - "Why Should We Try Anymore" Ernest Tubb and Red Foley - "Goodnight, Irene" Made in Heaven on IMDb Made in Heaven at AllMovie Made in Heaven at Box Office Mojo Made in Heaven at Rotten Tomatoes
Live Aid was a dual-venue benefit concert held on Saturday 13 July 1985, an ongoing music-based fundraising initiative. The original event was organised by Bob Geldof and Midge Ure to raise funds for relief of the ongoing Ethiopian famine. Billed as the "global jukebox", the event was held at Wembley Stadium in London, United Kingdom and John F. Kennedy Stadium in Philadelphia, United States. On the same day, concerts inspired by the initiative happened in other countries, such as the Soviet Union, Japan, Austria and West Germany, it was one of the largest-scale satellite link-ups and television broadcasts of all time. The impact of Live Aid on famine relief has been debated for years. One aid relief worker stated that following the publicity generated by the concert, “humanitarian concern is now at the centre of foreign policy” for western governments. Geldof said Live Aid "created something permanent and self-sustaining", but asked why Africa is getting poorer; the organisers of Live Aid tried, without much success, to run aid efforts directly, so channelled millions to the NGOs in Ethiopia, much of which went to the Ethiopian government of Mengistu Haile Mariam – a brutal regime the UK Prime Minister Margaret Thatcher wanted to “destabilise” – and was spent on guns.
The 1985 Live Aid concert was conceived as a follow-on to the successful charity single "Do They Know It's Christmas?", the brainchild of Geldof and Ure. In October 1984, images of hundreds of thousands of people starving to death in Ethiopia were shown in the UK in Michael Buerk's BBC News reports on the 1984 famine; the BBC News crew were the first to document the famine, with Buerk's report on 23 October describing it as "a biblical famine in the 20th century" and "the closest thing to hell on Earth". The report shocked Britain, motivating its citizens to inundate relief agencies, such as Save the Children, with donations, to bring the world's attention to the crisis in Ethiopia. Bob Geldof saw the report, called Midge Ure from Ultravox, together they co-wrote the song, "Do They Know It's Christmas?" in the hope of raising money for famine relief. Geldof contacted colleagues in the music industry and persuaded them to record the single under the title'Band Aid' for free. On 25 November 1984, the song was recorded at Sarm West Studios in Notting Hill and was released four days later.
It stayed at number one for five weeks in the UK, was Christmas number one, became the fastest-selling single in Britain and raised £8 million, rather than the £70,000 Geldof and Ure had expected. Geldof set his sights on staging a huge concert to raise further funds; the idea to stage a charity concert to raise more funds for Ethiopia came from Boy George, the lead singer of Culture Club. George and Culture Club drummer Jon Moss had taken part in the recording of "Do They Know It's Christmas?" and in December 1984 Culture Club were undertaking a tour of the UK, which culminated in six nights at Wembley Arena. On the final night at Wembley, Saturday 22 December 1984, an impromptu gathering of some of the other artists from Band Aid joined Culture Club on stage at the end of the concert for an encore of "Do They Know It's Christmas?". George was so overcome by the occasion he told Geldof that they should consider organising a benefit concert. Speaking to the UK music magazine Melody Maker at the beginning of January 1985, Geldof revealed his enthusiasm for George's idea, saying, "If George is organising it, you can tell him he can call me at any time and I'll do it.
It's a logical progression from the record, but the point is you don't just talk about it, you go ahead and do it!"It was clear from the interview that Geldof had had the idea to hold a dual venue concert and how the concerts should be structured: The show should be as big as is humanly possible. There's no point just 5,000 fans turning up at Wembley, it would be great for Duran to play three or four numbers at Wembley and flick to Madison Square where Springsteen would be playing. While he's on, the Wembley stage could be made ready for the next British act like the Thompsons or whoever. In that way lots of acts could be featured and the television rights, tickets and so on could raise a phenomenal amount of money. It's not an impossible idea, one worth exploiting. Among those involved in organising Live Aid were Harvey Goldsmith, responsible for the Wembley Stadium concert, Bill Graham, who put together the American leg; the concert grew in scope. Tony Verna, inventor of instant replay, was able to secure John F. Kennedy Stadium through his friendship with Philadelphia Mayor Goode and was able to procure, through his connections with ABC's prime time chief, John Hamlin, a three-hour prime time slot on the ABC Network and, in addition, was able to supplement the lengthy program through meetings that resulted in the addition of an ad-hoc network within the US, which covered 85 percent of TVs there.
Verna designed the needed satellite schematic and became the Executive Director as well as the Co-Executive Producer along with Hal Uplinger. Uplinger came up with the idea to produce a four-hour video edit of Live Aid to distribute to those countries without the necessary satellite equipment to rebroadcast the live feed; the concert began at 12:00 British Summer Time at Wembley Stadium in the United Kingdom
A-side and B-side
The terms A-side and B-side refer to the two sides of 78, 45, 331⁄3 rpm phonograph records, or cassettes, whether singles, extended plays, or long-playing records. The A-side featured the recording that the artist, record producer, or the record company intended to receive the initial promotional effort and receive radio airplay to become a "hit" record; the B-side is a secondary recording that has a history of its own: some artists released B-sides that were considered as strong as the A-side and became hits in their own right. Others took the opposite approach: producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side. Music recordings have moved away from records onto other formats such as CDs and digital downloads, which do not have "sides", but the terms are still used to describe the type of content, with B-side sometimes standing for "bonus" track.
The first sound recordings at the end of the 19th century were made on cylinder records, which had a single round surface capable of holding two minutes of sound. Early shellac disc records records only had recordings on one side of the disc, with a similar capacity. Double-sided recordings, with one selection on each side, were introduced in Europe by Columbia Records in 1908, by 1910 most record labels had adopted the format in both Europe and the United States. There were no record charts until the 1930s, radio stations did not play recorded music until the 1950s. In this time, A-sides and B-sides existed. In June 1948, Columbia Records introduced the modern 331⁄3 rpm long-playing microgroove vinyl record for commercial sales, its rival RCA Victor, responded the next year with the seven-inch 45 rpm vinylite record, which would replace the 78 for single record releases; the term "single" came into popular use with the advent of vinyl records in the early 1950s. At first, most record labels would randomly assign which song would be an A-side and which would be a B-side.
Under this random system, many artists had so-called "double-sided hits", where both songs on a record made one of the national sales charts, or would be featured on jukeboxes in public places. As time wore on, the convention for assigning songs to sides of the record changed. By the early sixties, the song on the A-side was the song that the record company wanted radio stations to play, as 45 rpm single records dominated the market in terms of cash sales, it was not until 1968, for example, that the total production of albums on a unit basis surpassed that of singles in the United Kingdom. In the late 1960s, stereo versions of pop and rock songs began to appear on 45s; the majority of the 45s were played on AM radio stations, which were not equipped for stereo broadcast at the time, so stereo was not a priority. However, the FM rock stations did not like to play monaural content, so the record companies adopted a protocol for DJ versions with the mono version of the song on one side, stereo version of the same song on the other.
By the early 1970s, double-sided hits had become rare. Album sales had increased, B-sides had become the side of the record where non-album, non-radio-friendly, instrumental versions or inferior recordings were placed. In order to further ensure that radio stations played the side that the record companies had chosen, it was common for the promotional copies of a single to have the "plug side" on both sides of the disc. With the decline of 45 rpm vinyl records, after the introduction of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. At first, cassette singles would have one song on each side of the cassette, matching the arrangement of vinyl records, but cassette maxi-singles, containing more than two songs, became more popular. Cassette singles were phased out beginning in the late 1990s, the A-side/B-side dichotomy became extinct, as the remaining dominant medium, the compact disc, lacked an equivalent physical distinction.
However, the term "B-side" is still used to refer to the "bonus" tracks or "coupling" tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other physical media have declined, the term "B-side" is now less used. Songs that were not part of an artist's collection of albums are made available through the same downloadable catalogs as tracks from their albums, are referred to as "unreleased", "bonus", "non-album", "rare", "outtakes" or "exclusive" tracks, the latter in the case of a song being available from a certain provider of music. B-side songs may be released on the same record as a single to provide extra "value for money". There are several types of material released in this way, including a different version, or, in a concept record, a song that does not fit into the story lin
Hello Again (The Cars song)
"Hello Again" is a song performed by the rock band The Cars, released in 1984 as the fourth single from the album Heartbeat City. It was the fourth Top 20 hit from the album, reaching number 20 on the Billboard Hot 100 chart; the music video for the song was directed by Andy Warhol, who appeared in the video as a bartender. A then-unknown Gina Gershon appeared in the video. Keyboardist Greg Hawkes said "I think did some of the conceptualizing and showed up to be an extra, and he invited his various friends to be in it. It was with a more interesting cast of characters, and you could always look over on the set and go'Hey that's Andy Warhol.'"The music video explored the controversial topics of sex and violence that were being featured in music videos at the time. "Hello Again" was described as "eccentric" by AllMusic critic Greg Prato, who cited the track as a highlight from the Heartbeat City album. Donald Guarisco of AllMusic, said, "One of their strongest tracks was'Hello Again,' a stylish new wave rocker with plenty of experimental touches."
Guarisco said it "is a song that represents the Cars striking a unique balance between their gift for pop hooks and their love of experimental sounds."In his review of the compilation album Greatest Hits, Greg Prato felt that "Hello Again" should have appeared, stating "why was the title track from Heartbeat City included instead of the 1984 Top 20 hit'Hello Again'?" "Hello Again" – 3:45 "Hello Again" – 6:02 "Hello Again" – 5:54"Hello Again" – 6:02 "Hello Again" – 3:47 Lyrics of this song at MetroLyrics
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro