Dance Club Songs
The Dance Club Songs chart is a weekly chart published by Billboard in the United States. It is a national survey of the songs which are the most popular in nightclubs across the country and is compiled from reports from a national sample of disc jockeys, it was launched as the Disco Action Top 30 chart on August 28, 1976, became the first chart by Billboard to document the popularity of dance music. Since its inception, several artists garnered multiple achievements. In January 2017, Billboard proclaimed Madonna as the most successful artist in the history of the chart, ranking her first in their list of the 100 top all time dance artists and Janet Jackson being the second most successful dance club artist of all-time. Katy Perry holds the record for having eighteen consecutive number-one songs. Perry's third studio album, Teenage Dream, became the first album in the history of the chart to produce at least seven number-one songs between 2010–12, a record it held until Rihanna's eighth studio album Anti produced seven chart toppers through 2016-17.
Rihanna is the only artist to have achieved five number-one songs in a calendar year. The first number-one song on the Dance Club Songs chart for the issue dated August 28, 1976, was "You Should Be Dancing" by the Bee Gees; the current number-one song on the Dance Club Songs chart for the issue dated April 13, 2019, is "The Boss 2019" by Diana Ross. Dance Club Songs has undergone several incarnations since its inception in 1974. A top-ten list of tracks that garnered the largest audience response in New York City discothèques, the chart began on October 26, 1974 under the title Disco Action; the chart went on to feature playlists from various cities around the country from week to week. Billboard continued to run regional and city-specific charts throughout 1975 and 1976 until the issue dated August 28, 1976, when a thirty-position National Disco Action Top 30 premiered; this expanded to forty positions in 1979 the chart expanded to sixty positions eighty, reached 100 positions from 1979 until 1981, when it was reduced to eighty again.
During the first half of the 1980s the chart maintained eighty slots until March 16, 1985 when the Disco charts were splintered and renamed. Two charts appeared: Hot Dance/Disco, which ranked club play, Hot Dance Music/Maxi-Singles Sales, which ranked 12-inch single sales. Only Hot Dance Club Songs still exists today. In 2003 Billboard introduced the Hot Dance Airplay chart, based on radio airplay of six dance music stations and top 40 mix shows electronically monitored by Nielsen Broadcast Data Systems; these stations are a part of the electronically monitored panel that encompasses the Hot 100. On January 26, 2013, Billboard added a new chart, Dance/Electronic Songs, which tracks the 50 most popular Dance and Electronic singles and tracks based on digital single sales, radio airplay, club play as reported on the component Dance/Electronic Digital Songs, Dance/Electronic Streaming Songs, Dance Club Songs charts. Radio airplay is not limited to that counted on the Dance/Mix Show Airplay chart.
Although the disco chart began reporting popular songs in New York City nightclubs, Billboard soon expanded coverage to feature multiple charts each week which highlighted playlists in various cities such as San Francisco, San Diego, Los Angeles, Phoenix and Houston. During this time, Billboard rival publication Record World was the first to compile a dance chart which incorporated club play on a national level. Noted Billboard statistician Joel Whitburn has since "adopted" Record Worlds chart data from the weeks between March 29, 1975 and August 21, 1976 into Billboards club play history. For the sake of continuity, Record Worlds national chart is incorporated into both Whitburn's Dance/Disco publication as well as the 1975 and 1976 number-ones lists. With the issue dated August 28, 1976, Billboard premiered its own national chart and their data is used from this date forward. For the full list of all 100 All Time Top Dance Club Artists, click here. 19th week — "Wordy Rappinghood"/"Genius of Love" by Tom Tom Club 19th week — "Walking on a Dream" by Empire of the Sun 17th week — "Losing It" by Fisher 16th week — "The Look of Love" by ABC 16th week — "Most Precious Love" by Blaze presents U.
D. A. U. F. L. Featuring Barbara Tucker 16th week — "Where Have You Been" by Rihanna 16th week — "Right Now" by Rihanna featuring David GuettaSources: Thriller by Michael Jackson "The Boss" — Diana Ross, The Braxtons, Kristine W, again Diana Ross. Enrique Iglesias, Dave Audé and Pitbull are tied with 14 number-ones on the chart, the most among male artists. Iglesias, however, is the only male vocalist to accomplish this feat, while Audé is the only producer to achieve this milestone, as his singles feature a different vocalist. Rihanna is the first artist to earn 4 number-ones on the chart in a year and is the first act to earn 5 number-ones in a year as well. Three acts have attained thirteen number-one songs: Deborah Cox, Whitney Houston, Yoko Ono. Kylie Minogue became the first act to have two songs in the top three on March 5, 2011, her song "Better than Today" was number-one while "Higher", a song by Taio Cruz on which Minogue features, was number three. On July 28, 2016, Rihanna became the secon
Deborah Cox is a Canadian singer, songwriter and record producer. She was born in Toronto, Cox began performing on television commercials at age 12, entered various talent shows in her teenage years before becoming a professional backing vocalist for Celine Dion. In 1994, she relocated to the United States and was signed to Arista Records by Clive Davis, releasing her self-titled debut album the following year, her second studio album One Wish was certified platinum in the United States and was marked by the commercial success of the pop crossover single "Nobody's Supposed to Be Here", which would become Cox's most successful entry on the Billboard Hot 100 chart, peaking at number two and remaining there for eight consecutive weeks. Cox signed with J Records for her third studio album The Morning After, which saw moderate commercial success. Cox ventured into acting in the 2000s, making her film debut in the Canadian drama film Love Come Down and her stage debut in 2004, in the title role in the Broadway musical Aida.
She has since appeared in smaller films and several musical productions, including the horror-drama Jekyll & Hyde, the biographical musical Josephine and the musical adaptation of The Bodyguard. Cox's most recent studio albums, Destination Moon and The Promise, have been released through her own independent record label, Deco Recording Group. In 2017, her single "Let the World Be Ours Tonight" became her 13th number-one hit on Billboard's Dance Club Songs over the span of three consecutive decades. In 2016, Billboard listed Cox at 23rd on its list of the Greatest of All Time Top Dance Club Artists. An eight-time Juno Award nominee, she has won four awards and is cited as Canada's top R&B artist. Deborah Cox was born in Toronto to parents of Afro-Guyanese descent, grew up in Scarborough and attended John XXIII Catholic Elementary School and Earl Haig Secondary School, she began singing on TV commercials at age 12, entered various talent shows including an appearance on Tiny Talent Time. She performed in nightclubs as a teenager, began to write music around the same time.
Cox entered the music industry in the early 1990s, performing as a backup vocalist for Celine Dion for six months. After receiving many rejection letters from Canadian record labels that claimed their "quota" had been reached, Cox moved to Los Angeles in 1994 with producer and songwriting partner, Lascelles Stephens. In 1995, label executive Clive Davis signed Cox to Arista Records. Featuring production from Dallas Austin, Keith Crouch, Tim & Bob, Kenneth "Babyface" Edmonds, she released her self-titled debut album the same year. A middling commercial and critical success, the album peaked at number 102 on US Billboard 200 but emegered as a steady seller receiving a gold certification by the Recording Industry Association of America, while going platinum in Canada. Lead single "Sentimental" entered the top five on the US Hot R&B/Hip-Hop Songs, while follow-up "Who Do U Love" attained worldwide success, becoming a top twenty success in Australia, New Zealand and the US reaching the top of Billboard's Dance Club Songs.
In 1996, Deborah Cox won Cox a Juno Award for Best R&B/Soul Recording at the annual award cerremony and earned her a Best Soul/R&B New Artist nomination at the 1996 American Music Awards. Cox contributed the non-album song "Things Just Ain't The Same" to the soundtrack to the 1997 film Money Talks. A dance remix of the song, produced by Hex Hector, became her second number-one hit on Billboard's Dance Club Songs chart and was included on her second album, 1998's One Wish; as with her self-titled debut album, her sophomore effort was once again executive-produced by Davis, but featured more uptempo, contemporary R&B, a slew of new producers and personnel to incorporate dance and club music, including Montell Jordan, Anthony "Shep" Crawford, Rodney "Darkchild" Jerkins, DJ Quik. One Wish peaked at number 72 on the Billboard 200 and earned a platinum certification from the RIAA, while reaching gold status in Canada; the album capitalized on the crossover success of lead single "Nobody's Supposed to Be Here" which became Cox's most successful entry on the Billboard Hot 100, peaking at number two, remaining there for eight consecutive weeks, making it one of the longest stays at number two in chart history.
The song reached number one on the Hot R&B/Hip-Hop Songs, spending a record-breaking 14 weeks at number one, while third single "We Can't Be Friends," a duet with R. L. Huggar, reached the top ten, with "It's Over Now" and "I Never Knew" become chart toppers on the Dance Club Songs chart. After One Wish, Cox collaborated with singer Whitney Houston on her single "Same Script, Different Cast" from the compilation album Whitney: The Greatest Hits. Incorporating a backing track of Ludwig van Beethoven's "Für Elise" during the intro, it was released as a radio-only promo single and became a minor hit on Billboard Hot 100, peaking at number 70 while reaching number 14 on Hot R&B/Hip-Hop Songs. In 2000, Cox made her acting debut when she starred in Clement Virgo's Canadian drama film Love Come Down, playing a nightclub singer; the film garnered eight nominations at the 21st Genie Awards, including two Best Original Song nominations for Cox's songs "29" and "Our Love". In 2001, Cox recorded "Absolutely Not", for the soundtrack to Dr. Dolittle 2 which became her sixth number one hit on Billboard's Dance Club Songs.
Cox's third album The Morning After was released in November 2002 on J Records following a frustratingly long departure from Arista. It marked the Cox's first record under Clive Davis's label, with Davis once more serving as executive producer. Keen to build on the success of her previous album One Wish, he enlisted the help of producers su
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
Chic called Nile Rodgers & Chic, is an American band, organized during 1976 by guitarist Nile Rodgers and bassist Bernard Edwards. It recorded many commercially successful disco songs, including "Dance, Dance", "Everybody Dance", "Le Freak", "I Want Your Love", "Good Times", "My Forbidden Lover"; the group regarded themselves as a rock band for the disco movement "that made good on hippie peace and freedom". In 2017, Chic was nominated for induction into the Roll Hall of Fame for the eleventh time. Nile Rodgers and Bernard Edwards met during 1970, as fellow session musicians working in the New York City area, they formed a rock band named The Boys and The Big Apple Band, playing numerous gigs around New York City. Despite interest in their demos, they never got a record contract, they were in the band New York City, which had a hit record in 1973 with "I'm Doing Fine Now", charting in the UK. The original demo tapes were made by DJ/studio engineer Robert Drake, who first played lacquer records while DJing at a New York after hours club, Night Owl.
New York City broke up in 1976. After Walter Murphy released the single and album "A Fifth of Beethoven" under the name Walter Murphy and the Big Apple Band, they changed their name to Chic. Inspired after attending a concert by English glam rock band Roxy Music, Rodgers began developing the idea for a group whose music and image would form a seamless and immersive whole, taking additional influence from the anonymous, make-up wearing American rock band Kiss. During 1977, Edwards and Rodgers recruited drummer Tony Thompson with Labelle and Ecstasy, Passion & Pain, to join the band. Thompson recommended keyboardist Raymond Jones, 19, to join the band, as he had worked with him in Ecstasy, Passion & Pain. Needing a singer to become a full band, they engaged Norma Jean Wright by an agreement permitting her to have a solo career in addition to her work for the band. Using a young recording engineer Bob Clearmountain, they created the track "Dance, Dance"; as a result, Chic became a support act. The title of the first song recorded as Chic was "Everybody Dance,", on their first album.
Under contract with Atlantic Records company, during 1977 they released the self-titled debut album Chic, an extension of the demonstration tape. But Edwards and Rodgers were convinced that to produce the band's recording studio sound when performing live with sound and visuals, they needed to add another female singer. Wright suggested her friend Luci Martin, who became a member during late winter/early spring of 1978. Soon after the sessions ended for the debut album, the band members began to work on Wright's self-titled debut solo album Norma Jean, released during 1978; this album included the successful nightclub song "Saturday". To facilitate Wright's solo career, the band had agreed to contract her with a separate record company; the legal details of this contract forced Wright to end her relationship with the band during mid-1978, but she participated in the sessions for Chic-produced Sister Sledge album We Are Family. She was replaced as a singer by Alfa Anderson, who had done back-up vocals on the band's debut album.
For the Sister Sledge project and Rodgers wrote and produced "He's the Greatest Dancer", in exchange for "I Want Your Love". The group endeavored to express "deep hidden meaning" in every song. During late 1978, the band released the album C'est Chic, containing one of its better-known tracks, "Le Freak", it was created in a jam session in Edwards' apartment, after they had failed on New Year's Eve 1977 to meet with Grace Jones at New York's nightclub Studio 54. The original refrain "Aaa, fuck off", intended for the doormen of Studio 54, was replaced that night with "Aaa, freak out", after trying a version with "Aaa, freak off"; the resulting single was a great success, scoring No. 1 on the US charts and selling more than six million copies. It was the best-selling single album of Atlantic's parent company, Warner Music, until Madonna's "Vogue" in 1990. On March 21, 2018 "Le Freak" was selected for preservation in the National Recording Registry by the Library of Congress as being "culturally or artistically significant".
The next year, the group released the Risqué album and the lead track "Good Times", one of the most influential songs of the era. The track was the basis of Grandmaster Flash's "Adventures on the Wheels of Steel" and the Sugarhill Gang's breakthrough hip hop music single "Rapper's Delight", it has been sampled since by many dance and hip hop acts, as well as being the inspiration for Queen's "Another One Bites the Dust", Blondie's "Rapture", Captain Sensible's "Wot?" and, two decades the bass line for Daft Punk’s "Around the World". At the same time and Rodgers composed, arranged and produced many influential disco and R&B records for various artists, including Sister Sledge's albums We Are Family and Love Somebody Today. Devotion's "Spacer". An album recorded with Johnny Mathis remains unreleased. Chic introduced a young session vocalist, Luther Vandross, who sang on Chic's early albums. After the anti-disco reaction at the end of the 1970s, the band struggled to obtain both airplay and sales, during the early 1980s they
The Last Days of Disco
The Last Days of Disco is a 1998 American comedy-drama film written and directed by Whit Stillman, loosely based on his travels and experiences in various nightclubs in Manhattan, including Studio 54. The film concerns a group of Ivy League and Hampshire College graduates falling in and out of love in the disco scene of New York City, in the "very early 1980s". Chloë Sevigny and Kate Beckinsale have the lead roles; the Last Days of Disco is the third film in what Stillman calls his "Doomed-Bourgeois-in-Love series". The three films are independent of each other except for the cameo appearances of some common characters. According to Stillman, the idea for Disco was conceived after the shooting of Barcelona's disco scenes. In 2000, Stillman published a novelization of the film, titled The Last Days of Disco, with Cocktails at Petrossian Afterwards, it won the 2014 Prix Fitzgerald Award. The film was released theatrically in the United States on June 12, 1998; the DVD releases went out of print, the film was unavailable for home video purchase until it was picked up by The Criterion Collection and released in a director-approved special edition on August 25, 2009.
Along with Metropolitan and Barcelona, a print of The Last Days of Disco resides in the permanent film library of the Museum of Modern Art. In the "very early 1980s," Alice Kinnon and Charlotte Pingress, two recent Hampshire College graduates, work in a New York City publishing house as poorly paid readers. After work one night, they are able to enter an exclusive disco nightclub, where Alice is hoping to socialize with Jimmy Steinway, who works in advertising and uses the nightclub to entertain clients. Jimmy is ill-tempered because he has been barred from bringing clients to the nightclub and is kicked out by his friend Des McGrath, who works as a manager at the club but whose job is in jeopardy for allowing Jimmy and his clients inside. After Jimmy leaves, Alice takes Charlotte's advice to go home with Tom Platt. At work the following morning and Alice talk with other editors about how to fast-track their careers, they decide to move in together with a third girl, Holly, as they cannot afford to pay rent on their own.
Despite Alice's reluctance, the women settle on a railroad apartment. Returning to the club, Alice is upset to learn, she is further upset when Tom tells her that when he slept with her, he had a long-term girlfriend he was separated from and his one-night stand with Alice convinced him to return to her. Des begins to pursue Alice. At work, Alice decides to pursue the publication of a book on Buddhism, written by the Dalai Lama's brother, that Charlotte had recommended rejecting, Alice gains the editors' respect, it is discovered that the author is not in fact the Dalai Lama's brother, but Alice maintains the book is one of the best she's read. Meanwhile, now dating Jimmy, is insecure about Jimmy and Alice's apparent friendliness. At the club, in front of a group of various friends, Charlotte loudly announces that Alice has gonorrhea, after figuring it out when Alice refuses to drink. Charlotte apologizes to Alice but tells her not to be embarrassed, as it will make men think of her as more accessible.
In fact, after learning this, Des does become more interested in being with Alice, they start dating casually. Alice has dinner with Tom to confront him about giving her gonorrhea, he denies it, arguing she could have contracted it from someone else, but Alice tells him he was her first sexual partner. He admits he gave her herpes. Meanwhile, Josh Neff, a D. A. and friend of Jimmy's who frequently attends the club, asks Alice to lunch to pitch a book to her. At lunch, he confesses. Alice and Josh go on a real date, he tells her he is on medication for manic depression. Upon returning home from the date, Alice discovers Charlotte being taken away in an ambulance after a miscarriage and being told by Jimmy that he is moving to Barcelona. At the hospital, Charlotte asks Alice if Jimmy expressed interest in being with her; the nightclub is raided by the police for tax fraud, Des tries to run away despite Josh's promise to protect him, believing that Josh's interest in Alice will cause him to act unfairly.
They discover that before the club was raided by the police, disco records were no longer selling and attendance was down. Alice and Charlotte learn that their employer has merged with a larger publishing house and that layoffs are to be expected; some time Charlotte and Des are seen leaving the unemployment office. Josh tells the group that he is going to Lutèce for lunch, treated by Alice, celebrating her promotion. Des and Charlotte talk about how their big personalities are too much for normal personalities like Alice and Jimmy. Des says that pairing off monogamously detracts from their glamorous lifestyle, Charlotte agrees. On the subway on their way to Lutèce, Alice and Josh discuss their future prospects; as the end credits begin, they break character to dance to "Love Train", are joined by the entire subway station of passengers when they arrive at their destination. Chloë Sevigny as Alice Kinnon: One of two main characters, a quiet and passive but intelligent young woman working as a book editor in Manhattan.
She and Charlotte, frequent companions, work for the same publisher and attended a prestigious college tog
(It's Not War) Just the End of Love
" Just the End of Love" is a song by Manic Street Preachers and was released as the lead single from their tenth album Postcards From a Young Man. The song was made Record of the Week on BBC Radio 2 and added to the BBC Radio 2, BBC 6 Music and XFM playlists; the music video, directed by Alex Smith, was premiered on GMTV on 26 August 2010. It is set in a 1970s chess tournament and stars actor Michael Sheen, who portrays an American chess master, opposite a Soviet chess master portrayed by actress Anna Friel; the entire video unfolds in slight slow motion. The match is interrupted when the two mount the chess table and kiss passionately as the studio audience looks on aghast; the single was enthusiastically received by BBC Wales' James McLaren, who stated "Well I like it, I do. It's got a theatrical pop verve to it. A sweeping string-laden hook, classic Bradders growly verse and a widdly solo in the middle eight; the melody is simple but delivered with classic Manics panache." This Is Fake DIY described it: "It's simple, it's catchy and it's enjoyable, will have many casual radio listeners rifling through their back catalogue to discover what they've been missing all these years."
The NME commented that it had "nostalgia...but an unmistakable sense of vitality and urgency". In an early review of the album, the NME described the track as "quite the daftest, most outlandish stadium pop song the Manics have put their minds to, but in a excellent way, with one of those choruses you only need to hear once to remember forever." The Fly called it a "brilliant start" to the album, saying that it "sets out its grandiose stall from the off as James Dean Bradfield's FM-friendly riff gives way to a warm orchestral flourish". The single entered the UK Charts at #28, making " Just the End of Love" their lowest charting single since "Life Becoming a Landslide", it was the band's last Top 40 hit single. " Just the End of Love" – 3:29 "I'm Leaving You for Solitude" – 3:21 "Distractions" – 3:56 "Ostpolitik" – 2:58 " Just the End of Love" "Lost Voices" " Just the End of Love" "I Know the Numbers"
RPM was a Canadian music industry publication that featured song and album charts for Canada. The publication was founded by Walt Grealis in February 1964, supported through its existence by record label owner Stan Klees. RPM ceased publication in November 2000. RPM stood for "Records, Music"; the magazine was reported to have variations in its title over the years such as RPM Weekly and RPM Magazine. RPM maintained several format charts, including Top Singles, Adult Contemporary, Urban, Rock/Alternative and Country Tracks for country music. On 21 March 1966, RPM expanded its Top Singles chart from 40 positions to 100. On December 6, 1980 the main chart became a Top 50 chart and remained this way until August 4, 1984 whereupon it returned to being a Top 100 Singles chart. For the first several weeks of its existence, the magazine did not compile a national chart, but printed the current airplay lists of several major market Top 40 stations. A national chart was introduced beginning with the June 22, 1964 issue, with its first-ever national #1 single being "Chapel of Love" by The Dixie Cups.
Prior to the introduction of RPM's national chart, the CHUM Chart from Toronto radio station CHUM was considered the de facto national chart. The final #1 single in the magazine was "Music" by Madonna; the modern Juno Awards had their origins in an annual survey conducted by RPM since its founding year. Readers of the magazine were invited to mail in survey ballots to indicate their choices under various categories of people or companies; the RPM Awards poll was transformed into a formal awards ceremony, The Gold Leaf Awards in 1970. These became the Juno Awards in following years; the RPM Awards for 1964 were announced in the 28 December 1964 issue: Top male vocalist: Terry Black Top female singer: Shirley Matthews Most promising male vocalist: Jack London Most promising female vocalist: Linda Layne Top vocal instrumental group: The Esquires Top female vocal group: Girlfriends Top instrumental group: Wes Dakus & The Rebels Top folk group: The Courriers Top country male singer: Gary Buck Top country female singer: Pat Hervey Industry man of the year: Johnny Murphy of Cashbox Canada Top record company: Capitol Records of Canada Top Canadian Content record company: Capitol Records of Canada Top national record promoter: Paul White, Capitol Records of Canada Top regional record promoter: Ed Lawson, Quality Records Top album of the year: That Girl by Phyllis MarshallA column on page 6 of that issue noted that the actual vote winner for Top Canadian Content record company was disqualified due to a conflict of interest involving an employee of that company, working for RPM.
Therefore, runner-up Capitol Records was declared the category's winner. The Annual RPM Awards for 1965 were announced in the 17 January 1966 issue, with more country music categories than the previous year: Top male vocalist: Bobby Curtola Top female singer: Catherine McKinnon Most promising male vocalist: Barry Allen Most promising female vocalist: Debbie Lori Kaye Top vocal/instrumental group: The Guess Who Top female vocal group: Girlfriends Top instrumental group: Wes Dakus & The Rebels Top folk group: Malka and Joso Top folk singer: Gordon Lightfoot Best produced single: "My Girl Sloopy", Little Caesar and the Consuls Best produced album: Voice of an Angel by Catherine McKinnon Top country male singer: Gary Buck Top country female singer: Dianne Leigh Most promising country male singer: Angus Walker Most promising country female singer: Sharon Strong Top country instrumental vocal group: Rhythm Pals Top country instrumentalist: Roy Penney Top country radio personality: Al Fisher, CFGM Toronto Top Canadian disc jockey: Chuck Benson, CKYL Peace River Top record company: Capitol Records of Canada Top Canadian Content record company: Capitol Records of Canada Top national record promoter: Paul White, Capitol Records of Canada Top regional record promoter: Charlie Camilleri, Quality Records The winners were: Top male vocalist: Barry Allen Top female singer: Catherine McKinnon Most promising male vocalist: Jimmy Dybold Most promising female vocalist: Lynda Lane Top vocal/instrumental group: Staccatos Top female vocal group: Allan Sisters Top instrumental group: Wes Dakus & The Rebels Top folk group: 3's a Crowd Top folk singer: Gordon Lightfoot Best produced single: "Let's Run Away", Staccatos Top country male singer: Gary Buck Top country female singer: Dianne Leigh Most promising country male singer: Johnny Burke Most promising country female singer: Debbie Lori Kaye Top country instrumental vocal group: Mercey Brothers Top country instrumentalist: Roy Penney Top country radio personality: Ted Daigle Top country radio station: CFGM Top record company: Capitol Records of Canada Top Canadian Content record company: Red Leaf Records Top national record promoter: Paul White, Capitol Records of Canada Top regional record promoter: Al Nair Top Canadian music industry man of the year: Stan Klees List of number-one singles in Canada List of RPM number-one alternative rock singles List of RPM number-one country singles List of RPM number-one dance singles RPM archive charts RPM Library and Archives Canada: "The RPM Story" The Canadian Encyclopedia: RPM Charts archive from 1964 to 1999 on worldcharts.co.uk Megan Thow.
"Critical Miss". Ryerson Review of Journalism. Archived from the original on 27 September 2007. Retrieved 15 September 2007