"Sara Smile" is a song written and recorded by the American musical duo Hall & Oates. It was released on January 1976 as the second single from their album Daryl Hall & John Oates; the song was the group's first Top 10 hit in the US, reaching number four on the Billboard Hot 100. "Sara Smile" was the second single released from Hall & Oates' 1975 self-titled album for RCA Records. Cowritten by both halves of the duo, it was Hall & Oates's breakthrough single, with a #4 peak on the Billboard Hot 100 charts in 1976, it was written about Sara Allen. The couple were together for 30 years before breaking up in 2001. Nathan Brackett and Christian Hoard, in the Rolling Stone album guide, referred to the song as a "love bead ballad," and Steve Pond of the Los Angeles Times cited it as an example of the duo's R&B influences. Following the success of "Sara Smile," the Atlantic Records label re-released the duo's previous single, "She's Gone." "Sara Smile" was the duo's first Top Ten hit, reaching #4 on the Billboard Hot 100.
It peaked at #23 on Hot Soul Singles and #18 on the Hot Adult Contemporary Tracks charts. Billboard ranked it as the No. 11 song of 1976. On the R&R Airplay chart the song debuted at #38 on April 2, 1976, after seven weeks it reached and peaked at #7 staying there for two weeks, it was on the top 10 of the chart for four weeks and remained on it for 17 weeks; the song earned a gold certification from the Recording Industry Association of America. R&B group After 7 released a cover version in 1997, on their greatest hits album The Very Best of After 7, it peaked at number 31 on the Billboard R&B/Hip-Hop Airplay charts, number 99 in Australia, number 130 in the UK. R&B group Boyz II Men released a cover version in 2004, on their album Throwback, Vol. 1. Country music singer Jimmy Wayne released a cover version in 2009, with backing vocals from Hall & Oates; this version debuted at #51 on the Hot Country Songs chart dated October 3, 2009 and serves as the title track for Wayne's third album, Sara Smile.
It became Oates' first single to chart on the country charts. Sam Gazdziak of Engine 145 gave the song a thumbs-down, saying that it was "almost reverential" to the original and that Wayne's vocals showed R&B influences, but added that it "has no business being played on a country radio station." Bobby Peacock of Roughstock gave a more positive review saying that it was well-sung but not country-sounding, but adding that it was a "refreshing change of pace" from the "bombast of Do You Believe Me Now", Wayne's last album. Thom Jurek described the cover favorably in his review of the album, saying that Wayne "basically apes Hall's lead vocalnote for note" but "pulls it off in spades." Jimmy Wayne's version of "Sara Smile" debuted at number 51 on the US Billboard Hot Country Songs chart in September 2009. After seven weeks on the country chart, the song peaked at 31 in December 2009. British female singer-songwriter Rumer released a cover version on July 30, 2012 as the second single from her second studio album Boys Don't Cry.
The song has charted in Belgium Rumer and Daryl Hall perform the song together on Live From Daryl's House. A music video to accompany the release of "Sara Smile" was first released onto YouTube on June 28, 2012 at a total length of three minutes. Lyrics of this song at MetroLyrics Sara Smile at AllMusic
Ne partez pas sans moi
"Ne partez pas sans moi" is the Swiss winning entry in the Eurovision Song Contest 1988, performed by the Canadian Celine Dion. It was released as a single in Europe in May 1988. Dion performed; the song was composed by Turkish songwriter Atilla Şereftuğ and Swiss composer Nella Martinetti. It won Eurovision with 137 points, beating the United Kingdom entry "Go" performed by Scott Fitzgerald by just one point in one of the closest finishes in Eurovision history, it is considered to be one of the most popular Eurovision entries because of Dion's subsequent international success. While the single sold 200,000 copies in Europe in two days and over 300,000 copies in total, it is one of the less commercially successful Eurovision winners, it was the first winning song not to be released in Ireland. Although not released as a single in Canada, on 1 October 1988 the song entered the chart in Quebec, spending twenty-three weeks on it and peaking at number ten."Ne partez pas sans moi" was included on Dion's 1988 album The Best of Celine Dion released in Europe.
The song appeared in Canada as B-side to "D'abord, c'est quoi l'amour". It appeared on the French version of Dion's Incognito album, it was included in her French compilation album On ne change pas. A music video was released in 1988. Dion recorded a German version of "Ne partez pas sans moi", called "Hand in Hand". European 7" single "Ne partez pas sans moi" – 3:07 "Ne partez pas sans moi" – 3:07German 7" single "Hand in Hand" – 3:07 "Hand in Hand" – 3:07
Céline Marie Claudette Dion ChLD is a Canadian singer. Born into a large family from Charlemagne, she emerged as a teen star in her homeland with a series of French-language albums during the 1980s, she first gained international recognition by winning both the 1982 Yamaha World Popular Song Festival and the 1988 Eurovision Song Contest, where she represented Switzerland. After learning to speak English, she signed on to Epic Records in the United States. In 1990, Dion released her debut English-language album, establishing herself as a viable pop artist in North America and other English-speaking areas of the world. During the 1990s, she achieved worldwide fame after releasing several best-selling English albums, such as Falling into You and Let's Talk About Love, which were both certified diamond in the US, she scored a series of international number-one hits, including "The Power of Love", "Think Twice", "Because You Loved Me", "It's All Coming Back to Me Now", "My Heart Will Go On", "I'm Your Angel".
Dion continued releasing French albums between each English record. During the 2000s, she built her reputation as a successful live performer with A New Day... in Las Vegas Strip, which remains the highest-grossing concert residency of all time, as well as the Taking Chances World Tour, one of the highest-grossing concert tours of all time. Dion's music has been influenced by genres, ranging from R&B to gospel and classical, her recordings are in French and English, although she sings in Spanish, German, Latin and Mandarin Chinese. While her releases have received mixed critical reception, she is regarded as one of pop music's most influential voices, she has won five Grammy Awards, including Record of the Year. Billboard named her the "Queen of Adult Contemporary" for having the most number ones on the radio format for a female artist, she is the second best-selling female artist in the US during the Nielsen SoundScan era. In 2003, she was honoured by the International Federation of the Phonographic Industry for selling over 50 million albums in Europe.
She remains the best-selling Canadian artist and one of the best-selling artists of all time with record sales of over 200 million copies worldwide. Dion was born in Charlemagne, Quebec, 15 miles northeast of Montreal, the youngest of 14 children of Thérèse, a homemaker, Adhémar Dion, a butcher, both of French-Canadian descent, she was raised a Roman Catholic in a poor, but, by her own account, happy home in Charlemagne. Music had always been a major part of the Dion family, she was named after the song "Céline", which French singer Hugues Aufray had recorded two years before her own birth. On 13 August 1973, at the age of five, the young Céline made her first public appearance at her brother Michel's wedding, where she performed Christine Charbonneau's song "Du fil des aiguilles et du coton", she continued to perform with her siblings in her parents' small piano bar called Le Vieux Baril, "The Old Barrel". From an early age, she had dreamed of being a performer. In a 1994 interview with People magazine, she recalled, "I missed my family and my home, but I don't regret having lost my adolescence.
I had one dream: I wanted to be a singer." At age 12, she collaborated with her mother and her brother Jacques to write and compose her first song, "Ce n'était qu'un rêve", whose title translates as "It Was Only a Dream" or "Nothing But A Dream". Her brother Michel sent the recording to music manager René Angélil, whose name he discovered on the back of a Ginette Reno album. Angélil was decided to make her a star. In 1981, he mortgaged his home to fund her first record, La voix du bon Dieu, which became a local No. 1 hit and made her an instant star in Quebec. Her popularity spread to other parts of the world when she competed in the 1982 Yamaha World Popular Song Festival in Tokyo and won the musician's award for "Top Performer" as well as the gold medal for "Best Song" with "Tellement j'ai d'amour pour toi". By 1983, in addition to becoming the first Canadian artist to receive a gold record in France for the single "D'amour ou d'amitié", Dion had won several Félix Awards, including "Best Female performer" and "Discovery of the Year".
Further success came when she represented Switzerland in the 1988 Eurovision Song Contest with the song "Ne partez pas sans moi" and won the contest by a close margin in Dublin, Ireland. At age eighteen, after seeing a Michael Jackson performance, Dion told Angélil that she wanted to be a star like Jackson. Though confident in her talent, Angélil realized that her image needed to be changed for her to be marketed worldwide, she receded from the spotlight for a number of months, during which she underwent dental surgery to improve her appearance, was sent to the École Berlitz in 1989 to polish her English. In 1989, during a concert on the Incognito tournée, she injured her voice, she consulted the otorhinolaryngologist William Gould, who gave her an ultimatum: have immediate surgery on her vocal cords or do not utilize them at all for three weeks. Dion underwent vocal training with William Riley. Two years after she learned English, Dion made her debut into the Anglophone market with Unison, the lead single having been recorded by Laura Branigan.
She incorporated the help of many established musicians, including Vito Luprano and Canadian producer David Foster. The album was la
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
The twelve-inch single is a type of gramophone record that has wider groove spacing and shorter playing time compared to LPs. This allows for louder levels to be cut on the disc by the mastering engineer, which in turn gives a wider dynamic range, thus better sound quality; this record type is used in disco and dance music genres, where DJs use them to play in clubs. They are played at either 45 rpm. Twelve-inch singles have much shorter playing time than full-length LPs, thus require fewer grooves per inch; this extra space permits a broader dynamic range or louder recording level as the grooves' excursions can be much greater in amplitude in the bass frequencies important for dance music. Many record companies began producing 12-inch singles at 33 1⁄3 rpm, although 45 rpm gives better treble response and was used on many twelve-inch singles in the UK; the gramophone records cut for dance-floor DJs came into existence with the advent of recorded Jamaican mento music in the 1950s. By at least 1956 it was standard practice by Jamaican sound systems owners to give their "selecter" DJs acetate or flexi disc dubs of exclusive mento and Jamaican rhythm and blues recordings before they were issued commercially.
Songs such as Theophilus Beckford's "Easy Snappin'" were played as exclusives by Sir Coxson's Downbeat sound system for years before they were released in 1959 – only to become major local hits pressed in the UK by Island Records and Blue Beat Records as early as 1960. As the 1960s creativity bloomed along, with the development of multitrack recording facilities, special mixes of rocksteady and early reggae tunes were given as exclusives to dancehall DJs and selecters. With the 1967 Jamaican invention of remix, called dub on the island, those "specials" became valuable items sold to allied sound system DJs, who could draw crowds with their exclusive hits; the popularity of remix sound engineer King Tubby, who singlehandedly invented and perfected dub remixes from as early as 1967, led to more exclusive dub plates being cut. By 10-inch records were used to cut those dubs. By 1971, most reggae singles issued in Jamaica included on their B-side a dub remix of the A-side, many of them first tested as exclusive "dub plates" on dances.
Those dubs included drum and bass-oriented remixes used by sound system selecters. The 10-inch acetate "specials" would remain popular until at least the 2000s in Jamaica. Several Jamaican DJs such as DJ Kool Herc exported much of the hip hop dance culture from Jamaica to the Bronx in the early 1970s, including the common Jamaican practice of DJs rapping over instrumental dub remixes of hit songs leading to the advent of rap culture in the United States. Most the widespread use of exclusive dub acetates in Jamaica led American DJs to do the same. In the United States, the twelve-inch single gramophone record came into popularity with the advent of disco music in the 1970s after earlier market experiments. In early 1970, Cycle/Ampex Records test-marketed a twelve-inch single by Buddy Fite, featuring "Glad Rag Doll" backed with "For Once in My Life"; the experiment aimed to energize the struggling singles market, offering a new option for consumers who had stopped buying traditional singles. The record was pressed at 33 rpm, with identical run times to the seven-inch 45 rpm pressing of the single.
Several hundred copies were made available for sale for 98 cents each at two Tower Records stores. Another early twelve-inch single was released in 1973 by soul/R&B musician/songwriter/producer Jerry Williams, Jr. a.k.a. Swamp Dogg. Twelve-inch promotional copies of "Straight From My Heart" were released on his own Swamp Dogg Presents label, with distribution by Jamie/Guyden Distribution Corporation, it was manufactured by Jamie Record Co. of Pennsylvania. The B-side of the record is blank; the first large-format single made for DJs was a ten-inch acetate used by a mix engineer in need of a Friday-night test copy for famed disco mixer Tom Moulton. The song was; as no 7-inch acetates could be found, a 10–inch blank was used. Upon completion, found that such a large disc with only a couple of inches worth of grooves on it made him feel silly wasting all that space, he asked Rodríguez to re-cut it so that the grooves looked more spread out and ran to the normal center of the disc. Rodriguez told him.
Because of the wider spacing of the grooves, not only was a louder sound possible but a wider overall dynamic range as well. This was noticed to give a more favorable sound for discothèque play. Moulton's position as the premiere mixer and "fix it man" for pop singles ensured that this fortunate accident would become industry practice; this would have been a natural evolution: as dance tracks became much longer than had been the average for a pop song, the DJ in the club wanted sufficient dynamic range, the format would have enlarged from the seven-inch single eventually. The broad visual spacing of the grooves on the twelve-inch made it easy for the DJ in locating the approximate area of the "breaks" on the disc's surface in dim club light. A quick study of any DJs favorite discs will reveal mild wear in